The Pink Panther

Nearly every review I have read condemning _The Pink Panther_ to second or third rate status in the "pantheon" of Clouseau movies comes from someone who either didn't know it existed or who was raised on the totally slapstick offerings that came later. If you are expecting the hackneyed humor and over-the-top performances that came with the last few Panther movies you are bound to be surprised by a movie that took time to make sense out of a story. If those movies are your standard for humor, you are bound to be disappointed.

This is one of my all-time favorite movies. I watched it when it came out. I was eleven and it was showing at a local drive-in. Since then the movie has never failed to entertain me.

Unlike most of the other reviewers, I don't share the same admiration for the later Clouseau movies. I did enjoy _A Shot in the Dark_ and even liked _Return of the Pink Panther_ and its sequel, but frankly, Herbert Lom's twitch, Kato's surprise attacks, increasingly more ludicrous plot devices, and the very fact that Clouseau was still in a position of responsibility was more disbelief than I was willing to suspend.

_The Pink Panther_ is a great Romantic Comedy. That, in itself separates it from all the other Panther clones, which are all farcical slapsticks. Different humor, different purposes, therefore a different appreciation.

_The Pink Panther_ was not a blueprint for other Clouseau movies. Only for the Clouseau character.

This movie was the inspiration for an American icon. The Pink Panther cartoons came out well before the next movie. It also featured inspired comedy performances by its four leads. Yes, FOUR leads. Just because Clouseau wasn't the only major character doesn't mean he was minor. Sellers has more scenes than anyone except David Niven.

_The Pink Panther_ deserves to be considered on its own merits and not compared to movies of another genre that strove to capitalize on the popularity of the original.

The one that started it all and set `Clouseau' on the path to becoming Chief Inspector, `The Pink Panther,' directed by Blake Edwards, stars David Niven and Peter Sellers. This film is memorable for a number of reasons, primarily for being the first in a tremendously successful (and funny) series which would ultimately showcase one of the world's favorite cinematic policemen, the bumbling Jacques Clouseau (Sellers). it also introduced His Royal Pinkness, the Panther himself, to the format of the feature length motion picture. And can anyone remember a time before Henry Mancini's familiar theme existed?

Being the first, of course, makes this the prototype, and though it's a good movie, it's obvious that the formula for success which the following films in the series employed had not yet been honed to perfection. Consequently, though funny, the hilarity level of this one is comparatively low, though it does have it's moments, the best of which involve Clouseau.

From the day it premiered, it was readily apparent that what really made it a go was Sellers; and Edwards and his team have to be given credit for recognizing it immediately. Often a sequel fails because the filmmaker has attempted to capitalize on an element of the original that seemingly made it good, only to discover that what the poet once said is true: You can never go home again. Merely expanding the part that worked before doesn't insure success; usually, in fact, quite the opposite is true, as without fail it becomes a matter of overkill (The Penguin was no Joker, and those participating in `The Return of the Seven' weren't so `magnificent' after all). There are the exceptions, of course, like the `Stars Wars' saga, the `Indiana Jones' movies and, it goes without saying, the `Panther' films.

Edwards was clever enough to discern that key element in the original, and not only expand upon it for the sequels, but fine tune it as he did so. In developing his formula he seemed to possess an innate sense of what was funny, even from an objective point of view-- which is amazing, given that comedy is probably the most subjective of genres. And then again, he had the inimitable Sellers as his star, which was certainly no hindrance to their combined efforts.

It's interesting to watch this movie again, especially after seeing the rest of the series, as you're seeing Clouseau in his raw stage of development; the accent is not yet as pronounced as it will be later, and his `denseness' is not quite refined yet. But funny he is, even as he experiments, searching for that perfect comedic note (which he would finally find in `The Pink Panther Strikes Again'). Seller's performance is the highlight of the movie, and it gave birth to what would become one of the defining characters of his career. From the first moment Clouseau appears on screen, you know that you're about to be treated to something special. And Sellers never disappoints-- from that first frame on, he is a joy to watch.

David Niven, meanwhile, lends an air of sophistication to the proceedings as the suave and debonair, legendary jewel thief, Sir Charles Litton. Though not a unique character, Niven plays him well, exuding the kind of charm possibly only Cary Grant could have matched at the time. As usual, he brings a smooth presence to the screen, he plays comedy well and the facility with which he brings Litton to life is impressive. Watching Niven and Sellers together calls to mind the pairing of Michael Caine and Steve Martin some years later in `Dirty Rotten Scoundrels.'

The supporting cast includes Robert Wagner (George Litton), Capucine (Simone), Brenda De Banzie (Angela), Colin Gordon (Tucker) Fran Jeffries (Greek `Cousin') and the lovely Claudia Cardinale as Princess Dala. Sellers created a number of characters during his career that will live forever, but with `The Pink Panther' he carved out a special niche for himself when he created Clouseau. There's never been anyone else quite like Clouseau (or Sellers, for that matter), and it's doubtful there ever will be again. As for the movie itself, there's no denying it's place of significance in the history of the movies as the one that kicked off a series that made the world laugh-- and thanks to the magic of DVD/video, that laughter continues on, unabated, today-- with no end in sight. That's the magic of Sellers, and it's all a part of the magic of the movies. I rate this one 7/10.

I have seen all of the movies in this series, including the horror show that starred Roberto Benigni (the worst of the series). Having seen this movie years ago, I remembered it as being very funny.

After having seen it again a couple of nights ago, I'm happy to report that it is still just as funny as it was years ago. Yes it does seem a little dated and much more tame in spots, but there is nothing to compare to the gag where Sellers steps on his violin. Yes, much of the humor is old fashioned, and slapstick, but is there a funnier chase scene in any other movie? Does the bedroom scene with Sellers, Niven, Wagner and Capucine have any rival other than the stateroom scene in "A Night at the Opera"? Or how about the two gorillas opening the safe? This is truly funny stuff.

My only disappointment was realizing that Sellers is not in that much of the movie. Which is a shame if your not a fan of David Niven.

But this is a minor point. If you haven't seen it in a while, go out and rent or buy "The Pink Panther".

7 out of 10

It is said correctly that the first two Pink Panther movies, this and "A Shot in the Dark," are more sophisticated and for adults, compared with the later series of films that began ten years later, which are more blatant slapstick and somewhat juvenile. The latter are more purely entertaining, because they cause people (even adults) to break out and laugh, whereas the humor here is more elegant and less loud, not to say it is not very good. Still, I rate the original "Pink Panther" film very highly because of its own brand of entertainment and humor, and I put it above most of its successors ("Returns" and "Strikes Again" are at least as good, but I think most people would agree that with the end ones things go downhill).

Clouseau is one of the five main characters in the film, but he is only the fourth most prominent. It might be said that David Niven as the many-times-over thief Sir Charles Litton is the most prominent, followed by Claudia Cardinale as Central Asian Princess Dala, owner of the Pink Panther diamond that is the bait to be stolen, but I would argue that Clouseau's wife Simone (played by Capucine) is as at least equal to Sir Charles, if not more prominent. After all, she is effectively a double agent — Clouseau's wife, while aiding and abetting Sir Charles — and she even has a fling with Sir Charles's nephew George Litton. Two different affairs, but all of an extremely classy and gorgeous woman, just like Claudia Cardinale, and she seems to like all three men equally. Within her romances and the intrigue of the plot there is lots of hotel bedroom-to-bedroom back and forth and hiding, etc. Simone's humor, combined with her good bearing, is great, and she is the highlight of the film to me.

Clouseau's bumbling and klutziness is there, just less-pronounced, less loud and dominant. The film flows well, with good dialogue and comedy, and elegant settings of upscale hotels and fancy parties. The wit and humor are perhaps not described as subtle, but just less loud and more intelligent and refined than that of the later films. It seems that many comedies have idiotic, goofy characters, to such an extent that they may not be funny, but in this film the five main characters are urbane and smooth. Even Sellers has that bearing, while being a klutz too. But sometimes the presence of such more refined characters does not matter if the people are not appealing and the comedy is not funny. Here, however, the characters are definitely very appealing and poised, within a well-written good script, making for a good chemistry.

There is a great scene in which Sir Charles attempts to seduce the princess, who is laying stomach down on a tiger skin. The verbal reigns over the slapstick there, as in many other parts of the movie. Still, the ending is not without the latter, and it has a good ironic twist. Yes, there will be more slapstick to come...

1) This is probably the most beautiful LOOKING slapstick comedy ever filmed. The sets, the scenery, the costumes, the photography - everything looks elegant and expensive.

2) For those of us who actually like the cultural atmosphere of the early sixties at least as much as that of the late sixties, this is a goldmine, ranking right up there with the early Bond films.

3) For insecure actors fixated on billing (i.e., where their names go on the credits): just remember that Peter Sellers got third billing on this film, and yet he's the one everyone thinks of when they think of "The Pink Panther." And not just because of the sequels - this was the movie that made him an American movie star. Billing can't compensate for genius.