The Pink Panther reminded me considerably of the disastrous James Bond spoof Casino Royale. Obviously, both films star David Niven and Peter Sellers, but it's more about that irreverently dreamlike quality they both share. They're hazy films where plot is a mere excuse to bring together an eccentric group of upper class dandies in indulgently extravagant productions to bounce off of one another, with the odd musical number here and there. Colorful, varied sets and cream of the crop actors... these films simply ooze class, though without necessarily being great films.
Unlike Royale, however, Pink Panther has a gargantuan legacy in the form of Sellers' iconic Inspector Clouseau, the character who perhaps fits this film the least. Surrounded by suave, subtle scene-stealers like David Niven, Robert Wagner, Claudia Cardinale and even Colin Gordon, his pratfalling antics stand out like a sore thumb. Knowing that Sellers would become the defining aspect of the franchise, I was very surprised(and disheartened) by this, and I can only hope that I'll come to enjoy what he brings to the table more in the following films.
Or perhaps that kind of slapstick just isn't what appeals to me. As a character, Clouseau in The Pink Panther lacks the egotistical childishness of, say, mr Bean. He's simply a man to whom accidents happen. Honestly, he is not even all that well outlined as a personality. Clouseau seems self-aware enough to recognise his own clumsiness, yet at the same time is utterly oblivious to certain other facts. He is a dedicated police officer, yet accepts his infamy at the end. No one hardly ever reacts to his imbecility, so there's no humor to be derived from there.
In contrast, I found myself completely engrossed in Niven's gentleman thief. The man carries himself with such grace and dignity even as he hides under his mistress's couch, and his dry asides constantly kept me chuckling. I loved the development of a family unit between him, his equally rotten nephew(portrayed by the amorous Wagner) and Clouseau's hapless wife(Capucine). The definite highlight of the film, however, was Niven's gloriously self-aware seduction attempt on Clauda Cardinale's Princess Dala. Cardinale makes a mockery of the poor man(and there's a gargantuan age difference), yet somehow both of them are completely plausible as a couple and look like they're having the best of times.
Overall, The Pink Panther is an uneven, but certainly memorable start for the series. It remains to be seen whether Sellers can redeem himself in my eyes(if he can't, we're in real trouble), but it's hard to hate a film where David Niven and Robert Wagner stare down the audience in gorilla suits at the same time. Charm. Charm's the word.
A Shot In The Dark was, unfortunately, quite a slog. I will admit, it was interesting to see the character of Clouseau in an environment that's clearly tooled for him. Though I still didn't find Sellers to be particularly funny, the reactions of those around him(especially that of Herbert Lom's perpetually tormented Commissioner Dreyfus) were, and provided the highlights of the film. Unfortunately, those highlights were few and far between, as Shot never really ramps up to the level that it could have. It would have been humorous if Dreyfus went insane trying to ruin Clouseau's unshakable reputation(a reputation which, in the end, is revealed as part of the murder mystery), but we rarely get to see that character outside of his office nor do any of the others actually stand up for Clouseau at any point, limiting that well of humor considerably.
The mystery itself is cleverly put together, I'll admit, though it doesn't compare to the intrigue of the previous film. Stylistically, Shot is also a major step back, as the banter and James Bondian visuals that added a touch of class have been omitted entirely. And that's all there is to it, really. It's an inane comedy that exists for Sellers to fumble about onscreen and make a fool of himself, and it's as awkward as it would be to watch happening in real life.
Inspector Clouseau sees the eponymous Frenchman recast with fellow comedian Alan Arkin in the absence of a disinterested Peter Sellers. Arkin portrays the character with a childlike affability - in his hands, Clouseau seems less like a pompous and tone-deaf fortune-seeker, and more like someone who genuinely does not know better. He's still self-absorbed and petty in the way children often can be, but the performance makes it obvious that he's trying to do the right thing for the right reasons, which makes him far easier to root for. In a particularly touching scene, Clouseau admits that he's noticed his penchant for destroying everything and everyone around him. Of course, since this is a comedy film, this doesn't linger for long and Clouseau quickly regains his bluster and blind self-confidence, but the fact that it is there adds a lot of likability to the character. In addition to this, everyone do not just turn a blind eye to his antics as they would in the Sellers films. It's perfectly clear just what a buffoon he is, but happenstance and fondness convince most of his competence. I never thought I'd say it, but Clouseau is by far the strongest aspect of the film.
In fact... he's just about the only part of the film that actually works. It seems like the script was conceived with Clouseau's antics first in mind, and everything else tacked on later. It takes half the film for the actual plot to begin, and when it does, it's a dire, convoluted heist featuring a bunch of the most forgettable criminals you'll ever see. Patrick Cargill is wasted in his role as Clouseau's superior, a character who seems designed to go down the Dreyfus path. Cargill portrayed a fantastic mental breakdown only a year before this, in The Prisoner episode "Hammer Into Anvil". I was very excited about seeing him repeat it with a more comedic bent, and was sure he'd blow Herbert Lom out of the water. Alas, Cargill completely disappears from the film once the heist takes over, and never gets his moment of glory.
I wouldn't call this a terrible film, but it desperately needed some rewrites and a strong villain character for Clouseau to go up against. At least it's softened my stance on the franchise.
With their careers simultaneously drying up in the mid-1970s, Peter Sellers and director Blake Edwards return to the Pink Panther in, well, The Return Of The Pink Panther. And that's no exaggeration. In an effort to recapture the success of the first two Sellers films, they do their damnedest to bring back everyone who may have had anything to do with said success - a whole plethora of amusing(and now aged) side characters, musical cues and even the Panther itself, in both jewel and cartoon form. There's an obvious cynicism in that, which shines delightfully through the whole production, a sense of unhinged detachment that allows both Sellers and Edwards to drop any restraint, any pretense of sophistication. And honestly, the series is all the better for it. I'd much rather watch Sellers bounce around with a lightbulb for five minutes in an outrageous costume than his awkward attempts at comedy during otherwise witty, verbose scenes.
Ironically, despite this newfound spirit of anarchy, Return also features the comeback of Sir Charles Lytton, the role originated by David Niven in the first film. Lytton represents a kind of alternate history for these films, as The Pink Panther was originally planned to kick off a series about him and his adventures as the ever-polite, womanizing aristocrat criminal, a complete contrast to the slapstick of Clouseau. That plan went up in flames as soon as Peter Sellers walked on set. Now portrayed by Christopher Plummer, Lytton retains his unflappable charm, though Niven's genial presence is still sorely missed. Curiously, huge chunks of the film are dedicated to the character, more than enough to make it seem as if he and Clouseau were still in competition for the protagonist role. Yet they don't even intersect until the final moments of the film, and it seems as if their storylines have very little to do with one another.
The plot seems to be the weakest aspect, to the point where the film just seems to give up trying to make a lick of sense towards the end, and simply piles all the relevant characters into a single location to get things over with. I particularly had to laugh when an irate Dreyfus(once again played with relish by Herbert Lom - best part of the whole thing, of course) had to provide Clouseau with his next clue to cut short an eternity of antics.
The Return Of The Pink Panther is a celebration of all things Clouseau, and a shift towards more overt and shameless comedy. If you're fond of what you've seen so far, you should definitely enjoy it.
The Pink Panther Strikes Again shows us what is done to a franchise when you've done everything. Jump the shark! We're beyond absurdism here and into the realms of pure lunacy as former Chief Inspector Dreyfus(still played by the wonderfully manic Herbert Lom) acquires, in a very short amount of time: a Transylvanian castle, a giant ray gun, an army of goons and a Dracula cape with matching organ, all for the purpose of convincing the entire world to kill Jacques Clouseau for the crime of being really bad at his job. It's every employer's sweet fantasy. Unlike the previous films that more or less stood alone, Strikes Again works best in a marathon viewing, as a kind of catharsis. There's an almost fanfiction quality to it, in the best possible way. We all have certain things we'd love to see our favourite characters do, but know would never happen. "Wouldn't it be funny if...?" is a question every viewer asks at some point. This is the film that answers that question. (And the answer is, obviously, yes)
Peter Sellers looks particularly ragged and delirious in this film, presumably the result of his real life neuroses, which famously interfered with the film's production(Blake Edwards claimed that his star was fit for an insane asylum). Whilst his comic sensibilities and timing haven't changed, there's some undefinable desperation in his eyes, a lack of confidence that was absent in the earlier, smooth characterisation of Clouseau. It fits in with the chaotic tone of the film.
The production design is as unhinged as everything else and goes for Ken Adam-esque extravagance. Entire apartments destroyed, a bedroom suite bathed in lava lamp colors, crowd sequences that last for 10 minutes a piece... the freaking castle!
I think it's a really good film. Much like the good Chief Inspector himself, the Pink Panther series is getting better and better every day and in every way... whilst completely falling apart on the inside.
Revenge Of The Pink Panther is honestly a bit embarrassing to watch, the result of a talented, but clearly uninspired production team struggling to work with the mess that Peter Sellers had become by that point. Sellers(when he deigned to appear onscreen) spends almost the entire film in a series of ludicrous disguises, boiling the character of Clouseau down to an excuse for disconnected skits more suitable for a sketch comedy sitcom than a film. Filling in time between these sequences are strangely straight-laced scenes involving the French mafia, whose Bryan Cranston-lookalike leader is too busy trying to save a failing marriage to be entertaining.
Whilst the humor has never been politically correct in these films, the decision to go to Hong Kong results in some of the most risque and dated jokes the series has ever pulled. Do nervous chuckles count as laughter? The only upside to all this is that Burt Kwouk's sly manservant Cato is given more screentime. I always thought it'd be nice if he had more of a dynamic with Clouseau beyond their obligatory duels, where they destroy all that surrounds them. Whilst we still don't get much of them together, we do see Kwouk's comedy chops put to good use in this film.
It's the clusterfuck of a climax that shows the most how low the series has sunk. Similarly to the conclusion of the original, all of the various plot threads interweave for an explosive finale where everyone runs around like headless chickens. It's a classic type of finale that can be incredibly funny if you've had a good time and have enjoyed seeing how the characters get to that point. But in a bad film such as this one, it's just a case of watching a bunch of no-names scamper around to irritating Tom & Jerry knockoff music, whilst the audience is praying for it all to end already.
Trail Of The Pink Panther feels like the kind of film that, in this day and age, would be a DVD extra. At least half of it is essentially just a mockumentary about Clouseau, featuring a collection of aged stars from films past - most notably the delightful David Niven, who returned to the franchise that had spurned him probably more for financial reasons than nostalgia - reminiscing about the famous detective as a framing device for copious use of Sellers' archive footage. It's not particularly funny or interesting, but I did find it touching and kind of rewarding after having gone through all of these films. And at least it's honest about what it's doing.
The dishonest part would be the first half of the film, which repurposes outtakes of the deceased Peter Sellers(expressly against his will - Sellers wanted every film of his to be an entirely original work) to construct a narrative about the third theft of the Pink Panther diamond. This arc is completely abandoned once Clouseau vanishes, presumably to be followed up on in the sequel. It's clunky, and given the franchise's habitual lack of continuity, inconsistent with what someone would expect, especially without Sellers. One final film to tie up loose ends, or just a new film that introduces a different lead character, would perhaps have been more palatable. Ironically, despite the forced inclusion of these old clips, Sellers' presence in them gives that side of the film a far better pace. It's also the side of the film that features Herbert Lom more heavily. I don't know what the Pink Panther films would have done without that man. Chief Inspector Dreyfus and his zeal to wipe every trace of Clouseau from his life have carried this frequently unwieldy comedy franchise through many murky waters. I'll never not find him funny.
I can't really recommend this as a full film, because it isn't one. But if you're a Pink Panther completionist, then seeing the scenes of the retired Niven, Capucine and Graham Stark in blissful retirement will provide a nice sense of closure to their characters. I suppose I can also compliment the film for not being another Sellers rehash. His absence forced at least some level of creativity into the mix.
Curse Of The Pink Panther completes Blake Edwards' attempt to transition the series away from the Clouseau character and over to a similar setup with American leads. And although Ted Wass' "Detective Sleigh" is more or less a fiasco, the film does do a remarkably good job of concluding the storyline of the original Pink Panther heroes, namely the Lytton family and Clouseau himself. Seeing David Niven, Robert Wagner and Capucine all celebrating their final success together in the closing scenes once again brought me back to that potential(and in my case, preferred) alternative reality where Sir Charles Lytton would have led his own series of witty heist comedies. Although I'll never get it, there was a delicious satisfaction in seeing Niven's character come out on top. After all, what matters is how you finish, and Niven finished with first billing.
And what of Clouseau? Well, I feel like Edwards did him as much justice as he could. The decision to incorporate aspects of Peter Sellers' unmade script was a far nicer tribute to what the actor had brought to the series than reusing deleted footage. Clouseau's role involves a neat and unexpected character twist that, much like with Lytton, brings him full circle.
The downside to all this is that in order to get to that good stuff, you have to wade through the crap that is Sleigh, as well as an incredibly convoluted plot involving the French mafia(that have never been funny in any of these films), the President of Lugash and Dreyfus, all of whom want to assasinate Sleigh at the same time to prevent Clouseau from returning at all costs. Unfunny skits drag on interminably. It seems like we spend an entire half-hour running around some loud Spanish festival. Even Herbert Lom and Burt Kwouk appear to only be here out of obligation, and have nothing to add. Without Clouseau around to give them a purpose, their characters flounder.
Ultimately, Curse is not at all a good film nor is it very funny(save for Roger Moore's amazing cameo), but it does tie up all the loose ends in a satisfactory manner, and I respect that.
Son Of The Pink Panther can be considered the dying gasp of this original run of films, but rather surprisingly, I found it to be one of the strongest entries, largely thanks to Roberto Benigni's unstoppably cheerful Clouseau Jr, a man so easy to love that even Dreyfus finally gives up his long-running grudge. And given that said grudge once involved blackmailing the entire world with a laser cannon, that's saying something. If that particular adventure had been a great 1970s James Bond parody, then consider this one a spoof of the Timothy Dalton run, involving both the Middle East and Robert Davi.
Davi in particular is a great bit of casting - he's so effortlessly intimidating that his presence briefly threatens to turn Son into a gritty action film, but he also makes for a terrific straight man to Benigni's bumbling. Watch out for an especially amazing gag where we find Davi's character educating himself with Mein Kampf... as he's dropping from the sky on a parachute. Great stuff.
Much like in Curse, there's a series of familiar cast members and gags that are brought in, seemingly to validate Benigni's role. None of them are really necessary, but for fans of the old formula, there may be a charming solidity to their presence. If there had been a greater attempt to shake the series up and bring it into the 90s(beyond certain aesthetic changes, like the a cappella theme), Benigni might've featured in a few more films. Still, as a send-off for a very old dog of a franchise, you could've done a lot worse than this. It's completely anachronistic, and I like that.
The Pink Panther almost feels like a parody of its source material. Although not nearly as over the top as some of those films(it's hard to out-silly a laser ray cannon in a Transylvanian castle), there's a kind of irreverence to how this remake approaches the tropes that the series is known for. Every time a familiar gag would appear, there would be some amusing twist to it. And to the film's credit, whilst it does reintroduce certain key aspects of the series(namely Clouseau, his superior Dreyfus and the Pink Panther diamond), the story itself is entirely fresh and original and comfortably convoluted in the grand tradition of the series.
Like the script, Steve Martin's portrayal is something of an exaggeration of the original Clouseau, emphasizing both his cluelessness and irritatingly random bouts of self-awareness. He's nowhere near as naturalistic as Peter Sellers when it comes to slapstick, but the story imbues his take with much more humanity and wit, which evens things out. My favourite actor in this, however, is Jean Reno, whose deadpan sidekick Polton(a combination of the Cato and Hercule LaJoy characters) was a delightfully stoic and loyal presence throughout. The cast, save for the eyerolling stunt casting of Beyonce, were all on point actually. Kevin Kline's Dreyfus provided a few smiles, but the character itself was dreadfully underutilised, especially given the hilarity that Herbert Lom's original provided even in the weaker entries.
My main criticism would lie with the editing. In the original series, the slapstick sequences were usually filmed in one long shot, so as to make it seem as real and impressive as possible. Here, there's just far too many cuts, which give the film a slightly bizarre, offbeat kind of feel. Many of the gags are very obviously scripted and not remotely believable even in the cartoonish world that Clouseau inhabits, raising questions of how the character can function on a day-to-day basis. It's not enough to scupper the film entirely, but it does take away from the main reason people would watch it, which is the humour. Overall, the Pink Panther is a consistently middling film, but it never stops being watchable. It has a good, easy pace. And whilst the jokes are dumb, they are at least delightfully dumb.
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