Peter Gunn

although i didn't get to see pete do his thing when the show originally aired from 1958-61 i have thoroughly enjoyed watching the released episodes on homevideo.peter gunn has the smoothest demeanor about the cases he works,but when he gets riled,look out.he can spar with the best of them.i'm sure it helps his image to be dating the pretty night club singer at the local scene called mothers.this way,it doesn't seem like he's just a hood bustin machine,but also a loverboy on the side.henry mancini does wonders for this show with its slick "crime jazz" that sets the tone at the beginning of each episode.i recommend anyone who is into police or detective stories to get into pete if they haven't already.

Think crime shows of the 50's and you probably think Dragnet (1951-1959). Certainly, it was the most influential, presenting the LAPD as complete police professionals. Of course, there were other lesser known cop shows like Racket Squad (1951-1953) or the Lineup (1954- 1960). However, in terms of private eye crime solvers, there were very few until the end of the decade. Most crime in that decade was of the Old West variety that sheriffs solved amidst the flood of Westerns that followed Gunsmoke (1955-1975).

This remained pretty much the case until the big movie studios decided to get into the TV business. In 1958, Warner Bros. introduced the hip detective series 77 Sunset Strip (1958- 1964). Unlike its predecessors, Strip concentrated on good-looking people, hipster Edd Kookie Byrnes, and the glamorous surroundings along Hollywood's famed Sunset Strip. In short, it suggested that being a private eye doesn't have to be a grimy business, ala Sam Spade or Philip Marlowe. The series' success was quickly followed by such clones as Bourbon Street Beat (1959-1960), and Hawaiian Eye (1959-1963), all making use of the same basic formula. In short, the rising prosperity of that post-war decade was beginning to be reflected on the living room screen.

This background is worth outlining in order to provide a flavor of just how unique Blake Edwards's Peter Gunn was to the time and to the genre. Sure, 77 SS had a snappy musical lead-in, but Henry Mancini's driving jazz score signaled a new and more daring sensibility. But more significantly the jazzy motif framed both the characters and their setting as not just hip, but cool, urban cool, like in 'sophisticated'. And Edwards followed that up by wisely casting Craig Stevens as the immaculately sleek and unemotional private eye, the very essence of urban cool. Note how emotionally restrained his private eye is in most every situation.

Also worth noting is how the series populated its urban landscape with not only unusual but sometimes grotesque characters, ones never seen on network TV in those days. Note also that Gunn is portrayed as non-judgmental toward these unconventional types. He simply accepts them as part of the human landscape.

And, of course, there's also Edie (Albright) the sultry lounge singer. It's clear that her relationship with Gunn is both intimate and indifferent to the bonds of matrimony. To my knowledge, this is the first TV series to challenge that taboo even if only in implied style. Something should also be said about Mother, the proprietress of where Pete hangs out. It's clear that Mother, whether played by Emerson or Urecal, is not exactly Donna Reed. In fact she's closer to Mike Tyson, making it clear that producer Edwards is not afraid of a little gender bending, another challenge to convention of the day. In fact, the only conventional continuing character is Lt. Jacoby (Bernardi) as Gunn's cop buddy. This allows Gunn to be separate from law enforcement but not outside it—an important gesture to convention and likely TV's Standards and Practices.

Gunn is also likely the most noirish of the shows of its day. The traditional approach was high-key lighting that cast few shadows. This was also true of the other crime shows. Most of Edwards' production, however, was filmed in low-key lighting, whether dimly lit lounges or darkened city streets. My guess is that as an independently produced series, budget was as important here as was aesthetics. Anyway, the low-key lent not only atmosphere but complemented the rest of the production as a whole.

Put all these components together and Peter Gunn added up to an occasionally brilliant series even though the stories were often unexceptional. It was that overall exotic feel in contrast to those otherwise unadventurous TV years that carried the show, even down to today. All in all, Gunn was also the first series to foreshadow the coming cosmopolitan and liberalizing years of the Kennedy era. In that sense, it proved also something of a cultural milestone, and is thus worth commenting on.

"Peter Gunn" was one of the most enjoyable TV-detective series of all time! Every week, the black-and-white cinematography (by Hollywood veterans like Philip Lathrop), the jazzy music (by the incomparable Henry Mancini; the album won the first Grammy "Album of the Year" in 1958), and the sharp writing and directing (contributed and supervised by the creator, Blake Edwards) combined, along with the incredibly "cool" performances of Craig Stevens, Lola Albright, Herschel Bernardi, and Hope Emerson, to create a mini-movie, a little "film noir" that took the elements of the big studio thrillers and condensed them into 24 minutes! There was always time for a little musical interlude, with Lola Albright's Edie performing a standard. It was all done with style, wit and verve. Now, the entire first season is available on DVD, and it's as sophisticated and seductive as such movies as "Double Indemnity" or "The Killers" or "The Big Sleep", only in short bursts.

Peter Gunn DVD sets 1 & 2 contain the first 32 episodes of this series. These are reproduced in good quality video and audio, with easy to use menus and good jacket art clearly listing episode titles.

The series is a joy to watch. As other reviewers have already noted, this series displays a good example of early TV production values in an era without special effects. Stories are acted out by excellent interplay between performers. Sets were limited to just a few stock locations and outdoor scenes were nearly always back lot scenes, ..at night. Special scenes are often just talking heads of the actors, looking down, seen from the "corpse's eye view". All tricks of the trade by excellent directors presenting well written scripts, in a short time, on a shorter budget. And, it all works still as artful production.

It would be nice to see the remaining episodes made available in the same high quality professional manner. The 82 remaining episodes would easily fit onto two (or three) additional multi-disc DVD sets.

Anyone out there at A&E listening?

Are you a fan of 1940s film noir? If so, check out this Peter Gunn compilation. You'll find a lot of the same type of snappy dialogue and great black & white cinematography complete with shadows and interesting camera angles. Also featured are interesting stories, a "cool" (or "crazy" as the expression of the time period was) lead character in Craig Stevens and an absolutely dead-gorgeous blonde in Lola Albright.

True, you can't develop character studies or much of an intricate plot in 25- minute stories, but if you just "dig" the atmosphere, you'll find a real sleeper of a DVD series here. Wonderful stuff for film noir buffs.