..........What we meant is how a Cop should carry himself!
ICONIC, INSPIRATIONAL AND INTREPIDLY realistic action and dialogue, this this was a sort of "One Man Band" of Radio, TV and Movie Drama. Mr. Jack Webb created, wrote, produced, directed and starred as Sgt. Joe Friday. With all embracing credits such as those, it's a wonder that no one has ever compared him to Charlie Chaplin or even Jerry Lewis.
FOLLOWING WHAT WAS a less than spectacular career in Radio Drama, Jack Webb, who had confessed to having wanted to be more like Jack Benny, came up with the brainstorm to do a Radio Dramatoic series. This would be a Police Procedural to end all Police Procedurals. Careful planning would allow the production's theme to employ only the most realistic dialogue, using the most capable actors, while they were spouting the most realistic lines in short, fast and machine gun-burst fashion.
SOME HAVE SAID that this style's implementation in DRAGNET was influenced by Director Otto Preminger's LAURA.(20th Century-Fox, 1944), which starred Gene Tierney, Dana Andrews, Clifton Webb, et al.
PARTICULAR ATTENTION WAS given to every detail of dress, equipment and behavioural patterns. Police manuals, training materials and even classes at the Police Academy were taken in to assure authenticity.
KNOWING THAT AS in every other line of work, Cops have their own, esoteric lingo, Webb even used technical advisers and did his best to incorporate as much of this jargon as possible into each and every installment. Henceforth, the old "10 Code" would be forever a matter of public knowledge; as well as an item of "Judicial Notice." (Look it up, Schultz!)
WHEREAS THE SERIES is remembered mainly for its TV incarnations, DRAGNET was born in the old days of Radio's Golden Age in 1947. By 1951, NBC was ready to test it in the unsure waters of the upstart Television. Its successes in both cases far outdistanced any expectations that were given it by the Vegas Handicappers.
IF MAKING THE MOVE from Radio to the small box in the living rooms was accomplished with relative ease, certain things could not be counted on or even at all anticipated. Sgt. Friday's Detective partner on the radio was Sgt. Ben Romero, a Mexican American portrayed by Barton Yarborough. With only three teleplays in the proverbial "can", Mr. Yarborough died suddenly. His real life departure from this life was mirrored with his passing's being incorporated into the story.
AFTER FRIDAY'S TEAMING up with several others (including actor Barney Phillips as Detective Jacobs), the series introduced us to Ben Alexander as Detective Frank Smith (talk about common man names!). Frank remained Friday's partner for the entire run of the original Black & White run.
ONE ASPECT OF this early Television pioneering series was its musical score; well at least its opening theme and signature. Even today, over 6 decades since its introduction, "Dun-Dun-Dun-Dub" equals Police in most folks mind. Composer Walter Schumann's name may well not be a household word; but his work certainly rates that honor, nice job, Walter!
JUDGING FROM THE other projects that Jack would produce*, his intent wa$ not centered on ju$t making a$ much of the buck$ as he could; but rather, an altruistic side of his intentions are revealed. When the other MARK VII Productions Title are scrutinized, one discovers a deep down admiration and affection for common men and women; who often are called upon to do very uncommon acts indeed.
NOTE * In addition to DRAGNET (1951) and its revival DRAGNET 67(1967) we have such titles as ADAM 12, EMERGENCY! and O'HARE: U.S. TREASURY, which starred David Jansen.
ICONIC, INSPIRATIONAL AND INTREPIDLY realistic action and dialogue, this this was a sort of "One Man Band" of Radio, TV and Movie Drama. Mr. Jack Webb created, wrote, produced, directed and starred as Sgt. Joe Friday. With all embracing credits such as those, it's a wonder that no one has ever compared him to Charlie Chaplin or even Jerry Lewis.
FOLLOWING WHAT WAS a less than spectacular career in Radio Drama, Jack Webb, who had confessed to having wanted to be more like Jack Benny, came up with the brainstorm to do a Radio Dramatoic series. This would be a Police Procedural to end all Police Procedurals. Careful planning would allow the production's theme to employ only the most realistic dialogue, using the most capable actors, while they were spouting the most realistic lines in short, fast and machine gun-burst fashion.
SOME HAVE SAID that this style's implementation in DRAGNET was influenced by Director Otto Preminger's LAURA.(20th Century-Fox, 1944), which starred Gene Tierney, Dana Andrews, Clifton Webb, et al.
PARTICULAR ATTENTION WAS given to every detail of dress, equipment and behavioural patterns. Police manuals, training materials and even classes at the Police Academy were taken in to assure authenticity.
KNOWING THAT AS in every other line of work, Cops have their own, esoteric lingo, Webb even used technical advisers and did his best to incorporate as much of this jargon as possible into each and every installment. Henceforth, the old "10 Code" would be forever a matter of public knowledge; as well as an item of "Judicial Notice." (Look it up, Schultz!)
WHEREAS THE SERIES is remembered mainly for its TV incarnations, DRAGNET was born in the old days of Radio's Golden Age in 1947. By 1951, NBC was ready to test it in the unsure waters of the upstart Television. Its successes in both cases far outdistanced any expectations that were given it by the Vegas Handicappers.
IF MAKING THE MOVE from Radio to the small box in the living rooms was accomplished with relative ease, certain things could not be counted on or even at all anticipated. Sgt. Friday's Detective partner on the radio was Sgt. Ben Romero, a Mexican American portrayed by Barton Yarborough. With only three teleplays in the proverbial "can", Mr. Yarborough died suddenly. His real life departure from this life was mirrored with his passing's being incorporated into the story.
AFTER FRIDAY'S TEAMING up with several others (including actor Barney Phillips as Detective Jacobs), the series introduced us to Ben Alexander as Detective Frank Smith (talk about common man names!). Frank remained Friday's partner for the entire run of the original Black & White run.
ONE ASPECT OF this early Television pioneering series was its musical score; well at least its opening theme and signature. Even today, over 6 decades since its introduction, "Dun-Dun-Dun-Dub" equals Police in most folks mind. Composer Walter Schumann's name may well not be a household word; but his work certainly rates that honor, nice job, Walter!
JUDGING FROM THE other projects that Jack would produce*, his intent wa$ not centered on ju$t making a$ much of the buck$ as he could; but rather, an altruistic side of his intentions are revealed. When the other MARK VII Productions Title are scrutinized, one discovers a deep down admiration and affection for common men and women; who often are called upon to do very uncommon acts indeed.
NOTE * In addition to DRAGNET (1951) and its revival DRAGNET 67(1967) we have such titles as ADAM 12, EMERGENCY! and O'HARE: U.S. TREASURY, which starred David Jansen.