Jack Webb, the legendary TV icon who created Dragnet, Adam-12, Emergency! and more, would have been 100 years old today. Known mostly of course for his groundbreaking radio and TV series Dragnet in which played Detective Joe Friday, his deadpan delivery and ping-pong patter became the stuff of both legend and great parody.
What’s less known about the versatile Webb was his offbeat film career. Small parts as the goateed paraplegic buddy in Marlon Brando’s film debut, The Men (1950), as well as the high-energy buddy Artie Green to William Holden’s Joe Gillis in Sunset Boulevard (also 1950) lead to even bigger roles in film and eventually his own cinematic pet projects. One such bigger role before major success was You’re in the Navy Now (1951) in which he costarred with Gary Cooper in the naval comedy that marked the film debuts of such New York actors as Harvey Lembeck, Jack Warden, Charles Bronson and, wait for it…Lee Marvin.
Webb’s versatility went beyond the shows and films he created (as well as wrote, directed and starred in). He had a specifically good eye for spotting young and emerging talent that may have come from his previous film work. In Lee Marvin Point Blank, Lee’s agent Meyer Mishkin recounted to me how Webb not only went out of his way to cast Marvin in an early Dragnet episode, but what he did to ensure the episode got Marvin more work. It was an effort that at the time, may not have even been allowed by the powers that be. Such was Webb’s belief in young talent.
Best of all, was an anecdote I was able to uncover by viewing an exclusive interview Webb gave in a rare late 1960’s interview in which he describes Marvin’s hysterical professionalism during the episode’s key scene. Gotta read the book to find that out!
Webb’s love of jazz (he was reported to have one of the greatest rare jazz record collections) was something he also shared with Lee Marvin. It made Marvin an easy choice to play clarinetist Al Gannaway in Webb’s loving tribute to 1920’s jazz, Pete Kelly’s Blues (1955). According to costar Martin Milner, Lee Marvin was the only one who avoided Webb’s direction by telling Webb he’d do a scene the way he described it, then, Marvin would perform it the way he intended all along. Milner was amazed at Marvin’s manipulative powers. Might also be the reason Marvin never appeared in any other Webb productions, like The D.I. (1957) and -30- (1957).
All in all, I think Jack Webb’s output, versatility and impressive legacy deservers remembrance. Even if you think his canon of work was campy (“You’re pretty high and far out, aren’t you? What kind of kick are you on son?”) it was certainly ground breaking and I for one was always a fan. Anything Webb did, in my opinion, was infinitely more entertaining than what came after him in the years that followed.
So, to Jack Webb. Happy centennial! Thanks for all the years of wonderful entertainment…intentional or not.
– Dwayne Epstein