Reet, Petite, and Gone

Continuing to review African-Americans in film in chronological order for Black History Month, we're once again in 1947 when Louis Jordan has another movie that's filled with his songs with a wisp of a plot for about an hour. In this one, he's Louis Jarvis who has to deal with both getting money for his Broadway show and contesting a will left by his dying father (himself in flashbacks, J. Louis Johnson as an old man). Besides Jordan, many other entertaining numbers are provided by Bea Griffith, Pat Rainey, and especially heavyset June Richmond who, like me, is a native of Chicago. And there are plenty of pretty female dancers, especially one on the piano in one number, who will make your blood boil! So with all that said, I highly recommend Reet, Petite, and Gone. P.S. Another player, a Rudy Toombs, comes from Monroe in my home state of Louisiana.

Louis Jordan was a singer, saxophonist, and band leader who specialized in upbeat jazz -- comic, novelty, and good-times songs. The plot of this movie is just as unsubstantial as those of most of Jordan's movies, since the plot is only an excuse for Jordan and his Tympany Five to perform their recent hits. Jordan does eleven songs in this movie, and three of his female costars -- June Richmond, Bea Griffith, and Mabel Lee -- do one song each.

The plot, for those who care, is that Jordan's father had a brief romance with Bea Griffith's mother, and his dying wish is for Jordan to marry Griffith. The family's crooked lawyer tries to substitute an altered will to cheat Jordan out of his inheritance, and also tries to sabotage the new show that Jordan is opening.

What makes Reet, Petite, and Gone different from other Jordan movies is that in addition to music it has many uncredited showgirls, the predecessors of today's video vixens, in daring scenes. Four or five pretty girls in short skirts will stand behind Jordan swaying a bit and doing a little dancing. A line of showgirls in swimsuits will step up to have their measurements taken. There's even a scene in which Bea Griffin sits in a black bra and panties and puts on her stockings -- hot-cha-cha. The highlight of the movie, however, is the strikingly pretty uncredited girl who sits on Jordan's piano and pantomimes her amusing reactions to his accusations of infidelity in "I Know What You've Been Putting Down."

Another musical "race picture", this time from Astor Pictures and director William Forest Crouch. Louis Jordan stars as Louis Jarvis, a singer, saxophone player, and bandleader, much like Louis Jordan. The silly plot concerns the death of Jarvis' father, and the stipulation in his will that Jarvis marry a girl of certain physical measurements if he wishes to inherit his father's fortune. The father's shady attorney (Lorenzo Tucker) has altered the will, however, in order to trick Jarvis into marrying his secretary, who will then take all the money and run away with the attorney. Featuring June Richmond, Milton Woods, Bea Griffith, David Bethea, and Vanita Smythe.

The plot is ludicrous and beside the point. The draw here is seeing Jordan and his Tympany Five perform several songs, along with various guest singers like June Richmond and Pat Rainey. Jordan is considered the father of R&B, and the through-line from big band swing and jazz to rock and roll is evident in his quick tempo songs, often with slang-filled lyrics, such as the title track. Jordan was an early inductee into the Rock and Roll Hall of Fame, and this film is a good visual record of his talents.

Even if you are a die-hard Louis Jordan fan, as I am, and can't get enough of his jumpin' jive, this very low-budget movie will leave you yawning. The very basic (and not too funny) script is basically an excuse to cram as many Jordan numbers as possible, which is fine by me. But there is no direction to speak of, no rhythm in the editing, basically, nothing going on visually. The last song, which is supposed to be a Broadway musical number, doesn't even have any dancing at all ! As it is, "Reet, Petite and Gone" is at least interesting on one point : it seemed to be aimed exclusively at black audiences, and as such, they were not deemed worthy enough to deserve a well made and reasonably budgeted movie - I suppose the producers thought it was good enough to have a "race records" star featured in the movie and just doing his stuff. At least, that's my interpretation...

When Louis Jordan dies, he leaves the bulk of his estate to his son, Louis Jordan, providing he marry a girl who matches the measurements of Bea Griffith. However, his attorney, Lorenzo Tucker, has forged a will changing the measurements to match his girlfriend, Vanita Smythe. Louis can use the money -- he's putting on a show -- but he's already fallen in love with Miss Griffith.

None of this is actually of any importance. What matters in this movie directed by soundie expert William Forest Crouch and shot by Don Malkames, are the musical numbers. There are fourteen of them played by Jordan and his Tympany Five, with a dozen of them sung by Jordan and two by second-billed June Richmond, all of them good, and most of them standards, like "Let the Good Times Roll", "Ain't That Just Like A Woman" and "The Texas and Pacific."

Like many of the race films of this era, the line readings are mostly mechanical, but the songs are great.