The Pink Panther Cartoon Collection (Animated) (DVD)

...Clouseau's misadventures as brought to the screen by Blake Edwards and Peter Sellers are available in this lushly packaged but ultimately disappointing 6 disc DVD Boxset.

What do we get for our pink pounds? Well, it all starts off well enough with 1963's 'The Pink Panther', followed by 'A Shot in the Dark' from 1964. Then there is a massive leap to 1976, which thankfully circumnavigates the non-Edwards, non-Sellers 'Inspector Clouseau' ...
...of the Pink Panther', a highlight of the series, and due to ownership and copyright issues, it was unable to be packaged in this collection. So, we are transported instead to 1976 and 'The Pink Panther Strikes Again', then 1978 for 'The Revenge of the Pink Panther', but most shamefully of all we get the execrable 1982 post-Sellers 'Trail of the Pink Panther'.

Some credit is due for saving us from 'Curse of' and 'Son of', but nevertheless ... more

5 Panthers caged in one box. Inspector Jacques Clouseau's misadventures as brought to the screen by Blake Edwards and Peter Sellers are available in this lushly packaged but ultimately disappointing 6 disc DVD Boxset.

What do we get for our pink pounds? Well, it all starts off well enough with 1963's 'The Pink Panther', followed by 'A Shot in the Dark' from 1964. Then there is a massive leap to 1976, which thankfully circumnavigates the non-Edwards, non-Sellers 'Inspector Clouseau' from 1968. Sadly though, it also bypasses the 1974 'Return of the Pink Panther', a highlight of the series, and due to ownership and copyright issues, it was unable to be packaged in this collection. So, we are transported instead to 1976 and 'The Pink Panther Strikes Again', then 1978 for 'The Revenge of the Pink Panther', but most shamefully of all we get the execrable 1982 post-Sellers 'Trail of the Pink Panther'.

Some credit is due for saving us from 'Curse of' and 'Son of', but nevertheless it leaves us with a hotch-potch of Panther films that doesn't quite do justice to the skills of either Sellers or Edwards.

The earliest entries presented Clouseau as a noble and dignified character who knew he was stupid, the trick being not to let anyone else in on his secret. As the adventures progressed and Blake and Sellers grew to despise each other more and more, so the creativity collapsed and Clouseau mutated into a hapless buffoon.

This isn't to say that the purely slapstick 'Strikes Again' isn't a complete hoot, it is, but between the pratfalls there is none of the charm that Clouseau first displayed, and we rely solely on him falling down staircases. However, the grosses were good and so the Panther franchise rumbled on into the late 70's, and beyond the expiry of Sellers.

As I write this, 'Birth of the Pink Panther' is currently shooting with Steve Martin in the lead role. But, back to the fondly remembered classics, and not so classic.

Peter Sellers was at the height of his powers in the early 60's, as was Blake Edwards (Breakfast at Tiffanys, Operation Petticoat) who conceived 'The Pink Panther' as a vehicle for that other comedy giant Peter Ustinov. Weeks from the commencement of shooting Ustinov withdrew from the project for unspecified reasons, and the search was on for a replacement. Edwards was unaware of Sellers, was shown 'I'm Alright Jack' and duly cast him as Clouseau. Billed second behind the debonaire David Niven, it was inevitable that Sellers would steal the picture from beneath Niven. His appearances are rare but captivating.

Sir Charles Lytton (Niven) leads a double life, society gent by day, famous jewel thief 'The Phantom' by night and cover of darkness. Determined to crack the case is one Inspector Jacques Clouseau of the Surete. A brilliant mind is not to be found in his head, instead he is determined, and relentless, but blessed with little real detecting ability. He is married to the beautiful Simone (Capucine), the only snag in their happy household is that she is in love with Lytton and helping him in his crime spree.

Tipped off that a Princess (Claudia Cardinale) from an African country will be holidaying in Switzerland with the worlds largest diamond in her luggage, Lytton, Clouseau and Lyttons nephew George (Robert Wagner) all converge in the Alps with plans of outwitting each other.

The diamond, much like the plans of Clouseau, contains a flaw, and in certain lights one can see the shape of a pouncing panther, respendent in pink. Princess Dala is soon being wooed by Sir Charles, and shadowed by Clouseau, but who will end up with the Pink Panther in their collection?

'The Pink Panther' is a sprawling, luxurious comedy dripping in class. Shot largely on location in Italy, with some splendid interiors by Fernando Carrere, it's a true case of 'they don't make 'em like that anymore'. That sentiment was to be the springboard for Edwards to revive the series in the 1970s, when he decided it WAS time for someone to make them like that again.

David Niven is superb in the lead, and at this point in Sellers career he was still a creative influence as opposed to destructive and obstructive. He brings Clouseau to life with some beautifully subtle touches, rather than the broad strokes of later efforts. Capucine, Wagner and Cardinale  all add sparkling support, and I dare you to notice that Cardinale is dubbed throughout.

Of course, a massive mention must go to the late great Henry Mancini for his sublime score, and naturally to Edwards for keeping a firm rein on this huge production. Sellers and he shared a love for silent cinema and the art of the sight gag, and there is always something going on to keep the mirth flowing.

At 113 minutes minutes it does feel a little long and momentum is lost towards the end, but it's a minor niggle and the first Panther is a joy. It's transfer onto DVD is pretty impressive too, a 2.35:1 picture from the original super technirama 70mm print it is hard to credit that it's a 40 year old film. Full of life, vibrant pin sharp colour, coupled with a 5.1 remix of the sound.

Bizarrely, Clouseaus next outing was released a mere 3 months after 'Panther', due in no small part to the increasingly 'difficult' Sellers. As he grew in fame, so he exploited his bankability. While 'Panther' was still in post production, Sellers moved onto another detective project, only to find himself unhappy with the script, the director, the sets, and the cast. Calling Edwards he begged him to come and rescue the film, and began piling pressure onto the United Artists Studio Heads. Threats to walk resulted in the arrival of Edwards, who brought young screenwriter William Peter Blatty (The Exorcist) with him.

Between Edwards, Sellers, and Blatty, they resolved to turn the picture into another Clouseau vehicle, retaining some plot from the original screenplay, but certainly not the director or supporting cast.

'A Shot in the Dark' centres around the country house of rich, and influential, industrialist Benjamin Ballon (George Sanders). In this house there has been a murder, amongst other things, and Ballon wants the best detective in France on the case. Only too happy to oblige, Commissioner Charles Dreyfus (Herbert Lom) sets about finding his best man, only to be stunned by Ballon's request for Clouseau. Arriving on the scene, Clouseau immediately suspects everyone, and suspects no-one, as he is eager to impart upon his assistant Hercule (Graham Stark). With one suspect, found stood over the body, with a smoking gun in her hand, things would appear to be simple. The suspect though is the beautiful Maria Gambrelli (Elke Sommer) and Clouseau is instantly in love, and blinded by it too. The bodies continue to pile up, Clouseau falls deeper in love, while Dreyfuss falls deeper into despair.

'A Shot in the Dark' is the film that established the Panther formula, and we are introduced to series regulars like Dreyfuss and Cato (Burt Kwouk). The film is clearly Sellers' this time around, and despite a strong supporting cast, Sellers has the picture all to himself. Shot virtually entirely on studio sets, including 'exteriors', the film has less of an expansive feel than 'Panther', and like it's predecessor, comes perilously close to outstaying it's welcome, although at 102 minutes it's the shorter of the two. Sadly there just isn't enough plot to go around what is essentially a French bedroom farce. Admittedly, when its funny its hugely amusing, and gives us some great highlights from the series, best perhaps being the 'game' of billiards, helped no end by the dry underplaying of George Sanders.

Herbert Lom is an exceptionally welcome addition to 'Shot', and his Dreyfuss is a character capable of stealing the comedy limelight. Cato the manservant (and personal trainer) is also there to provide laughs, and his inevitable defeats by the sly, cheating, Clouseau are amusing.

Continuity is provided by the return of Mancini to scoring duties who, with no mention of a Panther in the title, creates another delicious original score. The titles also remain animated and are another DePatie-Freleng collaboration.

A notch down on 'Panther', lacking sparkle and a bit too claustrophobic, but still superior comedy. Despite studio reservations, after all the problems, and with them still awaiting the final grosses on 'Panther', 'Shot' cleaned up at the box office, and it seemed the Panther was not pink but gold.

Sellers career was now in the stratosphere, and in one of his typically petulant and ungrateful moments decided he no longer needed Edwards and dropped him like a red hot brick. The Mirisch Brothers, who funded both Panthers and delivered them to UA, demanded more Clouseau, but with Sellers refusing to play ball, and Edwards disinterested, they ploughed ahead with the 1968 disaster 'Inspector Clouseau' directed by Bud Yorkin, and with Alan Arkin in the lead role.

Ironically, by 68, Sellers had been forced to return to Edwards for a money making picture. A series of duds saw him eager to reteam and they did for 'The Party', mighty successful it was too. Off Sellers went.

By the time 1974 rolled around, Sellers had a string of flops and unreleased pictures beneath his belt. Forced back onto television to pay the bills, he was only too happy to revive Clouseau for the splendidly funny 'Return of'. It isn't in this collection though, and we must fast forward to 1976 for 'Strikes Again'. A time when Sellers was only too well aware of his reliance on Clouseau for an income, and all the more bitter and hateful because of it.

If Edwards and Sellers were barely speaking to each other by the time of 'Strikes Again' then it doesn't show onscreen. More cartoon than human, Clouseau is a pale shadow of his former self. Every word is mangled and every piece of furniture is a deadly weapon. The plot is pure sci-fi and the comedy pure slapstick. Somehow though, it works, and contains enough tear inducing comedy to succeed.

After years of being subjected to Clouseau, and an attempted murder on the bumbling detective, Dreyfuss finally wound up in an Mental Institution. Clouseau not only robbed him of his sanity, but also his job, but, on the day he is due for release things could not seem better. The sun is shining, his mental health is better than ever, and the board of the Institute have decided to meet to review and release him. As a mark of loyalty, Clouseau decides to pay a visit...

Mayhem ensues, and the only way Dreyfuss will see freedom is by escaping. On the run, and bearing a planet sized grudge, he enlists the help of the worlds top criminals. With this super organisation of crime, he will rob, plunder and steal his way to the control of planet Earth. With emminent scientist Dr Fassbender (Richard Vernon) his hostage in a Bavarian fortress, Dreyfuss is constructing a death ray. The ultimate aim? To blackmail the governments of the world into killing Clouseau. Could the sexy but deadly Olga (Lesley Anne-Down) be the government agent to finish him?

Pure nonsense, but delivered in such an unremmitingly funny collection of falls, trips, bangs, booms and buuurmmmps, that you give up worrying about the inanities of the screenplay (such as there is) and go along for the ride. The slapstick is spot on, the stunts are hilarious, and while 'Strikes Again' is hardly Oscar worthy it is infectious entertainment.

Herbert Lom almost walks away with the picture, certainly scoring more screen time than Sellers and his bunch of stunt doubles. The US Government also score highly in the comedy stakes and it is noticeable that Sellers is barely troubled by Clouseaus slide into Goonery. With locations aplenty, 'Strikes Again' retains the expansive, expensive feel of 'Return', and at the very least acts like a Bond film and takes you to places you'd like to go.

A fine supporting cast employs the talents of Leonard Rossiter, Colin Blakely, Dudley Sutton and watch out for an Omar Sharif cameo. 'Strikes Again' is rubbish, but exceptional rubbish it has to be said.

1978, and Sellers swansong as Clouseau is the utterly regrettable 'Revenge of'. Trimmed to an hour and it might have been more bearable, but on the whole it's a strained effort. A bit of a slog, that no-one really seems to have their heart in. Naturally with Edwards and an albeit in-it-for-the-money Sellers on board there are a handful of exceptionally funny sequences, but nowhere near enough to sustain a 103 minute running time.

Clouseau remains very much alive, inspite of the best efforts of the terminally insane Dreyfuss. He will however remain a marked man, France's most celebrated and decorated police office, Clouseau has been singled out by crime boss Phillipe Douvier (Robert Webber). Douvier is eager to impress his connections around the globe, and feels that the death of Clouseau might just bolster his reputation enough to clinch a drugs deal worth millions. Clouseau is typically invulnerable, and Douvier soon has to contend with the wrath of a woman scorned. Having dumped his mistress (Dyan Cannon), she is quick to side with the investigating Clouseau. Will she give Clouseau all the right clues, and will Clouseau stay one step ahead of the mob, Dreyfuss, a criminal transvestite and Cato?

A Panther too far. Mancini's score is tired. The opening credits are cheap and insulting. Sellers, in between body doubles, looks gaunt and very unwell. Edwards directs in a listless fashion. Little heed is played to continuity, and 'Revenge' feels like a last roll of the dice in a series that was beginning to display diminishing returns. It's smaller in scope, ideas, entertainment and has a weak cast. It looks flat, and in places seems quite inept.

Of note is the fact that US star Robert Webber was even more difficult to work with on set than Sellers. No wonder Edwards seems out of sorts in the directors chair.

Three years later Sellers was dead of a heart attack. Preliminary work had begun on 'Romance of the Pink Panther' and with finance in place, Edwards took the astonishing decision to continue the series and assemble 'Trail of' from outakes and new material without Sellers. The Sellers estate was not overly amused, in agreement were the cinemagoing public. 'Trail' is awful, and even the moments of Sellers outakes (some really quite funny) don't remove the nasty taste from the mouth.

Synopsis: Clouseau killed. Journalist (Joanna Lumley) investigates and interviews old acquaintances.

Enough said. It's appalling. Badly acted, scripted, directed, shot, designed, scored, and utterly loathsome, a kind of ironic tribute to the mean spirited Sellers.

Worse was to follow though, and a year later Edwards was still hammering the nails into the Panther coffin with 'Curse of', an abomination of film making. Excruciatingly embarrasing, with another deathbed performance, this time from the gravely ill David Niven. Roger Moore appears in a vomit worthy cameo, and the lead is taken by Ted Wass. Exactly. Ted Wass.

What about presentation of the films though? Well all are nice new prints, restored to the best standard available, though 'Panther' seems to have had the most care lavished upon it. All are presented in their original ratios, 2.35:1 throughout. Sound is 5.1 on the first film, then reverts to mono for 'Shot', 'Strikes Again', 'Revenge' and 'Trail'.

Extras are plentiful but pretty worthless. 'Panther' is the only film to feature an audio commentary, soley by Edwards, with no moderator, and mightily uninteresting it is too. Edwards is old, through no fault of his own, and takes an absolute age to recount any anecdotes or points of interest, and with no moderator he is allowed to drift aimlessly all over the place. The trivia track is better but, by definition is trivial and often wanders far too far away from the world of Panther.

Each film has its original trailer, and we also get a photo gallery to enjoy. 'The Unknown Peter Sellers' is a one hour documentary that is welcome but fails to shed any real light on the man, with far too many of his yes men and cronies indulging in back slapping.

'Inside the Pink Panther' is a documentary that skims far too lightly over the film series spending less and less time on each sequel, seemingly in a rush to end and get out of the place.

We get a horrid, wretched American TV 'thing' covering the press junket for 'Revenge'. It's barely watchable, and the only thing worth noting is the constant sneer on the face of Sellers who is clearly loathing every minute.

Hurrah, we get 6 of the best Pink Panther cartoons, and a short documentary about the evolution of the cartoon cat entitled 'Behind the Feline'. Finally there is the random inclusion of Sellers' forays into the world of commercials. We get his Barclays and TWA ads to enjoy again and...oh, not again.

There we have it then, all packaged splendindly in a big pink box with a gatefold case. Illustrated with stylised caricatures of the films main characters (sadly they fail to capture the 1960s flavour they so obviously strive for). The discs themselves feature pretty tacky menus, and are a bugger to navigate. Jumpy and clunky, and often leading you somewhere entirely different...usually in Finnish.

It retails at £44.99 on Play.com, and for 6 discs that has to be a bargain, doesn't it? Well, I'm still not sure, the extras are only fleetingly interesting, and I can't imagine touching them ever again, and of the 5 films, only 3 are any good. Still, 3 films would easily be about £40, so I guess I shouldn't complain.

As an adult, revisit the first 3 films in this box, and skip the rest. Children will appreciate 'Revenge', and primates might just swallow 'Trail of'. The films are rated PG throughout, enjoy the ride.

 

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