La peau d'un autre

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.

What a weird brew this one is! The toughness of a gangster pic, the existential malhereuse of a trendy European epic, the fine '20s sounds of a period musical, all in Warners wide screen. Webb's production design is arty and interesting, and Lee Marvin is really, really good in a supporting role. There's terse, snappy dialogue that sounds like it's out of a much later movie, and a killer finale that clearly influenced Coppola, Scorsese, and practially every other showy director of that generation.

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.

"Pete Kelly's Blues" is, in my humble opinion, like a lot of Jack Webb's work, an underrated movie. Even as a teenager, I realized in 1955 that the movie had a dark plot but at the same time was highlighted by great musical performances. Jack got an academy award performance from Peggy Lee and outstanding performances from Ella Fitzgerald, Edmund O'Brien and Martin Milner, to say nothing of Janet Leigh, whose performance was good. Jack was not liked by a lot of people in Hollywood who panned his work. With the exception of "Dragnet", the TV show and the movies, "Pete Kelly's Blues" was Jack's most important work, if not the most appreciated. It's a shame when personalities interfere with an appraisal of someone's work.

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.