6.3/10
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Gunn (1967)

Not Rated | | Mystery | June 1967 (USA)
Peter Gunn investigates the murder of Scarlotti, a mobster who once saved the detective's life. The primary suspect appears to be Fusco, who has taken over. In the middle of the case, an ... See full summary »

Director:

Blake Edwards

Writers:

Blake Edwards (screenplay), William Peter Blatty (screenplay) | 2 more credits »
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Cast

Cast overview, first billed only:
Craig Stevens ... Peter Gunn
Laura Devon ... Edie
Edward Asner ... Police Lt. Jacoby
Albert Paulsen ... Nick Fusco
Sherry Jackson ... Samantha
Helen Traubel Helen Traubel ... Mother
Jerry Douglas ... Dave Corwin
J. Pat O'Malley ... Tinker
Regis Toomey ... The Bishop
George Murdock ... Archie
Frank Kreig Frank Kreig ... Barney
Lincoln Demyan Lincoln Demyan ... Julio Scarlotti
Chanin Hale ... Scarlotti's Mistress
Charles Dierkop ... Lazlo Joyce
Mikel Angel Mikel Angel ... Rasputin
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Storyline

Peter Gunn investigates the murder of Scarlotti, a mobster who once saved the detective's life. The primary suspect appears to be Fusco, who has taken over. In the middle of the case, an unclothed woman calling her self Samantha shows up at Gunn's apartment. The investigation gets grizzlier as it goes on, including the bombing of Mother's, one of Gunn's hangouts. Finally, Fusco gives Gunn a deadline to prove the mobster didn't kill Scarlotti - or else Gunn will be killed. Written by Bill Koenig

Plot Summary | Add Synopsis

Taglines:

Gunn explodes in his first big screen color caper! See more »

Genres:

Mystery

Certificate:

Not Rated | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

June 1967 (USA) See more »

Also Known As:

24 uur uit 't leven van een Moordenaar See more »

Company Credits

Production Co:

Geoffrey Productions See more »
Show more on IMDbPro »

Technical Specs

Sound Mix:

Mono

Color:

Color (Technicolor)

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Only Craig Stevens reprises his role from the television series. All other characters were recast. See more »

Goofs

Gunn eats melon continually during lengthy scene in diner but at end of meal, only a few bites are missing from slice. See more »

Quotes

Peter Gunn: Immortality is a happy childhood.
Police Lt. Jacoby: What's your point?
Peter Gunn: We grow up and we die. Worrying about it just gets us there a little sooner.
Police Lt. Jacoby: Trite, but not very original.
See more »

Alternate Versions

The European cut includes nude scenes featuring Sherry Jackson. See more »

Connections

Followed by Peter Gunn (1989) See more »

Soundtracks

I Like The Look
Lyrics by Leslie Bricusse
Music by Henry Mancini
See more »

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User Reviews

 
Swinging sixties neo-noir update of '50s detective series
20 September 2016 | by jivers01See all my reviews

This film was inevitable as the late '60s -- following Paul Newman's hit "Harper" (1966) -- reinvented the '40s-'50s private eye yarn by adding more sex and violence. GUNN fits somewhere in the middle of this trend -- not as classy as "Harper" and "Deadlier Than the Male", not as cynical and gritty as Sinatra's "Tony Rome" films (1967-68). Craig Stevens, with his wry humor and effortless charm, rises above the material, much like James Garner in "Marlowe" (1969) -- a highly recommended film in this genre.

Old school "Peter Gunn" fans will lament the absence of Lola Albright and Hershell Bernardi (a cranky Ed Asner fills in), but this should be seen on its own terms as a stand-alone film. The opening credits, with psychedelic graphics and jazzed up theme music, suggest a 007 spy film influence, but the story is a standard whodunit with gangsters and frequent murders. Some of these killings (like the diver with the spear gun) and plot turns don't make much sense or are needlessly complicated, but the fast pacing and supporting cast distracts one from worrying about the details. The sex appeal quotient is ramped up considerably by gorgeous Sherry Jackson (sadly, stunning Carol Wayne only has a cameo at the end). Jackson even did a Playboy pictorial to promote the film. And, for an added plot twist, writer-director Blake Edwards indulges in his strange obsession with gender bending (Victor Victoria, Switch, et al,).

All in all, this is a slick, breezy, enjoyable detective yarn that moves along with strategically placed scenes of action, humor, and eye candy. It is very much a product of the late '60s. (Will someone please release this, along with "P.J." and "Rogue's Gallery", on disc already?) In the next decade this genre would get darker and more complex with The Long Goodbye (1973), Chinatown (1974), and Night Moves (1975).


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