Dragnet (1987)

The 1987 film Dragnet is a sharp, satirical update of the iconic police procedural television series created by Jack Webb in the 1950s. Directed by Tom Mankiewicz (a veteran writer of James Bond and Superman films), Dragnet reimagines the sober, no-nonsense law enforcement style of the original for a more ironic, comedic 1980s audience. By pairing Dan Aykroyd’s pitch-perfect impression of Joe Friday with Tom Hanks' loose, wisecracking foil, the film becomes a buddy-cop parody that affectionately pokes fun at its source material while delivering action, laughs, and some sly social commentary.

While Dragnet never reaches the high watermark of other buddy-cop films of the era like Lethal Weapon or 48 Hrs., it offers a smart and entertaining experience for fans of genre subversion, Aykroyd's razor-sharp delivery, and 1980s pop culture stylings.

Plot Summary

In this reimagined Dragnet, Sergeant Joe Friday (Dan Aykroyd) is the uptight, highly disciplined nephew of the original Joe Friday from the TV series. A man of rigid values, dry wit, and encyclopedic knowledge of LAPD regulations, Friday finds himself reluctantly paired with the more relaxed, irreverent Detective Pep Streebek (Tom Hanks). Together, they must investigate a bizarre string of arson, theft, and cult-like activities linked to an underground organization calling itself P.A.G.A.N. (People Against Goodness And Normalcy).

As Friday and Streebek peel back layers of corruption and ritual weirdness, they discover that the group’s connections extend into the upper echelons of city power, including Reverend Jonathan Whirley (Christopher Plummer), a seemingly respectable televangelist and cultural crusader, and the slippery police commissioner.

Along the way, the pair protect a young woman named Connie Swail (Alexandra Paul)—the so-called “Virgin Connie Swail”—from being sacrificed in a pagan ceremony, encounter goat-headed cultists, and eventually blow the lid off a conspiracy that links the city's criminal elite with the bizarre underground movement.

Dan Aykroyd as Joe Friday

Aykroyd’s portrayal of Joe Friday is the comedic centerpiece of the film. His character is a tightly wound, regulation-obsessed detective who speaks in rapid-fire, 1950s-style police jargon. Aykroyd, known for his affection for vintage Americana and technical detail, delivers this dialogue with pinpoint precision and a deadpan seriousness that is both hilarious and oddly endearing.

What makes Aykroyd’s performance so effective is that he never plays Friday as a fool. He is exaggerated, yes, but not mocked. His dedication, moral clarity, and genuine decency serve as both a comedic foil and a subtle critique of the moral ambivalence in 1980s society. Aykroyd brings both parody and homage to the role—he understands that part of the humor lies in Friday’s anachronism in a world that has moved far beyond his black-and-white moral code.

Tom Hanks as Pep Streebek

Tom Hanks, on the cusp of his transition from comedic star to leading dramatic actor, brings his signature charm and comedic timing to the role of Pep Streebek. Streebek is the perfect counterbalance to Friday: laid-back, irreverent, and grounded in the absurdity of their case. He wears loud clothes, cracks jokes, and embraces the cultural detritus that Friday detests.

Hanks’ performance is energetic and fun, especially in scenes where he bounces off Aykroyd’s stone-faced delivery. He plays the modern man to Friday’s square-jawed relic, and their evolving partnership—though conventional in structure—feels fresh thanks to their natural chemistry. Hanks infuses Streebek with enough heart to prevent him from becoming just a comic stereotype, and by the film’s end, he’s as committed to justice as his partner—albeit with more flair.

Supporting Cast

Christopher Plummer is a standout as the villainous Reverend Whirley. With a calm, menacing charisma, Plummer adds gravitas to the over-the-top proceedings. He plays Whirley with just enough self-awareness to be both genuinely sinister and satirically pompous.

Alexandra Paul as Connie Swail provides the “damsel in distress” archetype, but with a quirky, offbeat edge. Her chemistry with Aykroyd adds a romantic subplot that’s sweetly awkward and fitting for the tone.

Harry Morgan, reprising his role from the 1960s Dragnet TV revival as Captain Gannon, bridges the gap between the old and the new. His presence is a wink to longtime fans and adds authenticity to the reboot.

Dabney Coleman appears briefly in a hilarious cameo as a morally flexible police commissioner, offering a sharp jab at bureaucratic hypocrisy.

Tone, Humor, and Satire

Dragnet walks a fine line between parody and homage. It satirizes not only the conventions of the original series but also the genre of procedurals and the changing moral fabric of American society. The film plays on culture clash: the rigid moralism of Joe Friday colliding with the casual immorality of modern L.A.—strip clubs, corrupt officials, cults, and sensationalist media.

Director Tom Mankiewicz maintains a breezy tone that makes room for both absurdist humor and clever one-liners. The screenplay (co-written by Aykroyd and Mankiewicz) features whip-smart dialogue and running gags, such as Friday’s robotic speech patterns and overreliance on police code. Despite its satirical edge, the film remains affectionate toward its characters and never veers into mean-spiritedness.

That said, some of the humor—especially regarding gender roles and religious satire—feels dated by today’s standards. Still, the film remains watchable due to the strength of its leads and its clear intent to mock institutions, not individuals.

Action and Set-Pieces

Though primarily a comedy, Dragnet includes several action sequences that are well-executed and often tongue-in-cheek. Highlights include:

A raid on a P.A.G.A.N. ritual gathering, complete with goat-headed cultists and interpretive dance.

A chase through the streets of Los Angeles in a garbage truck.

The finale at Whirley’s television studio, which combines classic showdown tropes with absurdist reveals and plot twists.

These scenes blend action and comedy effectively without undermining the satirical tone. They serve the narrative while also highlighting how ridiculous the villains and institutions have become in the world of 1980s Los Angeles.

Music and Theme

The film features an updated version of the iconic Dragnet theme, repurposed with a 1980s synth and pop edge. It honors the original's dramatic horns and percussion but adds a funkier, more ironic twist in line with the film’s sensibility.

The soundtrack includes humorous musical interludes, and even a rap-style theme song (“City of Crime”) performed by Aykroyd and Hanks over the end credits—a bizarre, hilarious artifact that perfectly encapsulates the film’s irreverent tone.

Themes and Subtext

1. Old vs. New Morality:

At its core, Dragnet is about clashing worldviews: tradition and order (Friday) versus change and chaos (Streebek, and the world around him). The film critiques both extremes while ultimately finding value in Friday’s consistency and principles.

2. The Absurdity of Institutions:

From the media to religious organizations and city government, Dragnet satirizes how institutions present themselves as moral authorities while hiding corruption, sensationalism, and hypocrisy.

3. Partnership and Balance:

The heart of the film is the evolving relationship between Friday and Streebek. Their differences complement each other, and their success depends on learning to appreciate the other’s perspective.

Reception and Legacy

Dragnet received mixed-to-positive reviews upon release. Critics praised the performances of Aykroyd and Hanks, as well as the film’s clever writing and affectionate satire. However, some felt the humor was inconsistent or too restrained compared to broader parodies like Airplane! or The Naked Gun.

Commercially, the film performed modestly well, grossing over $65 million domestically. It was enough to boost the profiles of its stars—especially Hanks, who was transitioning into more high-profile roles—and it remains a cult favorite among fans of 1980s comedy.

Over time, Dragnet has been reevaluated as a smarter, subtler parody than initially appreciated. For fans of genre satire and classic buddy comedies, it holds up remarkably well.

Conclusion: A Funny and Faithful Send-Up

Dragnet (1987) is a clever, underrated gem that manages to parody and honor its source material in equal measure. Powered by Dan Aykroyd’s razor-sharp performance, Tom Hanks’ easygoing charm, and a sly script full of satire, the film is a fun, funny, and surprisingly sharp examination of changing American values. It may not reach the heights of some of its genre peers, but it’s a thoroughly entertaining time capsule of 1980s comedy with just enough bite to keep it fresh.

For those looking for a buddy-cop film with both heart and hilarity—and a tongue firmly planted in cheek—Dragnet delivers. Just the facts? Maybe. But with a lot of fun along the way.