ABOUT THE PETER GUNN TV SERIES

With much of its music provided by legendary composer Henry Mancini, the Peter Gunn television series should appeal to anyone who enjoys the atmosphere of the old jazz age. The black-and-white series aired from 1958 through 1961, spanning three seasons and 114 episodes. Jazz musicians and jazz music are woven throughout the series, becoming almost as important to its atmosphere as the characters themselves.

The show’s protagonist, the suave private detective Peter Gunn, essentially uses a table at a jazz nightclub called Mother’s as his office throughout the first two seasons. During the third season, his preferred gathering place becomes Edie’s Supper Club, where a jazz combo is always performing. The series never explains why Mother’s suddenly disappears, whether it was shut down or simply abandoned by Gunn and his friends. During the first two seasons, a payphone mounted on the wall at Mother’s serves as Gunn’s means of making and receiving calls.

The series was created by Blake Edwards, who also wrote and directed many of its episodes. Craig Stevens starred in the title role as the suave and debonair private detective, a man with a taste for expensive suits and nice automobiles. His cars are particularly memorable, with Gunn driving a different model during each of the three seasons. His cars even come equipped with car phones, a feature that adds another touch of sophistication to his character.

Many of Gunn’s cases would seem more appropriate for police, particularly those involving murderers, kidnappers, and bank robbers. The writers generally get around this problem by having Gunn’s clients explain why they do not want police involved. At other times, Gunn assists police detective Lieutenant Jacoby with various cases, although one might wonder why he would do so if he is not being paid.

The Good, the Bad, and the Bizarre 

To fully enjoy Peter Gunn, viewers may have to overlook its often silly, far-fetched, and unrealistic storylines. Fortunately, the series’ cinematography and music do much to compensate for its barrage of improbable situations.

Some of the most bizarre scenes occur when Gunn visits a collection of oddball characters, many of them seemingly down-and-out individuals who have recently been released from prison. Amazingly, these people just happen to know the name and exact whereabouts of the person Gunn is trying to find. For a crisp, high-dollar bill pulled from Gunn’s pocket, these informants from the city’s underworld are willing to provide whatever information is necessary to help him solve his case.

Another oddity is the mixture of actors and actresses appearing outside the regular cast. Some have atrocious acting skills, while others are seasoned veterans or promising newcomers who would later appear in other television programs and movies. The contrast can sometimes be startling.

A City That Never Sleeps 

Peter Gunn appears to work almost exclusively at night. Nearly every episode takes place during the late evening or midnight hours, with much of the action occurring along deserted, rain-soaked streets in what appears to be a virtual ghost town.

The city is supposedly a thriving waterfront community, yet its streets are frequently empty. The backdrop often consists of old brownstone apartment buildings reminiscent of those found in New York City, with dimly lit mom-and-pop shops occupying the ground floors. Most of the businesses are closed for the night, adding to the lonely atmosphere.

The Mystery of the Location

The exact location of Peter Gunn is never revealed. Blake Edwards may have deliberately created an imaginary city, but if so, the fictional setting bears an unmistakable resemblance to New York City.

For example, several scenes involving Peter Gunn and his girlfriend, Edie Hart, take place on the outside deck of Mother’s. With its rough wooden railings, upright posts, ropes, and chains, the area looks much more like a boat dock than the rear of a nightclub. No boats are ever seen docking there, yet the dock overlooks a river that could easily be the Hudson or East River.

In several episodes, a bridge resembling the Brooklyn Bridge can be seen in the distance, with what appears to be the Manhattan Bridge beyond it. Lieutenant Jacoby also works out of the 13th Precinct, a term strongly associated with New York City police stations and districts.

There are other clues. In Season 1, Episode 37, "The Coffin", Peter Gunn is aboard an airplane that is shown flying over what is clearly Manhattan.

Then there is the matter of the electric chair. Throughout the series, the death penalty is occasionally mentioned as being carried out by electrocution. During the 1950s, relatively few states were using the electric chair, and New York was one of them. In fact, during the period in which Peter Gunn originally aired, from September 22, 1958, through September 18, 1961, twelve convicted men were executed in the electric chair in New York State.

The series, however, fails to remain consistent. In several episodes during Seasons 2 and 3, the gas chamber is mentioned instead. Perhaps Blake Edwards realized that the fictional riverfront city was beginning to look too much like New York and attempted to distance it from the city. Whatever the reason, the change only adds to the mystery.

On other occasions, a new thug in town is described as having arrived from the east, creating even more confusion about where the series is supposed to take place. Even automobile license plates provide no help. Whenever a section of a vehicle comes into view, the state name is never shown, only the plate number.

In reality, the series was filmed at Universal-International Studios during Season 1 and at Metro-Goldwyn-Mayer Studios in Hollywood during Seasons 2 and 3.

Women, Romance, and Television Standards

Peter Gunn also provides an interesting glimpse into the attitudes and television standards of the late 1950s and early 1960s.

In what seems to have been an attempt to maximize appeal to a male audience, the series frequently features beautiful, busty, and seductive women, often dressed in revealing clothing with plenty of cleavage and bare legs on display. Many of the female characters are portrayed as dimwitted, fitting the classic television stereotype of the bimbo, something that apparently appealed to many male viewers of the era.

A bimbo, it would seem, was easier to control than an intelligent woman.

Research into the backgrounds of some of these actresses reveals that many were actually former beauty pageant contestants and models from the 1950s. Yet Peter Gunn himself does not behave like the typical television playboy detective. He routinely attempts to avoid the advances of other women and remains loyal to his girlfriend, Edie Hart, played by the stunningly beautiful actress and singer Lola Albright.

Edie, pronounced E-Dee, is often presented as a sensuous and sexy blonde during intimate scenes with Gunn, although her character is generally portrayed with considerably less emphasis on revealing clothing. More importantly, Edie is presented as considerably better educated than many of the other women on the show. During the third and final season, she is a successful entrepreneur operating Edie’s Supper Club and attempts to become a published writer. 

Breaking Television Barriers

Several barriers in television broadcasting appear to have been challenged during the run of Peter Gunn.

One example was the inclusion of actor Morris D. Erby as recurring character Sergeant Lee Davis. During an era when Black Americans were rarely given prominent roles on television, Erby portrayed a domineering police sergeant who also handled administrative duties at the police station.

Sergeant Davis occasionally finds it necessary to scold Peter Gunn and put him in his place, but he is clearly respected by Gunn, Jacoby, and others. In Season 3, Episode 18, "Death Is a Sore Loser", Davis is framed for murder and several characters come to his defense. Lieutenant Jacoby even tells Gunn, "Best police officer I ever had".

The series also pushed the boundaries of romantic intimacy for its time. Throughout the show, there are numerous scenes between Gunn and Edie that come surprisingly close to depicting sexual intimacy. Gunn’s passionate kissing of Edie’s neck, combined with her moaning, can make a modern viewer wonder how the producers managed to get such scenes past television censors.

This was during an era when married couples appearing on television were still subject to remarkably strict standards. Even bedroom scenes required husbands and wives to sleep in separate beds.

Some episodes went even further. In Season 2, Episode 22, "Hollywood Calling", a drive-in diner carhop approaches Gunn’s automobile to take his order. She is wearing a tight-fitting top, and the camera provides a close-up view of her cleavage only inches from Gunn’s face. When the episode first aired in 1960, a scene of that nature on American television was highly unusual.

A Night at Mother’s

For devoted fans of Peter Gunn, few experiences could seem more appealing than spending an evening at Mother’s.

Imagine sitting at one of the small tables scattered throughout the dimly lit nightclub while a live jazz combo performs on stage. Most of the men are wearing suits and hats, while the women are dressed in long dresses. Cigarette smoking was still considered fashionable, and even Peter Gunn himself smoked. On a busy night, Mother’s was filled with cigarette smoke.

A fan might imagine himself in Gunn’s place late at night, leaning against the rough wooden railing on the boat dock behind Mother’s. The river is just beyond the railing, dense fog rolls through the dimly lit surroundings, and the sound of the jazz band drifts out from inside the club. Occasionally, a ship’s horn sounds in the distance.

Beside you stands the club’s beautiful singer, taking a break between numbers.

It is easy to see why the atmosphere of Peter Gunn remains so appealing.

The Arrival of Edie’s Supper Club

By the third season, Mother’s was gone. Gunn’s new gathering place was Edie’s Supper Club, a considerably more upscale establishment.

Edie’s featured a European chef and a maître d’ dressed in a black suit with a rose on his lapel, escorting patrons to tables covered with white tablecloths. Gunn now received telephone calls from clients on a landline inside the restaurant. The telephone cord was apparently long enough for the maître d’ to carry the phone to Gunn almost anywhere in the club, including the outside deck.

Despite the change in surroundings, one important element remained the same. Jazz was still the norm, with several musicians from Mother’s apparently carrying over to the new establishment, while Edie continued belting out her sweet tunes.

The Peter Gunn Experience

Peter Gunn may not always offer the most believable detective stories. Some episodes are downright silly, some of the acting can be questionable, and the mysterious location of the city can leave viewers scratching their heads. But none of that really matters.

If you are looking for smooth jazz, beautiful women from the Silver Screen Era, a sophisticated private detective, stylish 1950s automobiles, car chases, fistfights, gunfights, romance, and plenty of action, look no further than Peter Gunn.

Just sit back, turn down the lights, and let Henry Mancini’s music take you back to another time.