P.J.

PJ was originally released in the late 60s when movies were rated either "G" or "M"; anything with any questionable content was rated "M" and Studio execs, with the wisdom of their breed, realized they might as well put in as much as they could get away with. The result was some delightfully tasteless sex and violence in films like NIGHT OF THE FOLLOWING DAY, DEADLIER THAN THE MALE, GUNN, TONY ROME... and PJ. Unfortunately, when these were released to TV, the studio execs, with the wisdom of their breed, cut out all the best parts and substituted banal "made for tv" scenes. As originally made, PJ contains some really gritty moments that really capture the sleazey aspects of the PI genre. Hopefully, someone will make this available on Video soon.

My memories of the gritty but not totally successful private eye drama "P. J." are rather hazy and incomplete. As several other writers have mentioned, the movie was heavily edited for television after the movie's original release. Even as an impressionable kid, I wondered why P. J. (George Peppard) was badly beaten up without knowing who did it and what happened to the guy on the subway platform that threatened P. J.'s life? The two sequences, as well as several others edited scenes, made "P. J." on TV a rather bland and disjointed mess.

On a hunch, I was able to finally see an unedited, pan-and-scan version of "P. J." a few days ago. Regrettably, the movie was not as good as I remembered. This is despite good performances by Peppard and Raymond Burr, who probably relished the offer of playing a bad guy after many years as Perry Mason, as well as Gayle Hunnicutt as the femme fatale.

The musical score by Neil Hefti and the New York locations certainly set the mood. (Some of Hefti's interludes sounded a lot like his score from the movie "The Odd Couple". "P. J." was released a few months before "The Odd Couple".)

I don't consider "P. J." a classic because of some misguided creative decisions by the writers and director and production choices in which scenes that were obviously filmed on the Universal back lot took me out of the story on occasion.

However, I believe that movie studios are doing themselves a disservice to the public by not releasing this and other movies to the web or on DVD. There are horrible movies in the past few years that are on the web or released on DVD but a 1968 film that was not necessarily a classic and did not win any awards is shown illegally on a popular web page. To Universal, release the film on a widescreen format and let the public decide if the movie is worthy.

Update: The film was finally released on DVD and Blu-Ray by KL Studio Classics in October 2020.

George Peppard is very amiable as the title character, a down-on-his-luck private detective who'll take just about any paying gig. He is hired by a supremely arrogant fat cat, William Orbison (Raymond Burr), to act as bodyguard for his not-exactly-secret girlfriend Maureen Preble (Gayle Hunnicutt). This, despite the fact that Orbison is already married to a fairly pathetic woman named Betty (Coleen Gray). Eventually, after he has accidentally killed a man, P.J. is smart enough to realize that he's been set-up from the start. But for what purpose?

The script by Philip H. Reisman Jr., based on a story by him and Edward Montagne, manages to stand out a little for being rather humorous and sometimes witty. Also, director John Guillermin does a pretty stylish job, giving some life to the entertaining story. The story is not necessarily a great one, but it does entertain, and even adds up at the end; one of its best assets is that eventually you do learn something interesting about one of the side characters that has actually motivated the whole con job. Wonderful location shooting in a Caribbean locale helps, too, and the jaunty pop score by Neal Hefti is a true delight.

Peppard is all too human here (he takes some lumps here and there), and is a believable, compelling main character to watch. He has genuine chemistry with the enticingly sexy Hunnicutt, whom the camera clearly loves. Burr is superb at playing the kind of heel the viewer will love to hate. The supporting cast is superb and full of familiar faces: Wilfrid Hyde-White (as a governor), Brock Peters (as a cheerful police inspector), Jason Evers (as Orbison's employee), and Susan Saint James (as Orbison's opinionated niece), as well as Severn Darden, George Furth, Herb Edelman, John Qualen, Bert Freed, and Ken Lynch. Anthony James appears unbilled as a bartender.

Overall, this is a pretty good example of the private eye genre at a time when it was being revitalized, thanks to efforts like Paul Newman's "Harper". It contains effective amounts of sex appeal and violence, as well as elements that would be unlikely to fly in the present culture.

Seven out of 10.

If you've only seen PJ on Television, you haven't really seen it. In the late 60s, censorship was temporarily relaxed: Ratings were "G" for Nothing Offensive, and "M" in case there was anything objectionable. With the wisdom of their breed, Studio execs quickly realized they should try to get away with as much as possible, and films like GUNN, DEADLIER THAN THE MALE and NIGHT OF THE FOLLOWING DAY were filled with raunchy (for those days) sex and violence. However, with an eye to TV showing, the studio execs also had alternate scenes shot for these films and the resulting Tv showings were tepid at best. The movie version of PJ has a seamy, tasteless feel totally appropriate to a cheap Private Eye film.

The private eye genre had something of a rebirth in the late 1960s, most notably with Paul Newman's excellent "Harper,'' Frank Sinatra's "Tony Rome'' movies and James Garner doing a nice turn as "Marlow.'' But George Peppard merits a tip of the fedora for his work in this forgotten goodie, "P.J.'' Peppard's PJ is hired as a bodyguard for a fat-cat's (played by a menacing Raymond Burr) mistress, unleashing a plot of double-crosses and, eventually murder. Peppard is great as a wisecracking P.J. Detwieler and the above average script is perfectly matches to his rapid-fire, half-bemused delivery. Gayle Hunnicutt is great as the kept woman, the fantastic (and overlooked)Brock Peters turns up in small, but pivotal role and a young, "pre-MacMillan and Wife'' Susan Saint James spews a few deliciously catty lines. And there is a great ending. Sadly, "PJ" can't be found on video or DVD. And I haven't seen it aired on tv since I saw it (and recorded it, luckly) when a Chicago station aired it 1986. Too bad. This little gem deserves to be seen.