BobSacamano said:
It's pretty well known that "Dragnet's" dialogue was read off of teleprompters...Jack Webb was notorious for cutting expenses, judging from the horrrible acting from a few of the regulars, he didn't spend much on actors either
As one of Webb's admirers, I will agree with you that it wasn't Shakespeare, and that, for the most part, most of the Mark VII shows, from
Dragnet 1967-70 onward were primarily puff pieces, if you will, for governmental and law enforcement agencies (e.g.,
Adam-12,
O'Hara, United States Treasury, and
Emergency!). Webb made his millions largely on the backs of a small repertory company (e.g., Howard Culver, Virginia Gregg, Stacy Harris) and the tastes of "Middle America," or the "Silent Majority," as Richard Nixon put it. Viewers of the Mark VII shows in the 1960s and 1970s more or less wanted confirmation of their strait-laced, anti-countercultural values and got it from the Webb shows in hyper-abundance. In other words, none of them particularly GAVE a damn about the quality of the acting; in fact, Quinn Martin, after
The Fugitive, pretty much copied Webb's formula of strong male leads and weak supporting characters (e.g.,
The FBI,
Cannon,
Barnaby Jones), just spicing things up a little with some gratuitous violence, something Webb utterly refused to do in his shows.
The original 1950s
Dragnet was a much different animal, as those of you who have seen the YouTube clips of episodes can understand; the film noir Joe Friday was considerably more debonair and suave than the middle-aged, square-jawed, staccato-voiced public servant from the color version was. Not surprisingly, when he turned 50, Webb decided to hang up
Dragnet for good in favor of off-screen work packaging shows, probably a wise decision given changing tastes by the mid-1970s. His style, though, had become all but passe by the end of the decade, with shoot-'em-up cop shows by the dozen in prime time, and he went into more or less a tailspin of alcoholism, bringing on a heart attack that claimed his life just before Christmas 1982.
I cannot say what strangely attracts me to watch those shows on Hulu instead of better-acted cop dramas such as
Kojak and
Hill Street Blues. I think the Webb style of moral clarity and the image of a government doing its job properly is probably the most seductive thing, nostalgia and political preferences aside. Whether one agreed with his stands against the hippies and their subsequent liberal-culture stepchildren, Jack Webb made a fascinating case study of sorts as a Hollywood mogul who had one foot inside the establishment but the other in the heartland, and the latter loved him a hell of a lot more than the former.