William Wyler's "Detective Story"

Sandwiched between two period dramas, The Heiress (1949) and Carrie (1952), William Wyler's contemporary Detective Story may be the famed director's grittiest drama. Based on Sidney Kingsley's Broadway play, it takes place during a single day at New York City's 21st precinct police department.

Kirk Douglas stars as Jim McLeod, an uncompromising police detective intent on waging a one-man war against crime. ("We're your army," he tells a victim. "We're here to protect you.") His personal vendetta focuses on Karl Schneider, a former physician accused of operating a "baby farm." When McLeod loses his two witnesses against Schneider--one is paid off and one dies--his anger turns to violence. He beats Schneider severely, turning the would-be criminal into a victim of police brutality. Yet, McLeod can cope with a potential assault charge hanging over his head. He is totally unprepared, however, when his actions set into motion a revelation that destroys the one thing that brings stability to his existence.

Many directors have struggled with transforming a static play to the more flexible medium of cinema. Never known as a visual stylist, Wyler avoids dramatic camera shots and elaborate editing tricks. Instead, he creates a canvas on which the performers can play out the story. Still, that's not to say that he doesn't subtly enhance the setting and performances with his use of close-ups and deep focus. 

Parker and Douglas.

Wyler conveys the chaos of the police station by employing deep focus to show three detectives in one shot, each "stacked" behind the other, talking over one another about different cases. In a key scene between McLeod and his wife Mary (Eleanor Parker), Wyler frames them so that McLeod faces the camera in the foreground while his wife (unable to see her husband's face) struggles to choose her words in the background. And, in another scene between the two, Wyler shows Mary in close-up, while McLeod's clenched fist--symbolically containing his about-to-explode emotions--lurks, barely visible, on the right side of the frame.

Even with Wyler's enhancements, Detective Story's stage origins are obvious--and that's not a bad thing. A large room where the detectives write their reports serves as the principal set as a wide array of characters enter and leave during the day: an eccentric woman who believes her neighbors are making an atomic bomb; a young man accused of embezzlement; a couple of hoods; a nice-guy reporter; and  an apologetic shoplifter (Lee Grant) who observes the proceedings while awaiting her fate. The intertwining subplots add to the film's realism (as does the lack of background music) while never distracting from the portrait of a man precariously on the edge.

Douglas with William Bendix.

The cast is uniformly fine, with several performers (e.g., Lee Grant, Horace McMahon, Joseph Wiseman) repeating their stage roles. Kirk Douglas gives one of his most compelling performances, though it helps that it's a riveting part with memorable dialogue (e.g., "Take a couple of drop-dead pills" and "I'm drowning in my juices"). Ralph Bellamy played McLeod when the play debuted on Broadway in 1949.

Wyler encountered significant censorship challenges in adapting Detective Story from stage to screen. In the play, Schneider is accused of illegal abortions, which would have violated the motion pictures industry's Production Code, which stated "abortion, sex hygiene and venereal diseases are not proper subjects for theatrical motion pictures." 

Joseph Wiseman (the future Dr.
No) with Kirk.

A more serious problem--involving the death of one of the characters--was averted when the Production Code was amended in March 1951. From 1938 to 1951, the Code stated: "There must be no scenes, at any time, showing law-enforcement officers dying at the hands of criminals." That was fortunately amended to: "There must be no scenes, at any time, showing law-enforcement officers dying at the hands of criminals unless such scenes are absolutely necessary to the development of the plot."

With its themes of forgiveness and self-righteousness in judging others, Detective Story fits nicely among Wyler's works. What makes it one of his best movies is Wyler's ability to provide a sympathetic portrait of a a violent man hanging by a thread that he cuts himself.


This review of part of the William Wyler Blogathon hosted by The Movie Projector. To read reviews of other William Wyler films, click here.