38 reviews
This film is musically great with a couple of numbers by Ella Fitzgerald. However, this is not anything close to a musical. Rather it is a 20's gangster tale that involves Pete Kelly (Jack Webb) and his band. For those of you who remember Dragnet, Webb's narration might have you thinking of Dragnet just a little too much. Webb also directed this film, and he did a great job of giving it a real 20's feel. You don't feel like you're looking at a bunch of people from the 50's dressed up for a 20's costume party.
The only thing bad I can say about it is I had a hard time figuring out Pete Kelly's motivation. A person close to him is killed, and he is ready to give in to the gangster responsible and forget the whole thing ever happened. He finds out another person he barely knows has been killed by the same gangster and he's ready for war. He tosses an eager and beautiful Janet Leigh out of his room in one scene, and in the next scene he's overjoyed to see her to the point of wanting to marry her. The clinical acting style that worked so well for Webb in Dragnet just left me a little confused here. Still, overall, I would recommend it.
The only thing bad I can say about it is I had a hard time figuring out Pete Kelly's motivation. A person close to him is killed, and he is ready to give in to the gangster responsible and forget the whole thing ever happened. He finds out another person he barely knows has been killed by the same gangster and he's ready for war. He tosses an eager and beautiful Janet Leigh out of his room in one scene, and in the next scene he's overjoyed to see her to the point of wanting to marry her. The clinical acting style that worked so well for Webb in Dragnet just left me a little confused here. Still, overall, I would recommend it.
- bkoganbing
- Mar 5, 2009
- Permalink
By 1927, jazzy cornet player Jack Webb (as Pete Kelly) and his seven-piece combo are the house band at a speakeasy in Kansas City, Missouri. All seems well until gangster Edmond O'Brien (as Fran McCarg) demands Mr. Webb hand over 25 percent of the band's earnings in return for his marginal managerial skills. Webb is also required to make Mr. McCarg's attractive girlfriend Peggy Lee (as Rose Hopkins) his instrumental group's lead singer. Webb must pay up or see his band members roughed up and/or gunned down. After some debate, the band is persuaded to play it safe. Then, Webb changes his tune and decides to fight...
"Dragnet" radio and TV star Webb directs his cast and crew very well. He does not waste an inch of the "CinemaScope" screen. When space is used, it's for dramatic effect. What this story needed was better exposition and some more time given Mr. O'Brien's character. Strangely, Webb gets fine performances from all except his leading man. He varies his stiff stance by repositioning his hands, but Webb seems to have his mind on directing and his character never really forms. Trying to romance Webb in her scenes, beautiful Janet Leigh (as Ivy Conrad) is fighting a lost cause. There are no sparks flying between the two...
Given the juiciest part, as an alcoholic singer, Ms. Lee is excellent; she won Film Daily's annual "Supporting Actress" award. Andy Devine, Lee Marvin and Martin Milner are impressive, in featured roles. Webb used Mr. Milner when he produced "Adam-12" as a younger, hipper "Dragnet" for the 1960s (and 1970s). It's amusing to watch Webb punch any male member of the cast who gets in his way. He repeatedly knocks out Mr. Marvin, a much bigger man, with surprising ease. And, you can't go wrong when Ella Fitzgerald appears as a lounge singer. The music, cast and wide screen visuals made this one worth watching.
******* Pete Kelly's Blues (7/27/55) Jack Webb ~ Jack Webb ~ Jack Webb, Janet Leigh, Peggy Lee, Edmond O'Brien
"Dragnet" radio and TV star Webb directs his cast and crew very well. He does not waste an inch of the "CinemaScope" screen. When space is used, it's for dramatic effect. What this story needed was better exposition and some more time given Mr. O'Brien's character. Strangely, Webb gets fine performances from all except his leading man. He varies his stiff stance by repositioning his hands, but Webb seems to have his mind on directing and his character never really forms. Trying to romance Webb in her scenes, beautiful Janet Leigh (as Ivy Conrad) is fighting a lost cause. There are no sparks flying between the two...
Given the juiciest part, as an alcoholic singer, Ms. Lee is excellent; she won Film Daily's annual "Supporting Actress" award. Andy Devine, Lee Marvin and Martin Milner are impressive, in featured roles. Webb used Mr. Milner when he produced "Adam-12" as a younger, hipper "Dragnet" for the 1960s (and 1970s). It's amusing to watch Webb punch any male member of the cast who gets in his way. He repeatedly knocks out Mr. Marvin, a much bigger man, with surprising ease. And, you can't go wrong when Ella Fitzgerald appears as a lounge singer. The music, cast and wide screen visuals made this one worth watching.
******* Pete Kelly's Blues (7/27/55) Jack Webb ~ Jack Webb ~ Jack Webb, Janet Leigh, Peggy Lee, Edmond O'Brien
- wes-connors
- Dec 12, 2014
- Permalink
"Pete Kelly's Blues" gave Jack Webb a chance to direct and star in this film that compliments his close, tight, factual emphasis on the characters and the story. It's a no-nonsense film that combines some good musical moments with the times of the roaring 20's, when the gangs were determined to make money in every venture, or cause the venture to cease to exist. Such is the situation for Pete Kelly and his jazz band.
Kelly, played by Webb, enjoys the fact that his band can pretty much come and go as they see fit, perform, collect their fees, and move on to other clubs, other towns. They are good at what they do, and a local gangster, played to the hilt by Edmond O'Brien, sees a chance to move in. He tells Kelly that the band must allow his new girl a chance to perform, plus give him a sizable cut of their appearance money. The singer, played by Peggy Lee, just wants to get a start in show business, and O'Brien wants to control her start on a career. The film moves to an eventual expected climax, but the ending for Peggy Lee is not a happy one.
The cast included Janet Leigh, Andy Devine, Lee Marvin (a good guy role), and Ella Fitzgerald, who contributed some moving tunes in her own special style. Peggy Lee did garner an Oscar for best supporting actress, and it was deserved.
A film piece that deserves more than one chance viewing.
Kelly, played by Webb, enjoys the fact that his band can pretty much come and go as they see fit, perform, collect their fees, and move on to other clubs, other towns. They are good at what they do, and a local gangster, played to the hilt by Edmond O'Brien, sees a chance to move in. He tells Kelly that the band must allow his new girl a chance to perform, plus give him a sizable cut of their appearance money. The singer, played by Peggy Lee, just wants to get a start in show business, and O'Brien wants to control her start on a career. The film moves to an eventual expected climax, but the ending for Peggy Lee is not a happy one.
The cast included Janet Leigh, Andy Devine, Lee Marvin (a good guy role), and Ella Fitzgerald, who contributed some moving tunes in her own special style. Peggy Lee did garner an Oscar for best supporting actress, and it was deserved.
A film piece that deserves more than one chance viewing.
A returning army vet travels to 1920's Kansas City and sets up a jazz band, only to fall prey to nightclub gangsters.
Rather tedious film except for the blues offerings which are too few to make up for the slow pace and a dour Webb in the lead role. He's in about every scene, which means there's no escaping his non-acting.
Actually, Webb's an interesting Hollywood figure. Dragnet (1951-1959) came along at just the right time for him. The Cold War meant authority was put in the best possible light, and Webb's Sgt. Friday embodied that no-nonsense professional. Plus, as director, Webb knew when to let human interest take charge, resulting in some of the best dramas of the day. Trouble is that, as an actor, Webb was a one-trick-pony. What worked so well in early Dragnet did not adapt to other scenarios, as is the case here. In fact, his romantic scenes with Leigh are almost painful. Plus, Dragnet's half-hour format enforced a pacing discipline that's not evident in this slow moving 90-minutes.
Nonetheless, Warner's backed up production with colorful sets and eye-catching photography. So when the pace slows, the visuals don't. Then too, the supporting cast is just that, good support. Too bad, though, that Lee Marvin doesn't get more screen time. His upbeat tough guy amounts to a needed animated presence. I kept hoping he and Webb would have a snarling face-off— now that would be a real heavyweight treat. But I'm still wondering how they got a name performer like Janet Leigh to make do with such an incidental role.
Anyway, the movie's mainly for fans of blues and vintage 20's styles. But it also looks like Webb learned a valuable lesson. Except for the misbegotten Last Time I Saw Archie (1961), his screen time would stick to either the authority figures or the voice-overs he was so good at.
Rather tedious film except for the blues offerings which are too few to make up for the slow pace and a dour Webb in the lead role. He's in about every scene, which means there's no escaping his non-acting.
Actually, Webb's an interesting Hollywood figure. Dragnet (1951-1959) came along at just the right time for him. The Cold War meant authority was put in the best possible light, and Webb's Sgt. Friday embodied that no-nonsense professional. Plus, as director, Webb knew when to let human interest take charge, resulting in some of the best dramas of the day. Trouble is that, as an actor, Webb was a one-trick-pony. What worked so well in early Dragnet did not adapt to other scenarios, as is the case here. In fact, his romantic scenes with Leigh are almost painful. Plus, Dragnet's half-hour format enforced a pacing discipline that's not evident in this slow moving 90-minutes.
Nonetheless, Warner's backed up production with colorful sets and eye-catching photography. So when the pace slows, the visuals don't. Then too, the supporting cast is just that, good support. Too bad, though, that Lee Marvin doesn't get more screen time. His upbeat tough guy amounts to a needed animated presence. I kept hoping he and Webb would have a snarling face-off— now that would be a real heavyweight treat. But I'm still wondering how they got a name performer like Janet Leigh to make do with such an incidental role.
Anyway, the movie's mainly for fans of blues and vintage 20's styles. But it also looks like Webb learned a valuable lesson. Except for the misbegotten Last Time I Saw Archie (1961), his screen time would stick to either the authority figures or the voice-overs he was so good at.
- dougdoepke
- Oct 22, 2014
- Permalink
This could just as easily be titled 'Joe Friday's Blues'! Webb still has the cop demeanor in this rather routine story of a blues band leader during the 20s. Lord, even the narration is reminiscent of Dragnet. Now, having said all that, how can you not like a movie with a supporting cast of Marvin, Milner, Divine, Leigh, Lee, O'brian, and Fitzgerald? The musical numbers are sensational, and one can detect real admiration on Webb's face when he watches Lee and Ella perform; accordingly, this was Webb's labor of love. Watch for Andy Divine in a role unlike any you've seen him in before.
If for no other reason,PETE KELLY'S BLUES must be seen for it terrific score. Not just the songs, but the incidental music as well. Should have gotten awards galore for that alone. Story of small time jazz band is good with wonderful supporting roles be everyone, including a wonderful Peggy Lee. Who knew she was such a good actress, at least in roles like this. A shame she didn't do more films to see if she could really act in different types of roles. This one as Rose, a drunken, haggered unhappy woman fit her to a tee. Andy Devine was also great, but such a small role. He should have been given more to do. Lee Marvin also well cast as the "good guy" for a change. Janet Leigh does what she could do as "decoration" and does it well. But what does she see in a downbeat like the Jack Webb character? Actually, he's the worst thing about the film. Another actor would have made this movie a sensation, but he ruined it. A one-note actor who was just playing Joe Friday from his DRAGNET days. A pity. Now as a director, he was fine, but as an actor...PLEASE. Also good is Ella Fitzgerald in a next to nothing role, but she excels in her two jazz numbers, one being the main theme. Wonderful Cinemascope shots with expert cinematography. The ending scene in the vacant ballroom is a classic. Aside from Jack Webb, see this movie now that it's out on DVD. Do NOT, I repeat, do NOT see a pan and scan on TV or other small screen. This one deserves the big home theatre screen.
Great Singer, reknowned composer, Peggy lee had a chance to really act and act she did in Pete Kellys Blues earning her an Oscar nomination and many fans...She died today (1/22/02), and the world is a lot less brighter.. This is one of the few glimpses we get to see her in her heydey, beautiful, young and talented... This film should be treasured for that alone plus some fine singing by not only Peg, but the great Ella Fitzgerald... for these reasons alone this flick is worth seeing buying and reissuing/ contrived maybe, poorly directed possibly but to see Peggy Lee on film singing and emoting, and earning an Oscar nom., that alone is worth the price/ also look for an ingenue, Jayne mansfield in the chorus... thank you Jack Webb also
Bandleader Pete Kelly (Jack Webb) struggles to get out from under the thumb of a gangster (Edmond O'Brien) in 1920s Kansas City. A departure for Dragnet star and creator Jack Webb, who was also a huge jazz fan. Like Dragnet, Pete Kelly's Blues was originally a radio show. It only lasted three months. I heard some of it on satellite radio a few years ago and actually enjoyed it. This idea was also turned into a short-lived TV series (again by Webb) a few years after this movie. So obviously this concept was a labor of love for Jack Webb.
Actingwise, Webb is his usual stiff self here. It works better with Dragnet where he played a straight-laced character. Here he's a rough fit. I especially find it hard to swallow beautiful and flighty rich girl Janet Leigh would be so into him. Still, the Dragnet-style narration and rapid fire dialogue make the part fit Webb even if he doesn't fit the part. The rest of the cast is good. In addition to Leigh and O'Brien, there's Lee Marvin in a small part, Andy Devine as a detective (!), and Than Wyenn as the amusing owner of a club the band plays at. But the scene stealer is Peggy Lee as O'Brien's drunk moll that Webb is forced to take into the band as a singer. She was nominated for an Academy Award for her performance and it's well-deserved. The music, script, and direction are the movie's biggest strengths. It's definitely worth a look, particularly for Dragnet fans.
Actingwise, Webb is his usual stiff self here. It works better with Dragnet where he played a straight-laced character. Here he's a rough fit. I especially find it hard to swallow beautiful and flighty rich girl Janet Leigh would be so into him. Still, the Dragnet-style narration and rapid fire dialogue make the part fit Webb even if he doesn't fit the part. The rest of the cast is good. In addition to Leigh and O'Brien, there's Lee Marvin in a small part, Andy Devine as a detective (!), and Than Wyenn as the amusing owner of a club the band plays at. But the scene stealer is Peggy Lee as O'Brien's drunk moll that Webb is forced to take into the band as a singer. She was nominated for an Academy Award for her performance and it's well-deserved. The music, script, and direction are the movie's biggest strengths. It's definitely worth a look, particularly for Dragnet fans.
- kapelusznik18
- Jul 7, 2015
- Permalink
Jack Webb takes up the trumpet and takes on local gangsters in this colorful if at times somewhat peculiar movie about jazz musicians in the Kansas City of the Roaring Twenties. The story is disappointingly shallow and by-the-numbers, but there's some great music and songs from, among others, Peggy Lee and Ella Fitzgerald, courtesy of Ray Heindorf and Sammy Cahn.
Webb was a strange case. A true pioneer of early television production, and in his way a true innovator, he made a virtue out of impassivity. He directs this one with more energy than his TV shows, but the dryness and apathy are still there. When he's dealing with conventional players, like Martin Milner, it's like he's directing himself. But when he's got a live wire, like Lee Marvin, who has a colorful supporting role in this one, or Andy Devine, who has an offbeat one, he seems almost to have the makings of an American Fellini. Deep down, I suspect, that Webb really loved crazy people. He just didn't know how to show it.
Webb was a strange case. A true pioneer of early television production, and in his way a true innovator, he made a virtue out of impassivity. He directs this one with more energy than his TV shows, but the dryness and apathy are still there. When he's dealing with conventional players, like Martin Milner, it's like he's directing himself. But when he's got a live wire, like Lee Marvin, who has a colorful supporting role in this one, or Andy Devine, who has an offbeat one, he seems almost to have the makings of an American Fellini. Deep down, I suspect, that Webb really loved crazy people. He just didn't know how to show it.
Pete Kelly Blues is pure Jack Webb, stiff as a board and solid storytelling. I love Jack Webb, and I like the movie but it's just good enough for fans. Warners put up a lot of support to Webb, and lavish production design by Walt Disney's best Harper Goff, and a ripping score with Ella Fitzgerald and Peggie Lee (Oscar Nom)make it a near great movie. Shot almost entirely with master shots (except the final act)is Webb's efficient style. Lee Marvin is great as a fellow traveler jazz-man, and Edmond O'Brien is menacing as the main gangster. Sadly enough, the wonderful Janet Leigh is stuck in a very crappy role as a rich flapper love interest. Webb even cast future kiddie show host Andy Devine and a tough lawman, and he is amazingly good. Webb's next film was his classic "The D.I.", a much better film. For fans and music buffs!
- elvispresley57
- May 17, 2022
- Permalink
This was Jack Webb's labor of love and his big shot at big screen stardom. Humphrey Bogart was aging, (and soon to die), and perhaps Webb saw himself as an heir to his thrown. He certainly was a lover of everything about the 1920's into which he was born and of the jazz of the time in particular. He was a competent actor, (quite good in 1950's "The Men", opposite Marlon Brando) but ultimately lacked the presence and ability necessary for stardom. he we see him completely outacted by two who did, Edmund O'Brien and Lee Marvin, (who would have been a fabulous choice to play Pete Kelly). Webb seems trapped in his Joe Friday characterization. Particularly poor his the scene where he first confronts O'Brien, as gangster McClarg, in anger. Kelly, (Webb), knocks out McClarg's henchmen. McClarg then breaks a bottle on the bar and offers Kelly a chance to beat him to it. Kelly then shrinks into intimidation and sulks out. The scene is preposterous to begin with: why would Kelly be intimidated by McClarg when he's just kayoed hi body guard? But Webb clearly has no idea how to play it. He just stars blankly at O'Brien, then turns around and, hunched over and with his arms dangling lifelessly at his side, he marches out stage left while the music swells up to convey Kelly's humiliation to us much more effectively than Webb does.
Where Webb really excelled was as a director. He opens this with a shot of a New Orleans jazz funeral. Period detail is exquisite throughout. The dialog is snappy and authentic. The music, of course is great if jazz is to your taste. Any film with both Peggy Lee and Ella Fitzgerald singing in it is work a listen. This one is worth a look, as well. There are great camera shots, particularly when one of Kelly's associates gets gunned down in an alley. The final confrontation is exciting and well-staged. As noted below, it was clearly influential to modern directors. The cast of the film is uniformly excellent except for Webb himself. Peggy Lee is great and one wonders why a significant acting career didn't follow. O'Brien, in a rare villain role, is forceful without the overacting he's often guilty of. Marvin dominates every scene he's in and Martin Milner, a much underrated actor, is excellent in an early role as well. Andy Devine is a revelation as a tough cop. You've got to see it to believe it. Janet Leigh appears as Kelly's girlfriend. She's essentially window dressing but very attractive window dressing. But it's hard to tell what attracted her to Kelly. Webb is so stiff an uncomfortable in their romantic scenes that their relationship is hardly credible.
This film would probably be regarded as a classic today if Webb had not insisted on playing the lead, but who can blame him? It was his big chance on the big screen. He created an exquisite donut to star in. But this donut had a hole in it and he was that hole.
Where Webb really excelled was as a director. He opens this with a shot of a New Orleans jazz funeral. Period detail is exquisite throughout. The dialog is snappy and authentic. The music, of course is great if jazz is to your taste. Any film with both Peggy Lee and Ella Fitzgerald singing in it is work a listen. This one is worth a look, as well. There are great camera shots, particularly when one of Kelly's associates gets gunned down in an alley. The final confrontation is exciting and well-staged. As noted below, it was clearly influential to modern directors. The cast of the film is uniformly excellent except for Webb himself. Peggy Lee is great and one wonders why a significant acting career didn't follow. O'Brien, in a rare villain role, is forceful without the overacting he's often guilty of. Marvin dominates every scene he's in and Martin Milner, a much underrated actor, is excellent in an early role as well. Andy Devine is a revelation as a tough cop. You've got to see it to believe it. Janet Leigh appears as Kelly's girlfriend. She's essentially window dressing but very attractive window dressing. But it's hard to tell what attracted her to Kelly. Webb is so stiff an uncomfortable in their romantic scenes that their relationship is hardly credible.
This film would probably be regarded as a classic today if Webb had not insisted on playing the lead, but who can blame him? It was his big chance on the big screen. He created an exquisite donut to star in. But this donut had a hole in it and he was that hole.
There are some wonderful things in this, foremost Ella Fitzgerald and Peggy Lee spreading their special brands of magic, both are luminous. The music is good and Andy Devine, without his trademark voice, is a revelation in a gritty part as a dogged cop. Edmond O'Brien could play the venal gangster like few others. All these are highly enjoyable but stuck in the center is the absolutely awful Jack Webb, the man makes a blank wall look expressive and that a beauty like Janet Leigh would go to such lengths to catch him makes her seem either seriously misguided or a total idiot. Still for the great stuff contained within its worth at least a view.
With the recent passing of Miss Peggy Lee, I thought I would comment on her great singing voice and of course mention her Academy Award Nomination for her outstanding performance in this film. What a pity she chose not to do more films. I was pleased to see that many of the news items compared Peggy Lee to Billie Holiday, both of whom I consider to be two of the greatest and most talented singers of all time. Too bad they never did any recordings together, as their voices really would have complimented each other.
- yikes7todd
- Jan 21, 2002
- Permalink
I saw Pete Kelley's Blues in the movies in 1955 as a 16 year old kid. I enjoyed the music so much I bought a 33 LP with the music which I still possess. I recorded the movie on VHS tape off TV several years ago and before the tape faded too much I put it on DVD for my use. The title doesn't seem to be readily available these days. Not sure why. The music and artists are first rate in my aging opinion. Jack Webb is somewhat less of a wise guy than he usually seemed to me on TV. There may be one scene I recall in the movie which did not appear in the TV version I recorded---the view of some guy shot in the face with a shotgun---that is my memory from 1955 or so. Bloody etc. I think it was in the theater version--maybe I'm mixing up movies in my memory. Does anybody remember the scene I recall?
- JohnHowardReid
- Aug 2, 2017
- Permalink
Cornet player Pete Kelly (Jack Webb) returns from the war riding the rails. In 1927, the world-weary musician is leading a band in a Kansas City speakeasy. New crime boss Fran McCarg (Edmond O'Brien) is demanding bigger protection payments from the band. Rich party girl Ivy Conrad (Janet Leigh) has her sight set on Pete.
Jack Webb's dead-tone delivery sort of works for this weary character although it's hard for him to be the romantic lead of a movie. How is he uncertain about Ivy? She's one flighty chick, but has he seen her? She looks like Janet Leigh. He looks like Jack Webb. Jack is also doing double-duty as the director. This is supposed to be a serious crime noir, but sometimes its sincerity almost comes off as a spoof. There are quite a few familiar faces and some of them are before their fame. Peggy Lee gets an Oscar nomination for Best Supporting Actress.
Jack Webb's dead-tone delivery sort of works for this weary character although it's hard for him to be the romantic lead of a movie. How is he uncertain about Ivy? She's one flighty chick, but has he seen her? She looks like Janet Leigh. He looks like Jack Webb. Jack is also doing double-duty as the director. This is supposed to be a serious crime noir, but sometimes its sincerity almost comes off as a spoof. There are quite a few familiar faces and some of them are before their fame. Peggy Lee gets an Oscar nomination for Best Supporting Actress.
- SnoopyStyle
- Dec 3, 2022
- Permalink
"Pete Kelly's Blues" was a do-or-die project for Jack Webb, best known for playing Sgt. Joe Friday on the TV series "Dragnet". Riding on the success of his previous film "Dragnet" (1954), Webb decided to make this film as his next project. If it did well at the box office, Warners would greenlight a TV show of the same name.
"Pete Kelly's Blues" did respectable business (about 5 million), and garnered an Oscar nod for singer Peggy Lee in the Supporting Actress category, but, for reasons unknown, Warners decided to pass on the TV show. Today, "Pete Kelly's Blues" fails to muster much interest and is nearly forgotten today.
Webb's film is dripping in atmosphere, which is a major plus considering the setting (New Orleans during the Roaring Twenties)and the script (by Richard L. Breen, who wrote "Dragnet")is so airtight and taut that you just can't help getting involved in it. I know I've raked Blake Edwards over the coals for paying attention too much to the story sometimes, but with Webb, concentrating on the story is a plus. The acting is excellent, especially by Webb, who some might consider too stiff, but others will consider to be realistic. And using the CinemaScope frame for the first and only time in his career, Webb really creates some complex and stunning compositions. It should be required viewing for all budding cinematographers. It should only be seen widescreen. AMC often airs it this way, showing "Pete Kelly's Blues" in all its 2.55:1 glory.
Webb is one of the most interesting of directors and also the most underappreciated. "Dragnet" told a riveting murder mystery that transcended the TV series. "The D.I." was fairly realistic and daring for its' time (you can't fault it for being more mellow than most Marines films, this was 1957 people!)"-30-" was an interesting clash of styles set in the newspaper industry. With "Pete Kelly's Blues", Webb surrounds it with top notch talent (the cast includes Janet Leigh in an early role and recent Oscar winner Edmond O'Brien and future Oscar winner Lee Marvin)and turns in his most original and best work. If you love jazz, you get lots of it here and Webb shows that besides Clint Eastwood, he is one of the only directors able to understand jazz enough to successfully film it.
Webb deserved a Best Director nomination as well as a Best Picture nod (he also produced the picture; making him one of the first auteurs in film) In any case, "Pete Kelly's Blues" deserves to be treated as much more than a throwaway; it deserves respect and earns it from me. I think anyone will enjoy it though Webb fans will like it even more. You know who you are.
**** out of 4 stars
"Pete Kelly's Blues" did respectable business (about 5 million), and garnered an Oscar nod for singer Peggy Lee in the Supporting Actress category, but, for reasons unknown, Warners decided to pass on the TV show. Today, "Pete Kelly's Blues" fails to muster much interest and is nearly forgotten today.
Webb's film is dripping in atmosphere, which is a major plus considering the setting (New Orleans during the Roaring Twenties)and the script (by Richard L. Breen, who wrote "Dragnet")is so airtight and taut that you just can't help getting involved in it. I know I've raked Blake Edwards over the coals for paying attention too much to the story sometimes, but with Webb, concentrating on the story is a plus. The acting is excellent, especially by Webb, who some might consider too stiff, but others will consider to be realistic. And using the CinemaScope frame for the first and only time in his career, Webb really creates some complex and stunning compositions. It should be required viewing for all budding cinematographers. It should only be seen widescreen. AMC often airs it this way, showing "Pete Kelly's Blues" in all its 2.55:1 glory.
Webb is one of the most interesting of directors and also the most underappreciated. "Dragnet" told a riveting murder mystery that transcended the TV series. "The D.I." was fairly realistic and daring for its' time (you can't fault it for being more mellow than most Marines films, this was 1957 people!)"-30-" was an interesting clash of styles set in the newspaper industry. With "Pete Kelly's Blues", Webb surrounds it with top notch talent (the cast includes Janet Leigh in an early role and recent Oscar winner Edmond O'Brien and future Oscar winner Lee Marvin)and turns in his most original and best work. If you love jazz, you get lots of it here and Webb shows that besides Clint Eastwood, he is one of the only directors able to understand jazz enough to successfully film it.
Webb deserved a Best Director nomination as well as a Best Picture nod (he also produced the picture; making him one of the first auteurs in film) In any case, "Pete Kelly's Blues" deserves to be treated as much more than a throwaway; it deserves respect and earns it from me. I think anyone will enjoy it though Webb fans will like it even more. You know who you are.
**** out of 4 stars
I recorded a whole bunch of movies from TCM's 31 Days of Oscar programming and have been working my way through them in order of the films' year of release. I wasn't that excited about watching "Pete Kelly's Blues" given its lackluster ratings. How pleasantly surprised I was then to find how much I liked it.
This thing is a film noir. Switch it to black and white and put it in a square aspect ratio and you've got all the makings of a seedy little thriller, complete with memorable and atmospheric shoot out, this one in an eerily lit ball room. Jack Webb is excellent as the band leader who finds himself at odds with a gang kingpin trying to extort money from him. Edmond O'Brien is effectively villainous and sweaty as said kingpin. Janet Leigh is a bit wasted as wild child flapper and love interest for Kelly.
The film's sole Oscar nomination went to Peggy Lee in a supporting role as O'Brien's girlfriend. Lee isn't really much of an actress. She's very wooden and seems actually uncomfortable to be in most of the movie. But her lack of technique actually ends up working to her advantage, and I found myself haunted by her performance even as I was aware that her acting left something to be desired. It's most notable in the film's most memorable scene, when Kelly comes to visit her in a mental institution. Another, better actress might have been tempted to act the hell out of the scene, but it's Lee's zoned out, low key approach that makes the scene work as well as it does.
I also have to praise the color cinematography in this movie, which is used to stunning effect. This was a time when Technicolor was still as likely as not to be garish instead of visually appealing, a trap this film nicely avoids.
Check this one out if you get a chance.
Grade: A-
This thing is a film noir. Switch it to black and white and put it in a square aspect ratio and you've got all the makings of a seedy little thriller, complete with memorable and atmospheric shoot out, this one in an eerily lit ball room. Jack Webb is excellent as the band leader who finds himself at odds with a gang kingpin trying to extort money from him. Edmond O'Brien is effectively villainous and sweaty as said kingpin. Janet Leigh is a bit wasted as wild child flapper and love interest for Kelly.
The film's sole Oscar nomination went to Peggy Lee in a supporting role as O'Brien's girlfriend. Lee isn't really much of an actress. She's very wooden and seems actually uncomfortable to be in most of the movie. But her lack of technique actually ends up working to her advantage, and I found myself haunted by her performance even as I was aware that her acting left something to be desired. It's most notable in the film's most memorable scene, when Kelly comes to visit her in a mental institution. Another, better actress might have been tempted to act the hell out of the scene, but it's Lee's zoned out, low key approach that makes the scene work as well as it does.
I also have to praise the color cinematography in this movie, which is used to stunning effect. This was a time when Technicolor was still as likely as not to be garish instead of visually appealing, a trap this film nicely avoids.
Check this one out if you get a chance.
Grade: A-
- evanston_dad
- Nov 7, 2021
- Permalink
"If you're looking for a new way to grow old, this is the place to come, 17 Cherry Street, Kansas City ...". So says Pete Kelly, in VO, near the film's beginning. The place is a roaring twenties' speakeasy, a "gin bin", where the booze flows, where customers express their angst and sometimes get in a fight, and where Pete Kelly (Jack Webb) plays cornet and manages a jazz band.
"Pete Kelly's Blues" is a moody film, downbeat in tone. Many scenes take place in dark interiors. And it rains a lot. Everyone in the film has problems. Kelly's main problem is Fran McCarg (Edmond O'Brien), a local mobster, trying to take over the city's bands at reduced wages for band members. Most of the film's plot has Pete Kelly fighting McCarg, or submitting to his demands, to the consternation of Kelly's fellow band members.
Not surprisingly, the film features lots of blues music and jazz numbers throughout. Ella Fitzgerald sings "Hard Hearted Hannah". And Peggy Lee sings several numbers. Both women are terrific, but I could have wished that Peggy Lee had sung better known era songs.
One thing I didn't like about the script is the setup. After an evocative but largely irrelevant funeral prologue, the story jumps right in to Pete Kelly's problems at the speakeasy; no buildup at all; no back-story of any kind.
Another problem is Webb's acting. He gives his best Joe Friday imitation, which would have been great for "Dragnet", but inappropriate here. Webb is stiff, seems uncomfortable in the role and rather self-conscious. I suspect this miscasting has been apparent to most everyone for a very long time. It's just so glaring.
This film is a bit of nostalgia. It's not real good. But it's good enough for a one time viewing for those interested in blues and jazz music, and for anyone interested in the roaring twenties.
"Pete Kelly's Blues" is a moody film, downbeat in tone. Many scenes take place in dark interiors. And it rains a lot. Everyone in the film has problems. Kelly's main problem is Fran McCarg (Edmond O'Brien), a local mobster, trying to take over the city's bands at reduced wages for band members. Most of the film's plot has Pete Kelly fighting McCarg, or submitting to his demands, to the consternation of Kelly's fellow band members.
Not surprisingly, the film features lots of blues music and jazz numbers throughout. Ella Fitzgerald sings "Hard Hearted Hannah". And Peggy Lee sings several numbers. Both women are terrific, but I could have wished that Peggy Lee had sung better known era songs.
One thing I didn't like about the script is the setup. After an evocative but largely irrelevant funeral prologue, the story jumps right in to Pete Kelly's problems at the speakeasy; no buildup at all; no back-story of any kind.
Another problem is Webb's acting. He gives his best Joe Friday imitation, which would have been great for "Dragnet", but inappropriate here. Webb is stiff, seems uncomfortable in the role and rather self-conscious. I suspect this miscasting has been apparent to most everyone for a very long time. It's just so glaring.
This film is a bit of nostalgia. It's not real good. But it's good enough for a one time viewing for those interested in blues and jazz music, and for anyone interested in the roaring twenties.
- Lechuguilla
- Nov 30, 2008
- Permalink
- writers_reign
- Mar 19, 2007
- Permalink
- ianlouisiana
- Dec 12, 2005
- Permalink