The bumbling Inspector Clouseau travels to Rome to catch a notorious jewel thief known as "The Phantom" before he conducts his most daring heist yet: a princess' priceless diamond with one slight imperfection, known as "The Pink Panther".
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.
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 <firstname.lastname@example.org>
In the bath scene with Capucine and Robert Wagner, an industrial-strength foaming agent is used, which burned both of the stars' skin. Wagner, who was completely immersed at one point, became blind for four weeks. See more »
When Sir Charles is first skiing behind Princess Dala to spy on her movements, he is wearing binoculars with the strap over his right shoulder, his left arm through the strap, and binoculars under his left arm as he skis with ski poles in both hands. When he stops, his left arm and ski pole are no longer through the strap; the binocular strap is simply around his neck with the binoculars hanging on his chest as he grabs them to look through them. 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.
See more »
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 Show (1969). See more »
To me, the defining moment in The Pink Panther comes when Clouseau is finally asked by his wife to get her a sleeping pill. Frustrated, discouraged, he tramps across the room for the umpteenth time to do his wife's bidding. We see him go into the bathroom, and then we hear - not see - ALL the pills drop on the floor of the bathroom. Without picking them up, or even saying anything or reacting in any way, he crunches across the floor and back into our view, carrying the water and the pill for her. You know exactly what happened; you didn't need to see it.
This is typical of this movie and this style: the jokes are so underplayed, quiet and perfectly paced that people accustomed to seeing "American Pie" and "There's Something About Mary", or even the bunch 'o sequels to this film (that grew progressively coarser and louder with each installment) may not get or even notice them. In the first sight of Inspector Clouseau, we see him pulling the old "leaning on a spinning globe and taking a pratfall" trick. But the moment is over with quickly; it's not made more than it is meant to, because the point of the pratfall is to define Clouseau's character in a moment. (Compare with later, more painful, re-occurences of this spinning-globe idea in the sequels). Most of the other moments derive from this idea: at the center of this caper film is this man who is inextricably dense and clueless, and yet retains a curious grace - not to speak of a total savoire-faire in all moments.
This film could never be made today. In fact, it's a time capsule of a certain sort of late 50's, early 60's sensibility. Examples: all the people showing up for the Princess's dinner in formal evening wear. David Niven's late-night repartee with the Princess - all about numb lips and champagne. The musical number - for no reason whatsoever. The glamorous locales - without a trace of irony, straight out of "To Catch a Thief", the inspiration for this type of "caper" flick. The curiously innocent and unsexual bedroom farce moments. And, of course, the ending car chase with guests in ape suits, a suit of armor, and not one but two cops in a zebra outfit (what a good choice for those interested in speed and efficiency!) And these are just the moments - see how effortlessly the screenplay weaves all the story lines together, and how beautifully the pace gets accelerated throughout the movie. Not to speak of the opening credits, which are like a whole cartoon sequence in themselves. Obviously, I'm crazy about this picture; it's pretty, it's captivating, it's romantic, it's funny, and it weighs about two ounces - it's just delectable cotton candy. And through it all Peter Sellers gives one of the most subtle, and funniest, comic performances put to film, walking around in a fog, totally unaware of reality, and underplaying his role to the hilt.
Rumor has it that a remake is in the works, with Mike Myers in the Clouseau role. Let's compare two moments to get a preview: Peter Sellers bringing his wife a part-full glass of milk that he has spilled most of. At her quizzical look he innocently says,"That was all they had, my dear!" .... compared with Austin Powers drinking, um, the brown substance that is not coffee. Different strokes for different folks, indeed. Looking forward to it, uh huh.
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