By Julian Symons
Small-time actor, Sheridan Haynes, had a slightly bad preoccupation with Sherlock Holmes. So while the opportunity got here for him to play the well-known detective in a television sequence, it appeared his desires had come actual. And whilst London was once tormented by a sequence of unsolved murders, good it appeared purely typical for him to take his function into actual lifestyles. was once this a case of a laughable and faulty actor, or was once Sheridan really directly to anything?
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Additional resources for A Three-Pipe Problem
In the series finale, “Fall Out,” the mysterious Number 1 turns out to be, to all appearances, himself! The prisoner’s role in his own narrative of imprisonment is thus rendered far more ambiguous, to say the least. 24 Steven M. Sanders Having ended in narrative chaos, the final episode supports, and perhaps even requires, a variety of interpretations. Given the heavy emphasis in film noir on the need for redemption, a noir interpretation of “Fall Out” might take a theological form: Number 1 is God, and Number 6’s discovery of His identity is a discovery of that aspect of Him in himself.
As in the neo-realist film, the emphasis is less on a compelling narrative (even though a conventional story provides the structure for each episode) and more on the representation of the rarely viewed world of criminal investigation. Webb had no interest in creating suspenseful action; those who tuned in could depend not only on Friday and his cohorts solving every case (and emerging unscathed) but also on the judicial system never failing to convict and sentence the felons appropriately. Dragnet, instead, engaged viewers with what seemed to be the accurate, objective depiction of the “truth” of police work through the reenactment of the investigation of what is ostensibly (and usually is truly) an actual case.
1 As critics remarked at the time, what made Dragnet distinctive, and popular, was its deep commitment to a form of realism that Webb borrowed, if in a substantially modified form, from the cinema, where, as a young actor, he had begun to make a name for himself in such hard-edged films as Fred Zinnemann’s The Men (1950), Billy Wilder’s Sunset Boulevard (1950), and 33 34 R. Barton Palmer Lewis Allen’s Appointment with Danger (1951). Albert Werker’s He Walked by Night (1949), in which Webb played a small role as a detective, exerted an especially powerful influence on his developing conception of a police procedural series, which would derive its name from the initial response to a bloody murder detailed in the film, the dragnet that brings dubious characters and the usual suspects into temporary custody for questioning.
A Three-Pipe Problem by Julian Symons