Thanks for the clarification, blunted. So, we're talking "Man in the Shadow" (singular). Got it.
That being the case, then, your reference to it supports a point made earlier, i.e., that, in order to appreciate an important part of TOE's significance, one has to see it in context, wherein (taking "Man in the Shadow" as an example of what was then the norm) the pivotal corruption lies outside, not within, the police force.
More intricately, though, Welles doesn't merely turn that convention on its head (far too simplistic a trick for our man); instead, he actually makes room in the force for, not one, not two, but at least three different breeds of cop: Quinlan and Vargas being the polar opposites with Menzies caught in the middle.
Importantly to Welles's intent, it's Menzies that emerges as the real hero - just as the everyman in the rest of us would need to rise to the occasion should we ever likewise allow institutionalized corruption a foothold. Nothing trite or too linear about that, I'd argue.