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Reet, Petite, and Gone

Name: Reet, Petite, and Gone
Director: William Forest Crouch
Released: 1947
Duration: 67 min

Representation Score

2.3/10

Limited

1947

Director

William Forest Crouch

Runtime

67 minutes

Average Rating

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New Showbiz Analysis

Reet, Petite, and Gone operates as a conventional mid-century musical melodrama. Its primary strength lies in the inclusion of Louis Jordan’s Tympany Five, providing important racial visibility for the era. However, the narrative structure is deeply rooted in traditional hierarchies. The plot centers on male-driven inheritance struggles and straight-centered romantic arcs, leaving little room for diverse identity exploration. While the musical elements disrupt some homogeneity, the storytelling remains tied to the social norms and gender roles typical of 1947 cinema.

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Category Breakdown

Does Reet, Petite, and Gone have LGBTQ+ representation?

Minimal

The film focuses on a relationship between Louis Jarvis and Honey Carter that assumes both are straight. There are no characters with non-traditional gender identities or critiques of heterosexuality in the story.

How does Reet, Petite, and Gone portray gender?

Limited

Men play key roles in driving the plot through the father's plans and the son's struggles. Honey Carter's role is mainly defined by her relationships with the male characters.

How racially and ethnically diverse is Reet, Petite, and Gone?

Fair

Including Louis Jordan’s Tympany Five provides significant visibility for a prominent Black musical act. This presence offers cultural integration for the time period.

How does Reet, Petite, and Gone represent religion and culture?

Limited

The story follows traditional Western stories about family legacies and inheritance. It reinforces post-war social values centered on the nuclear family and moral contrasts.

Does Reet, Petite, and Gone include disability representation?

Minimal

The film contains no characters with visible or invisible disabilities.

Present on Screen

Features the historically significant musical contributions of Louis Jordan’s Tympany Five.
Provides visibility for Black musical talent within a mainstream 1940s production.

Limited or Absent

The narrative relies heavily on traditional gender hierarchies and male-centric ability to act.
The plot follows conventional straight-centered romantic structures with no queer representation.
Storytelling reinforces mid-century social norms regarding family and wealth preservation.

Official Synopsis

Old-time musical star Schyler Jarvis, now wealthy, is dying; his last act is a visionary plan for the future happiness of his son, swing bandleader Louis Jarvis, and Honey Carter, daughter of his long-lost love. But crooked lawyer Talbot has a nefarious scheme to get his hands on the Jarvis money...and it doesn't include any happiness for Louis and Honey. Plenty of swing from Louis Jordan's Tympany Five.

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