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Post by telegonus on Apr 12, 2017 7:41:27 GMT
Any fans of those cool crime shows of the late Fifties-early Sixties, Peter Gunn and Mr. Lucky?
Both shows were produced by Blake Edwards and bear his trademark cool. They're like the Brubeck or Kenton of Fifties crime. Cool jazz shows. They're both dark, practically revel in shadows, city streets, diners, bars, beatnick coffee houses; with warehouses, piers and art galleries turning up now and again. MeTV aired them back to back for two or three years some time ago and I love them both. Maybe because they're both "on the cusp" of the Eisenhower-Kennedy eras they're sort of dead ends, in a cultural sense, I mean, as the times changed in those years, as did, eventually, what was cool, on TV and elsewhere.
I wish both had lasted a couple of years longer. Peter Gunn is the more iconic of the two, with its classic, pulsating Henry Mancini score, the late and at the time bodacious Lola Albright as singer Edie, Herschel Bernardi as Lt. Jacoby; and a host of minor characters, from Babby the midget pool shark to Leslie the chef and raconteur. Of the two shows, PG is the more serious. Mr. Lucky was on for just one season, and his trademark gambling ship had to be converted in mid-season to a luxury restaurant to satisfy the bluenoses. Nice teamwork from John Vivyan as Lucky and Ross Martin as his loyal friend and associate. Pippa Scott was delightful as Lucky's squeeze for, roughly, half a season.
For those with a taste for Noir, cool jazz and unpretentious crime stories, and unfamiliar with these shows, I strongly recommend them. Be warned: they're both black and white, and with a good print or remastering,--I've seen some damaged prints that look awful--they sparkle.
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Post by fangirl1975 on Apr 14, 2017 21:29:55 GMT
I've watched episodes of both. I've seen more episodes of Peter Gunn, thus a stronger preference for it.
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Post by hi224 on Apr 14, 2017 21:30:58 GMT
Keen eddie.
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Post by Matthew the Swordsman on Apr 15, 2017 0:52:16 GMT
I've been thinking of re-watching "Peter Gunn". It's an excellent series, but I think it lasted as long as it should have. After all it did last over 100 episodes.
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Post by telegonus on Apr 15, 2017 8:36:32 GMT
I agree. The second half of the third season was godawful. They literally ran out of ideas, were sending Pete abroad, on weird but not interesting cases. Maybe if Hope Emerson had lived, continued to player her "Mother" character, or if James Lanphier's "Leslie" had been built up. As it was, it was time to go.
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Post by mikef6 on Apr 15, 2017 18:25:11 GMT
Nothing says “cool” like Peter Gunn. He wore his suits impeccably and his hair was expensively styled. I always had uncontrollable fly-every-which-way hair and really envied Gunn’s close cut coiffure with never a strand sticking out.
There was a nice discussion once on the old boards about ‘50s and ‘60s series that only lasted a few years yet are among the titles we most remember, e.g. The Munsters (2 seasons), Gilligan’s Island (3), The Man From U.N.C.L.E. (4). Peter Gunn, as has been pointed out, ran 3 seasons with some changes in the third.
The reason for this is that NBC had cancelled Gunn at the end of 2. For season 3, the show moved to ABC who tinkered with the format. The nightclub was now Edie’s and new regulars were added. Mother was gone but Herschel Bernardi came along as Lt. Jacoby.
6 years after the final episode aired, producer Blake Edwards directed a theatrical film based on the series: Gunn (1967). Unfortunately, I cannot recommend this film except to those whose nostalgia for the show is pretty extreme. Craig Stevens is the only actor from TV to reprise his role. The episodes on the TV show were never exactly what anyone would call tightly plotted, but as they were only 30 minutes long counting commercials, the black and white nighttime noir atmosphere went a long way. And, as the MAD Magazine parody had one character complaining, “Wet streets. All the time, wet streets.” But a full-length movie has to have Gunn running all over the place, not getting much done except being attacked by mysterious thugs when he is not finding dead bodies. He goes to question a gangster’s alibi but she has been killed when he gets there. He searches a murder scene for clues and is attacked by a thug. He goes to see an informant, but the man has been killed when he gets there. And so on. The entire solving of the case takes place in the last 10 minutes. The final fight with the killer – perhaps influenced by the Bond/Grant train fight - surprised me by its brutality for that time. There should be that amount of energy from the start.
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Post by telegonus on Apr 16, 2017 7:35:29 GMT
Thanks for posting, Mike. A major likely factor in the decline in the quality of PG as well as the short run of Mr. Lucky was the rise of Blake Edwards into the ranks of major young directors (along with John Frankenheimer, Sam Peckinpah and many others, mostly from television). I liked Craig Stevens, but the prospect of seeing a color feature length movie based on PG didn't appeal to me. The show was all over late night TV back then, and I watched as often as I could stay up that late, and it had a cult following then probably bigger than when it was first run. Seriously. I think that's why Edwards made the Gunn flick and, especially, why he used the by then fiftysomething Craig Stevens in the lead.
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Post by Matthew the Swordsman on Apr 16, 2017 9:32:56 GMT
The show was all over late night TV back then, and I watched as often as I could stay up that late, and it had a cult following then probably bigger than when it was first run. It seems to be the common story with mid-century TV: Bigger in re-runs than during the original run. Even "Leave it to Beaver" was more popular in re-runs than during its original run.
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Post by telegonus on Apr 16, 2017 16:27:26 GMT
Leave It To Beaver is a good example. It was never a top rated show in its first run, then became a mega-hit after t went off the air. Network air, I mean. The Rifleman was another like that. It was a major hit in prime time but it's been in syndication, to very good ratings, ever since. I don't believe Wyatt Earp, equally successful first run, did nearly so well. This goes back to at least Hopalong Cassidy, then The Lone Ranger, Superman and many others.
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Post by Richard Kimble on Apr 29, 2017 11:10:06 GMT
telegonus I've only seen a handful of PGs, but I must say I've been generally disappointed by them. I much prefer Johnny Staccato w/John Cassavetes, Mike Hammer w/Darren McGavin, and Richard Diamond w/ David Janssen. Those familiar only with DJ as the glum Fugitive will be surprised at how effective his light comedy touch is in RD. I've also seen two episodes of the Philip Marlowe series, with the miscast Phil Carey in the title role (William Schallert was also wrong as his police contact). Both Janssen and McGavin would have been preferable in the role. These shows were part of the "Video Noir" movement, as the Noir form transitioned from movies to TV. VN has started with Hitchcock in '55 and was mostly in the crime genre, but also popped up in sci-fi like The Twilight Zone and even westerns like Rawhide, the only TV oater I know of to do stories w/supernatural undertones.
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Post by telegonus on Apr 29, 2017 16:41:33 GMT
I remember running across that Time issue in the public library where I grew up back when old magazines were archived. It was one of at least two covers devoted to genre TV. There was a western one from the same period, with, among others, I believe, Ward Bond's wagonmaster and Richard Boone's Paladin prominently featured. The western one seemed more right to me since most of those crime shows didn't have long runs, while westerns ruled a very long while. The "adult" westerns had a good ten year run, give or take, while westerns in general on the small screen had been big since circa 1949-50, mostly the more kid-friendly kind.
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Post by forca84 on Aug 16, 2017 2:44:11 GMT
Just wanted to throw in my 2 cents. "Johnny Staccato" was a great show. Saw it along with "Crime and the City" on a "Brillant but cancelled" dvd set. Both ace stuff worth tracking down.
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