Peter Gunn Full Movie In Hindi 720p Download
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Filmed in a film noir atmosphere and featuring Henry Mancini music that could tell you the action with your eyes closed, Peter Gunn worked in style. Known as Pete to his friends and simply as Gunn to his enemies, he did his job in a calm cool way. He got his tips and cautions from Lieutenant Jacoby, a coffee drinking pal from the police. Also providing tips was "Mother" of her self-titled nightclub. Working at the nightclub as a singer was Edie Hart, his girlfriend.
The cases of a stylishly cool private detective.
There are so many good things about "Peter Gunn". The classic theme by Mancini will stay in your head forever. Craig Stevens and Lola Albright may not be Bogey and Bacall, but both are attractive leads. Stevens has a Cary Grant debonair quality. Albright was never used correctly, a la Ann-Margret. She was a beautiful actress and a fine singer. Herschel Bernardi is quite likable as Lieutenant Jacobi.
I think the main reason 'Peter Gunn' did not succeed, say, in the way that 'Perry Mason' succeeded are tired scripts, and the fact that the half hour show left little time for plots to develop. 'Perry Mason' could often be an exercise in tedium, as characters move in and out so quickly that it is often hard to follow the story. And forget about trying to figure out who the murderer is. Best to leave it up to Mason, or, worse yet, have the killer confess to everybody in court. (This seems to me to be a lazy writer's plot device; this rarely EVER happens in real life. It's hokey.)
I just viewed one "Peter Gunn" episode where sure enough, the murderer gives it all up on the witness stand. See that once and it is silly...see it countless times and it's irritating and downright stupid.
To be fair, I've seen episodes that contain some flashes of wit. One scene fills with a young punk with a gun in his hand. For a moment, you think it's part of the episode. But the camera pans out and reveals that it is Jacobi watching television in his office, and he vocally decries the violence he is seeing on the tube. That was a clever touch.
"Peter Gunn" had its share of violence, although I don't think it ever reached the gore that became 'The Untouchables'. The Desilu production may have been the first to lead to public outcries about television and violence.
With better scripts, and an hour-long format, "Peter Gunn" may have become a mainstay on television, enjoying a longer run. Certainly there were the beginnings of a fine ensemble cast a la Mason, but at twenty five minutes an episode, there was little chance of doing much more than saying 'hello' and 'goodbye'.
Which is a shame. Lola Albright, had she been born in the days of the studio system, could have become a major movie star. I feel the same about Julie Adams ('Creature From the Black Lagoon'). Both these women were gorgeous, but they came into fame during the television age. Their lovely faces seem out of place on the small screen of the tube, but both women turned in fine performances in just about everything they were handed.
And so all of the parts, Edie Hart's face, her voice, Gunn's suaveness, and Mancini's jazz add up to more than what became known as "Peter Gunn".
I just finished watching 3 compilation series DVD's and was hoping to have a flashback on what I had thought was the coolest show (actually even then in syndication) from my early 1960's childhood. Yup, there was Craig Stevens racing around in his Plymouth Fury convertible (wearing "$30 shoes, a $200 suit and carrying a solid gold cigarette lighter") and guitar strumming Lt. Jacoby, complete with Charlie the Tuna's voice (even he drove a Christine-like Plymouth) and Lola Albright's "Edie" was as sexy as I remembered. Mancini's music is still way cool. But Jeez-Louise, the scripts stink! The problem is the :30 minute format allowed for maybe :22 of story and it appears that the producers just opted for atmosphere over cohesive plot. The series begged for an hour format. Several episodes I watched are completely illogical and/or just plain silly--- some make the revamped Amos Burke, Secret Agent or the 77 Sunset Strip clone, Surfside Six look Masterpiece Theater. Frankly most of the scripts are pointlessly stupid, and follow a format that invariably contain an immediate homicide (victims are quickly dispatched by bullets or the obligatory knife in the back), introduce a superfluous oddball character (Jack Webb used to do this with Dragnet, but usually less outrageously and certainly more sparingly)--- often a stereotypical beatnik, that simply wastes precious plot time. Next comes the fists and cut to a scene at Mother's Jazz Club where Edie makes googly eyes at Pete. Murders are solved somewhere around :19 and you can bet a Franklin half dollar that it was someone Pete met before the first cigarette commercial. It was kind of weird seeing several cast members of future Andy Griffith Show in one episode. In retrospect, it's odd that the perennial 1950's-60's also-ran ABC network (remember it's first #1-rated series wasn't until "Marcus Welby" a decade later) never realized they had all the elements here for a much better hour-long show. Peter Gunn is one of those television memories better left rattling around in a nostalgic corner of your head... I'll look for the two RCA albums of the show's music instead. Blaaech! 3/10 for Mancini, the threads and cool 50's Mopar wheels + the occasional glimpse of a talented-yet-under-employed character actor working for $250 1958 scale rent money. If Herschel Bernardi were still alive I'd love to ask him what it was like to work for 3 minutes screen time every week. Those Starkist commercials would be like Shakespeare.
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