Reet, Petite, and Gone (1947)

Directed and co-written by William Forest Crouch, Reet, Petite, and Gone is a 67-minute musical race film released in 1947 by Astor Pictures. It stars legendary bandleader Louis Jordan, alongside June Richmond, Milton Woods, and David Betts, and was the second of three feature films Crouch made with Jordan. The film blends musical performance with a plot of inheritance fraud, romantic entanglement, and showbiz ambition, all set within the segregated entertainment industry of the 1940s.

Plot Summary

Louis Jarvis Jr. (Louis Jordan), a popular swing bandleader, is summoned from his radio show to visit his dying father, Schyler Jarvis Sr., a wealthy former musical star. The elder Jarvis wishes to ensure his son’s happiness by arranging a marriage between Louis and Honey Carter, the daughter of his long-lost love.

However, crooked lawyer Henry Talbot (David Betts) has other plans. He forges a new will to redirect the inheritance and manipulate Louis into marrying someone else. As the scheme unfolds, Louis must navigate deception, romance, and the pressures of his musical career—all while delivering high-energy performances with his band, Louis Jordan and His Tympany Five.

Cast

• Louis Jordan as Louis Jarvis Jr.
• June Richmond as June
• Milton Woods as Sam
• David Betts as Henry Talbot
• Fay Robinson, Leonard Duncan, Lorenzo Tucker, and Bernice Pilot in supporting roles

Production Notes

• The film was produced during the height of Jordan’s popularity, capitalizing on his crossover appeal and musical charisma
• Musical numbers include performances of “Reet, Petite and Gone,” “Wham Sam,” and “If It’s Love You Want,” showcasing Jordan’s blend of swing, jump blues, and comedic timing
• The screenplay was written by Irwin Winehouse, with story credit to Crouch (as William Forest)
• Cinematography by Don Malkames and editing by Leonard Anderson reflect the efficient, low-budget style of race films of the era
• The film was distributed to segregated theaters and marketed primarily to African-American audiences, part of a broader tradition of race films that provided representation outside mainstream Hollywood
• Despite its modest production values, the film is rich in musical energy and cultural significance

Legacy

Reet, Petite, and Gone is a vital document of mid-century Black musical cinema, showcasing Louis Jordan’s charisma and the vibrancy of the race film circuit. It combines narrative intrigue with musical spectacle, offering insight into the entertainment landscape of segregated America. It’s a cornerstone of African-American film and music history, bridging swing culture and cinematic storytelling.