Dragnet (1951–1959)
7.5/10
15
2 user

The Big Counterfeit 

A phony policeman, using the name of a deceased officer, confiscates the money of innocent citizens by telling them its counterfeit.

Director:

Jack Webb

Writers:

Jack Webb (creator), Ken Kolb
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Cast

Episode cast overview:
Joby Baker ... Bob Tepps
James Douglas James Douglas ... Jay Wade Macken
Nancy Valentine ... Elsie Macken (as Nanci Valentine)
Tom Daly Tom Daly ... Harold Huberman
George Cisar ... George Ammen
Quentin Sondergaard Quentin Sondergaard ... Dennis Carls
Jack Webb ... Lt. Joe Friday
Ben Alexander ... Sgt. Frank Smith
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Storyline

A phony policeman, using the name of a deceased officer, confiscates the money of innocent citizens by telling them its counterfeit.

Plot Summary | Plot Synopsis

Genres:

Crime | Drama | Mystery

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Details

Language:

English

Release Date:

16 August 1959 (USA) See more »

Company Credits

Production Co:

Mark VII Ltd. See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (RCA Sound Recording)

Aspect Ratio:

1.33 : 1
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User Reviews

Just Plain Dull
11 August 2008 | by dougdoepkeSee all my reviews

Next to last entry in the series and it shows. It's a pretty dull 30 minutes of Friday and Smith tracking down a blow-hard con-man posing as as a cop. He preys on the vulnerable, especially the young and the elderly. Perhaps the most interesting segment is his ex-wife detailing what a a shiftless braggart he is. Joby Baker has an extended part as a teenage victim, which he handles well. Of course, the series was always low key, but this one is plain dull. Too bad the series had to wind down in this undistinguished way.

I've got to come up with ten lines in order to post this comment. It might be helpful to note that audience attention in 1959 was turning from realistic police shows like Dragnet to glamor detective series like 77 Sunset Strip, produced by a major studio Warner Bros. with many more resouces than an independent outfit like Webb's Mark VII productions. The new era became most marked by the advent of Peter Gunn, a hip urban drama that captured the Kennedy era of wry detachment, Ivy League grooming, and a cool jazz score. If Dragnet symbolized the mainstream values of the Eisenhower period, Gunn signaled a turn toward what can be characterized as the "in-crowd". Times had changed


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