To prove that he still is strong and powerful, Philippe Douvier decides to kill Clouseau. Once news of his "death" has been announced, Clouseau tries to take advantage of it and goes undercover with Cato to find out who tried to kill him.
Two New Yorkers are accused of murder in rural Alabama while on their way back to college, and one of their cousins--an inexperienced, loudmouth lawyer not accustomed to Southern rules and manners--comes in to defend them.
Three buddies wake up from a bachelor party in Las Vegas, with no memory of the previous night and the bachelor missing. They make their way around the city in order to find their friend before his wedding.
The trademark of The Phantom, a renowned jewel thief, is a glove left at the scene of the crime. Inspector Clouseau, an expert on The Phantom's exploits, feels sure that he knows where The Phantom will strike next and leaves Paris for Switzerland, where the famous Lugashi jewel 'The Pink Panther' is going to be. However, he does not know who The Phantom really is, or for that matter who anyone else really is... Written by
Graeme Roy <email@example.com>
Disappearing cigarette when the Princess collapses drunk on the rug. See more »
Gem dealer 1:
As in every stone of this size, there is a flaw.
Gem dealer 2:
The slightest flaw, your excellency.
Gem dealer 1:
If you look deep into the stone, you will perceive the tiniest discoloration. It resembles an animal.
Gem dealer 1:
A little panther.
Yes! A pink panther. Come here, Dala. A gift to your father from his grateful people. Some day it will be yours. The most fabulous diamond in all the world. Come closer.
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Although the film's title actually refers to a jewel, the credits are presented in a cartoon sequence featuring a pink panther who interacts with the lettering in various ways -- spinning letters around, unscrambling words, inserting extra credits for himself, and so on. The cartoon panther has subsequently appeared in the same manner in several sequels to this film and eventually his own TV series The Pink Panther (1993). See more »
This is one of the cases in which saying a movie is very much "of its time" is a high compliment. To see THE PINK PANTHER today is to be transported to the stylish Blake Edwards '60s world of opulence, Mancini, and nutty but smart slapstick. The sequel A SHOT IN THE DARK may be funnier and more sophisticated, but PINK PANTHER is still a peerless, graceful treat, pure entertainment.
This doesn't really fit in that well with the rest of the series (of which I'm a big fan), but it's on a higher plane in a sense. Those seeking the usual slapstick fare will find plenty of it, not to mention an engagingly worldly edge lacking in the sequels. Not only is this a fine comedy, it's beautifully photographed and full of elegance. Peter Sellers' Inspector Clouseau is wonderful as always, but is neither the central character -- the jewel thief "The Phantom," played by David Niven, is the real protagonist -- or the source of the most laughs; Robert Wagner, the Phantom's nephew who shows up unexpected on the eve of a jewel binge, provides the movie with a force of sheer subversion. That's not to say the greatest moments aren't Clouseau's; particularly during the bedroom scenes with Capucine, Sellers is in top form.
An interesting note is the similarity of THE PINK PANTHER in many ways to Alfred Hitchcock's TO CATCH A THIEF, made in 1955. The two films have more-than-similar story lines, and both are glitzy and glamorous, but the approach is different. PANTHER is a far less serious piece of work, yet in the end it has more substance, perhaps because it refuses to take jewel thievery with the stone-faced seriousness of its counterpart. Having said that, both are great fun, and what more could you want? There is simply so much to love about this movie it's hard to know where to begin. In the hopelessly romantic world Edwards and Mancini usually present, it's pleasant to see a darker and perhaps more vibrant edge shining through. BREAKFAST AT TIFFANY'S might be the quintessential Edwards film of the '60s, but it was released the same year as one of his best, EXPERIMENT IN TERROR, a daring, violent, noirish outing that couldn't have been more different. In the layers of irony and comic wisdom of THE PINK PANTHER Edwards finds a middle ground, and it's savory.
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