Tempo di furore

"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.

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.

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.

"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.

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.