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When the scripter does go after cheers for the brave men of the night sticks he has them loving dogs, babies and old people and lets the worthless needy impose upon their good nature. But even then any sympathy for the man on the beat is doubtful.
With racketeer-financed political parties always in power and endorsed by "representative" people; big time crime window-dressed, winked at and whitewash \ ed ; big time nose-thumbing of crime accepted as normal order and everybody knowing there's always an unseen thumb tilting the scales of justice, it is extremely difficult to either induce or provoke any amount of sympathy for the agencies of law enforcement. Suspicion, mistrust is their unfortunate lot.
As the newspaper editorials put it: "This is a sad commentary on law enforcement." But despite grieving editors and the efforts of gangster pictures to end all gangster pictures; despite the fact that brave policemen give up their lives to prove that the law, if >not hindered, can clean up the rackets, the rackets carry on and the policeman is still a swell menace.
Trickery, fraud, misrepresentation, swindling; hoax, prank, plant, fake, strategy, frame-up, double-cross, trick and trap; decoy and badger game; dissembling, and bilking ; bluffing, outwitting and outmaneuvering ; the shifty and evasive; the deceit that steals such gentle shapes; the vices so daubed with virtue; moonshine, applesauce, baloney and bunk ; the gay deceiver ; the Pecksniff, Pharisee and Judas ; the wolf in sheep's clothing. Obviously deception's greatest value as a menace lies in its extreme variety.
With so many kinds of deception intensified by countless secondary active and passive physical threats, by time and conscience, class distinctions, character and law, romance and crime take on an infinite variety of shapes and colorings. And finally, there is comedy.
And Comedy Relieves
Because the potentials of comedy are reviewed later, and at some length, we will dwell on that factor here only long enough to say that the comedy technique itself, a necessary complement of dramaturgy, can give romance and crime almost as many variations of
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