Waste of time

Entertaining from beginning to end, it maintains the spirit of the franchise while establishing it's own seal with a fun cast

This is a gorgeous movie made by a gorgeous spirit.

The acting in this movie is really good.

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.

There are some wonderful things in this, foremost Ella Fitzgerald and Peggy Lee spreading their special brands of magic, both are luminous. The music is good and Andy Devine, without his trademark voice, is a revelation in a gritty part as a dogged cop. Edmond O'Brien could play the venal gangster like few others. All these are highly enjoyable but stuck in the center is the absolutely awful Jack Webb, the man makes a blank wall look expressive and that a beauty like Janet Leigh would go to such lengths to catch him makes her seem either seriously misguided or a total idiot. Still for the great stuff contained within its worth at least a view.

"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.

If for no other reason,PETE KELLY'S BLUES must be seen for it terrific score. Not just the songs, but the incidental music as well. Should have gotten awards galore for that alone. Story of small time jazz band is good with wonderful supporting roles be everyone, including a wonderful Peggy Lee. Who knew she was such a good actress, at least in roles like this. A shame she didn't do more films to see if she could really act in different types of roles. This one as Rose, a drunken, haggered unhappy woman fit her to a tee. Andy Devine was also great, but such a small role. He should have been given more to do. Lee Marvin also well cast as the "good guy" for a change. Janet Leigh does what she could do as "decoration" and does it well. But what does she see in a downbeat like the Jack Webb character? Actually, he's the worst thing about the film. Another actor would have made this movie a sensation, but he ruined it. A one-note actor who was just playing Joe Friday from his DRAGNET days. A pity. Now as a director, he was fine, but as an actor...PLEASE. Also good is Ella Fitzgerald in a next to nothing role, but she excels in her two jazz numbers, one being the main theme. Wonderful Cinemascope shots with expert cinematography. The ending scene in the vacant ballroom is a classic. Aside from Jack Webb, see this movie now that it's out on DVD. Do NOT, I repeat, do NOT see a pan and scan on TV or other small screen. This one deserves the big home theatre screen.