Exoticalot People are voting emotionally.

Senteur As somebody who had not heard any of this before, it became a curious phenomenon to sit and watch a film and slowly have the realities begin to click into place.

Rosie Searle It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Mathilde the Guild Although I seem to have had higher expectations than I thought, the movie is super entertaining.

Albert Mazeika 1954's DRAGNET is well-cast with Jack Webb's stock company, plus a pre-PALADIN, Richard Boone and pre-CHESTER on GUNSMOKE, Dennis Weaver. However, the plot takes WAY too long to get to an ultimately UNsatisfying conclusion. I am a fan of Jack's but I believe this was his first crack at directing a feature and, unfortunately, it shows. Many scenes drag on for too long (the bar room brawl seems interminable) and as a result, the story just plods along. The running time is listed at only 88 minutes, but it SEEMS longer. The crisp, clean pace of Webb's radio and TV DRAGNET episodes is lost in this full-length treatment.

edwagreen Jack Webb and Ben Alexander, the two television icons of "Dragnet," made this 1954 film. As an inducement to get people to see it, the film was colorized. The television show was black and white.The story centers on a runner who is rubbed out at the beginning. Unlike the television show, the killers are shown at the beginning so there is no guessing game. More action was needed. This film was made as if it were for television.There are two very good supporting performances by Virginia Gregg, as the widow of the murder victim. Her scene of utter despair and drunkeness was memorable. When it showed her on one foot, your heart could give out. Also noteworthy was Georgia Ellis' portrayal of the murderer's wife, hard-boiled and abusive to police, she soon changes her ways when her husband is knocked off.We have the usual elements of police harassment, but this time it's more than justified, a witness who is scared off, thereby making the case harder to get to the guilty.When the head of the mob falls victim to cancer at the end, we can all say, "He deserved it."Speaking of the latter dread disease, the film is marred in a way by Joe Friday's (Webb's) chronic smoking. The latter probably led to his early demise from a coronary some years ago.

muvphreek Every time I see this movie, I find something else about it that makes me like it all the more. Whether its the cars, the attitudes, the clothes or just the story itself. I liked the cast from the very first time and recognized most of them from the TV series. Seeing again, now, was like getting visit from some old friends. It departed from the TV show in that you saw the crime committed up front and there was no epilogue of the outcome. But otherwise, it was classic Joe Friday. Just the facts. Not a lot of superfluous rhetoric or endless scenes of police tailing bad guys. Lots of voice over with details like time of day, location, etc. Simple interrogation from Friday with smart-mouth answers from the bad guys and the snappy, emotional responses from Joe. It kind of gets you, right where you live, you know? Don't miss this one. You won't be sorry.

David Ostrem It's nice to be among my fellow Dragnet fans. There is an important point to be made about the fifties and that is that it was an age of excess. It was big brass, big dance number, and big build up to every stupid little deal to the point that it was obnoxious and oppressive, especially to a kid. The landmarks in pop culture of the era were things that stood in opposition to that and provided blessed relief with a sense of brevity and minimalism. In westerns it was the emotionally and geographically beak landscape of Kansas in Gunsmoke. In comedy there was a show called The Honeymooners with a set that consisted of a table, one or two chairs, and a door that Ed Norton kept bursting through. In jazz it was the three, four, and five piece combos as opposed to big band. In popular music, it was Elvis with lead, rhythm, bass, and drums. (Actually not even drums at first). But the Daddy of them all was Dragnet. Terse is not the word. It's minimalism was blatantly self conscious to the point of absurdity. The public was stunned. It had the effect of being stripped of all nonsense so that you thought you were seeing the real thing. You weren't but you sure thought you were. When Joe Friday came on with his tired monotone and said "This.......is the city........it has churches........it has schools........it has parks.......", we thought it was so cool we could hardly stand it. But the biggest quote was "just the facts, ma'am". We used to repeat that all over the playground. Every time somebody was going too far it was "hey there, just the facts". And that's why the movie is a failure. That incredibly stylish brevity can't be stretched out. It has to be a half hour, otherwise it just looks like they're going around in circles. However the movie is still very enjoyable and a worthy addition to your collection (or mine anyway). The reason for that is that the movie has plenty of this other thing that the TV show was famous for which a vast array of delightfully god awful two bit loser punk criminals. Dragnet never dealt with Mr. Big, it was always these awful little two bit people, con men, purse snatchers, etc. There was even one incredible child molester episode (The Big Crime Sept 9, 1954). Jack Webb could really get the creepy feel going with these characters. I don't know if it's my imagination but does LA have a creepier underworld than other cities? Maybe the authors and screenwriters have made it seem so. But I recently read a biographical sketch of Barbara Graham (I Want To Live) and I honestly wish I hadn't, it was too creepy. So anyway in the movie you lose the terseness but keep the criminals. As for the color, of course it's not Dragnet but it's still fun if only for the sake of contrast. So check it out. Tell them Groucho sent you.