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 recognized detective in a television sequence, it appeared his desires had come precise. And whilst London was once suffering from a chain of unsolved murders, good it appeared merely common for him to take his function into genuine lifestyles. was once this a case of a laughable and inaccurate actor, or used to be Sheridan truly directly to anything?
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Extra resources for A Three-Pipe Problem
The reader may wish to ask whether Holt’s characterization of interpretive openness applies not only to the case of Twin Peaks but to others as well. Holt himself applies it insightfully to both The Maltese Falcon and The Prisoner, but in doing so he may have inadvertently weakened his own case. For if we accept his claim that the motivations of Sam Spade are multiply interpretable, what are we to make of his earlier claims of Spade’s “underly- 26 Steven M. Sanders ing nobility,” that he is a “noble hero”?
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. Thus the characteristic Dragnet scene is not physical action, such as a car chase, but conversation: sometimes the interrogation of either witnesses or suspects, sometimes a discussion among the policemen themselves about how to proceed.
This seems true enough, but we should add that Webb, who had a good visual sense, frequently animated these rather static scenes with extreme close-ups, filling the small screen with the single human face in a fashion that was quite innovative and often remarked on at the time. As he said, “The close-up is the thing that pays off on the small screen, . . ”13 In this way, the episode’s conversational scenes were dramatized, an effect heightened by quick cross-cutting between or among speakers as well as by deftly positioned reaction shots.
A Three-Pipe Problem by Julian Symons