User reviews

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 had an absolute ball watching this. It works so well because Sellers underplays it. He's never over-the-top, never looks like he's playing for jokes, which makes his bumbling all the funnier.

Blake Edwards epitomises the sexy martini and bright colours world of the cinematic sixties for me. Revisiting Pink Panther since my childhood, i can see how this was a natural continuation from Breakfast at Tiffany's.

The charming David Niven and radiant belle Claudia Cardinale give added appeal. They are actually the two leads. Inspector Clouseau is a supporting player in this. His mass popularity lead to his being the centre of the sequals, including the famous second film Shot in the Dark, also by Blake Edwards.

A gem of a "man hiding in the closet" farce, perfect for late-night fun. See it if you enjoyed What's Up Doc? or Breakfast at Tiffany's.

An American comedy; A story about a bumbling French police inspector called upon to investigate and solve a jewel theft in a winter resort. In this first film of the comic series, the situations are satisfying enough but the personal mishaps and physical comedy timing is better, though Peter Sellers here is a supporting player to the suave and humorous David Niven. Claudia Cardinale, as the beautiful princess, is impressive. Henry Mancini's main score is a memorably brilliant jazz composition, and the song "Meglio Stasera" is a treat. The costume design, set design, and the enchanting scenes in wintry Cortina D'Ampezzo make pleasurable viewing. Although the story plods a bit, and overlong, all the routines are eye-catching and the ensemble is attractive.

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.

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

Amusing moments along with embarrassing in this first entry Inspector Clouseau with a likable Peter Sellers . This Pink Panther is starred by the great Peter Sellers as the inept and bungler Inspector of the French Surete but being the real starring David Niven as a glamorous thief nicknamed The Phantom . This first installment is a passable and acceptable comedy , in which bumbling and conceited French police inspector Clouseau (Peter Sellers) tries to catch The Phantom (David Niven) , a daring jewel thief whose identity and features are unknown - and is acting right under his nose. The Phantom attempts to steal a valuable jewel (The Pink Panther diamond is named not only for its color, but also for a tiny pink flaw shaped like a panther) whose owner results to be a gorgeous princess (Claudia Cardinale).

¨The Pink Panther ¨ release was the first part of series of Inspector Clouseau from French Surete and being the last entry ¨Trail of the Pink Panther¨ by the late Peter Sellers though he would follow playing but with outtakes in other films . The role of Inspector Clouseau was originally offered to Peter Ustinov ; despite being relatively unknown internationally, Peter Sellers was offered the part, and was paid 90,000 pounds . The second Clouseau film titled , A shot in the dark , was released only three months after this film . It followed by ¨Return of pink panther¨ and ¨Revenge of pink panther¨. After that , it was continued by ¨The curse of the Pink Panther¨ that turned to be another flop and starred by Ted Wass and ¨The son of the Pink Panther ¨ starred by Robert Benigni , this is the eight part of Closeau series and a light comedy . Between 1964 and 1993, nine Inspector Clouseau films would be released, although Inspector Closeau starred by Alan Arkin and the movies made after Peter Sellers's death are mostly not considered canon . The reason they still kept The Pink Panther in the title was because it had become synonymous with inspector Clouseau . The movie gets entertaining and hilarious moments here and there . The film was intended to have David Niven's character Sir Charles Lytton as the main character. However, Peter Sellers' portrayal of Inspector Clouseau was so loved by the crew , it became his character this film and the sequels focused on . Sellers modeled the character of Clouseau on the trademark of a box of matches which includes an image of Captain Matthew Webb . This slapstick picture contains amusing , funny scenes , fresh and diverting moments but also flaws and gaps . Peter Sellers steals the show parodying his classic character including his ordinary faces , grimaces and gestures . Appears as secondaries the exquisite Capucine , Robert Wagner , Brenda De Banzie , John Le Mesurier , some of them are the series' usual . The actors seem to enjoy themselves immensely but they are supposedly amusing holidays . An animated Pink Panther was created for the opening credits because writer and director Blake Edwards felt that the credits would benefit from some kind of cartoon character ; David H. DePatie and Friz Freleng decided to personify the film's eponymous jewel, and the Pink Panther character was chosen by Edwards from over a hundred alternative panther sketches. The Pink Panther introduced in the opening credits became a popular film and television character in his own right, beginning with the cartoon short The Pink Phink the following year . Lively and atmospheric music by habitual Henry Mancini with lyrics arranged by Johnny Mandel ; furthermore ,magnificent opening and ending cartoon titles . Colorful and glimmer cinematography by Philip Lathrop. The film is originally penned and directed,as always,by Blake Edwards. Several chuckles and gags , the result of which is one acceptable entry from series but inferior to successive outing such as , ¨A shot in dark¨ . Director Blake Edwards gets some inspired bits penned by him ; as he attempts to create his classic personage with enough success . The flick will appeal to Pink Panther series buffs and David Niven , Peter Sellers fans.

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.

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...

This first "Pink Panther" installment doesn't really deserve its high reputation. It's occasionally funny but often static and sluggish as well. Too many of the jokes haven't aged well, and they will probably look particularly dated to modern audiences. The movie does have its share of assets (Sellers is wonderful and the music score is infectious....but hasn't everyone already mentioned those things?), but on the whole there are too few inspired moments for this comedy to actually take off and reach delirious levels.

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.

While "The Pink Panther" launched one of film comedy's most celebrated franchises, it doesn't seem like director Blake Edwards had a clue what made it work. Peter Sellers makes his debut as bumbling Inspector Jacques Clouseau, but he gets lost in a supporting role in an antic caper comedy that tries to be sophisticated and slapstick all at once, with minimal success.

Something's off from the very beginning, where we see the familiar image of the Pink Panther toying with the opening credits, only instead of suavely making trouble for others, the cartoon cat becomes the butt of it. A similar fate befalls Clouseau in the ensuing movie, made into the fall guy by screenplay and his faithless wife alike. Instead of Clouseau bumbling his way to win the day, he falls short at every turn.

A friendlier, more mild-mannered character than he would become in later films, which makes the sadistic streak toward him here harder to take, Clouseau is largely a bystander in a story that focuses on the travails of jewel thief Sir Charles Lytton (David Niven), his ne'er-do-well nephew (Robert Wagner), the thief's lover (and Clouseau's wife, played by Capucine), and a princess who stands to lose her priceless diamond the Pink Panther to Sir Charles, not to mention her heart.

You kind of want to give "The Pink Panther" every benefit of the doubt when the princess is played by the lovely Claudia Cardinale. There's great music by Henry Mancini, notably the well-known title theme but also some incidental numbers that resonate with early-60s lounge chic. The scenery in the Italian Alps is fetching, and so are the Yves St. Laurent outfits the ladies wear. There's some charming conversation between Sir Charles and the princess that almost doesn't come off as contrived only because the actors sell it so well.

But the film is slow, especially for those of us used to the faster pace and surer humor of the later Panther films. Some will say the series became more adolescent after this first installment, but what really happened was Edwards dropped the pretensions on display here, not to mention boring Sir Charles, and figured out why the film succeeded as much as it did. Only a few months later, Clouseau was back on screen in the classic "A Shot In The Dark," and the Pink Panther series began in earnest.

Capucine is the weakest link, with her vinegary, put-upon face and unlikable role, yet she stars in the film's one brilliant sequence, where her character is wooed alternately by Lytton and his nephew sneaking into her hotel room, and then she has to protect both from discovery by a suspicious Clouseau. It works because there's a natural rhythm to it, a build-up that doesn't feel artificial and a quick succession of funny moments, like when one of the intruders hides in a bathtub, or a champagne bottle goes off at the wrong moment.

But the rest of the film feels more labored, with Clouseau tripping over everything and everyone, jamming his hand in someone's beer mug and poking his finger up another man's nose just to remind us we're supposed to laugh. Let's not even discuss that dislikable ending.

You have a good moment here and there, a nice performance of "It Had Better Be Tonight" by the here-and-gone Jane Fonda lookalike Fran Jeffries, and Sellers taking what might be called a practice run at his signature role. But "The Pink Panther," while fitfully entertaining, is hardly memorable, and overstays its welcome by half-an-hour. Fortunately, Edwards and Sellers wasted little time getting it right with "A Shot In The Dark," and a rich vein of real comedy would be tapped for all to enjoy.

I'd heard for years about how funny this movie is, and last night, I finally gave it a try. I haven't seen any other Pink Panther films, so I thought this would be the best place to start. Honestly, I wasn't very impressed.

The first hour or so of this movie moves at a snail's pace, if even that fast. There seems to be an endless list of characters in this film whose backstories have to be established before anything happens. Though all the loose ends are tied up eventually, it just seems to take so long to get there that even the most patient viewer will find it hard to watch all the way through in one sitting.

The "comedy" amounts to little more than Peter Sellers falling down repeatedly. There are moments of witty dialogue, but not much to speak of, and while some scenes are mildly funny, even these scenes drag on so long that the comedy becomes stale and tedious.

David Niven and Robert Wagner are both annoying more than anything else, and same with the actress who plays Sellers' wife. Claudia Cardinale is pretty, but there just wasn't much else here that I really needed to see.

On top of all that, the ending was extremely disappointing and unsatisfying. It left a bad enough taste in my mouth that I'm actually sorry I wasted the time to watch this movie in the first place. I most likely won't watch the sequels.

I honestly thought I had seen every Pink Panther movie. (Or should I say, every `Clouseau movie,' since I had even seen Adam Arkin's `Inspector Clouseau'?) I discovered tonight, however, that I had never seen the original 1963 classic, `The Pink Panther.' (Or, if I had, I was far too young to appreciate it and had forgotten all but a couple of scenes.)

For those not familiar with the film, this, of course, launched the Clouseau character and the Pink Panther series. Beyond the characters of Inspector Jacques Clouseau (Peter Sellers) and Sir Charles Litton (David Niven) and the fabulous Pink Panther diamond, though, there is little resemblance between the series-launching film and later Panther comedies. This is not necessarily bad, although fans of the fast-paced slapstick of the later entries will likely be a bit disappointed.

Of course this was the precursor, and Sellers and director Blake Edwards were just beginning to explore the character and world of Clouseau, that most incompetent and clumsy of detectives, who nevertheless gets his man.

The original Panther is a romantic comedy, with Sellers as merely part of a very good ensemble cast. We see very little of the hilarious Clouseau schtick for which Sellers is best remembered. He has no bizarre pronunciations yet and even has a gorgeous – though highly devious – wife. We can certainly see flashes of the Clouseau to come, though, and Sellers blends into the exotic montage quite well.

Niven is really the star of this first Panther production. As the swashbuckling, womanizing aristocrat/phantom, he turns in one of his best performances. A very young Robert Wagner also does good work as his long-lost nephew, George Litton.

Two extremely attractive and exotic actresses also heat things up. French beauty Capucine plays Simone Clouseau and is at the height of her career in 1963. Director George Cukor said that `The camera has a love affair with her face.' Edwards' camera certainly did. She handles both the romantic and slapstick scenes with equal aplomb. (Compare the `husband coming home unexpectedly' scene with Capucine, Liven, Wagner and Sellers with the same scene in `Horsefeathers' with all four Marx Brothers, Thelma Todd and her husband!) The other enchanter is Claudia Cardinale, as Princess Dala. The Italian beauty queen is perfect as the sexy, exotic princess and owner of The Pink Panther diamond. In the champagne scene with Litten and the Tiger rug, Cardinale is enticing enough to make a male viewer completely forget Sellers and his bumbling detective work!

While Edwards and Sellers changed directions a bit in later films, the original Pink Panther is worth renting for more than just its historic value. It is indeed a fine film and a wonderful work of art – something, which, indeed might be said for both Capucine and Cardinale, as well! By all means, rent the original Pink Panther; just don't expect slow motion Kung Fu attacks and insane chief inspectors taking shots at Clouseau!

The Pink Panther (1963)

There are so many little hilarious slips and slights of hand by Peter Sellers, it's hard not to love this movie. For sure, there is filler, and some of the other acting is fair to partly cloudy at best (including Robert Wagner as a hottie nephew, and Claudia Cardinale, who has a large role as the princess. A surprise is the poise of little known Capucine (one name), who didn't appear in later Pink Panther sequels, but did (to her credit) show up for the spoof, What's New Pussycat, written by Woody Allen two years later. David Niven is respectable and fun, though he doesn't strike our generation as a lady killer, which he is supposed to be.

What else? Hmmm, some widescreen shooting, a mature use of the format eight years after its full introduction. A fast pace, scene even cutting off into a fade as they are still finishing up. Some mad cap bedroom scenes with people hiding under beds, under soap bubbles, behind curtains, on and on. And Peter Sellers, tripping and looking debonaire despite his utter incompetence. Very funny stuff. Imperfect and silly, but very funny.

I am a fan of the Pink Panther franchise but this movie didn't quite do it for me. It is slow and at times goes scenes without Peter Sellers. That and I got confuse because David Niven at times looks like Peter Sellers in this movie, making me guess which one was which. There are some classic scenes though and for that maybe I should have gave it a higher rating. I landed at six because the slow parts were tiresome and made it not feel like a Pink Panther movie. Which is kind of funny because I do believe this is the first Pink Panther made. Hopefully that is true so I can give them the excuse that they just hadn't found their direction yet. I would say despite my rating it is worth watching. That may sound strange but there are a few iconic Pink Panther scenes in this movie that should be watched. The ending is solid as well which gives way to more, which obviously they made more. So watch it and know that it only goes up from this movie to the next Pink Panther.

"The Pink Panther" is a risque (for its time) romantic heist farce starring David Niven and Robert Wager, as uncle and son jewel thieves. Also included is a small slapstick part was Peter Sellers (originally to be Peter Ustinov) as the French detective hot on their trail. While the romantic farce isn't bad, the exquisite slapstick timing of Peter Sellers not only kept this movie from being an innocuous but one-note affair, it also was the genesis of a comic legend. Actually two, since the cartoon Pink Panther appears in the credits.

There's no Cato or twitching Inspector Dreyfus (they come in the next Clouseau film, "A Shot in the Dark", one of the funniest movies ever made). Viewers who grew up on the later Pink Panther films that revolve around Clouseau are bound to be disappointed, but they shouldn't let their disappointment mar the movie. Peter Sellers is funny enough in every scene he's in (in fact, he does some of his best Clouseau work in this movie). But "The Pink Panther" should be approached as a film in its own right, and accept its terms as the movie defines them. This is a subtle bedroom farce based on a heist, and it has its unique, languid beauty.

Blake Edwards and Henry Mancini teamed up in 1963 to produce a truly unique motion picture. It is an unabashed spoof of the Alfred Hitchcock thriller of a decade earlier, "To Catch A Thief." filled with adept comic characterization and subtle wit, "The Pink Panther" has suffered in recent years by comparison with the eight or so sequels that Edwards and Sellers have made to capitalize on the slap-stick market. It is a shame. "The Pink Panther" is in a different class from what has followed. If you are after a quick laugh, tune out now.

"The Pink Panther" may be the best genra spoof ever made. It gives the concept of "perfect production" a whole new meaning. It is what "Murder by Death" and "The Cheap Detective" couldn't quite manage. It is sophisticated and smooth and absolutely charming. The story line is fanciful, but tight and complete. The charactors are well rounded and full, albeit somewhat bizaar. The music is marvelous Mancini, and the production is Edwards at his best. Not until "Victor, Victoria" does Blake Edwards even come close to this levea again.

If you love classic films: If you love the sophisticated "caper movie": If you want to know how to be funny without being foolish: then watch "The Pink Panther," but remember, this one's for when you grown up.

Unlike any film in history, "The Pink Panther" left its legacy not by its original sense of humor or iconic performance by Peter Sellers as Inspector Clouseau, but by an animated pink panther and instantly recognizable theme music by Henry Mancini. Anyone born after 1980 knew of "The PInk Panther" at a young age, but had no idea about the film that started it all, only the cool pink cat and that groovy jazz. Truth bet told, these trademarks still leave the finest impression, but the film does have its own merits, namely in Sellers and a few iconic scenes.

"The Pink Panther" does not actually focus on Clouseau's character as the legacy has left myself and the younger generations to believe. Sellers steals the movie (which in fact makes its climax rather awkward), but the plot focuses on a jewel thief named Sir Charles Lytton (David Niven) who is after the Pink Panther diamond from a princess (Claudia Cardinale). His mistress and accomplice is Clouseau's wife (Capucina) and at a ski resort they attempt to get close to the princess and her diamond, with Mrs. Clouseau resorting to her womanly wiles to distract her husband and Sir Charles' young nephew George (Robert Wagner).

This story takes quite some time to get going and frankly the film is a laugh-less bore for about 45 minutes. Sellers hasn't quite gotten enough screen time to get into his slapstick groove going and the plot is all setup to this point. Then the farce truly begins, predominantly with the bedroom scene in which Mrs. Clouseau hides Charles and George in her room after her wacky husband comes home.

It's a fact that the film was never intended to center on Clouseau, but when he was stealing his scenes, veteran director Blake Edwards should have made some adjustments or taken his liberties as co-writer of the script to favor Sellers a bit more. Our focus as viewers never hones in on any one character. As hard as we try to hone in on Clouseau, it doesn't work because the story does not favor him.

As a comedy, the last hour redeems the snore-inducing first act with some terrific scenes like when two thieves find themselves in identical gorilla suits and the "getaway" scene with Clouseau and his men chasing after the thieves and everyone essentially going around in circles. It's classic humor from the last decade of the 20th Century in which this type of humor was still considered in style.

But what lingers on after the film ends? Henry Mancini and our animated panther friend. Maybe those elements are not the best part of this film, but they're responsible for the many follow ups and reincarnations of the series over the last 45-plus years.

~Steven C

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I've heard that this extremely famous film that spawned quite a few sequels was some kind of cinematic masterpiece, but frankly, I just don't see it. The acting is akin to one person after another simply running around like a chicken with its head chopped off, and the plot itself (or lack thereof) is above and beyond convoluted, it's...nothing! Overall, the humor doesn't even amount to much. You know how some movies hold up over time? This one doesn't. In fact, I don't even know why it was a hit back in the sixties.