SON OF THE PINK PANTHER
A film review by James Berardinelli
Copyright 1993 James Berardinelli
Rating (Linear 0 to 10): 3.2
Date Released: 8/27/93 Running Length: 1:35 Rated: PG (Violence)
Starring: Roberto Benigni, Herbert Lom, Claudia Cardinale, Debrah Farentino, Jennifer Edwards Director: Blake Edwards Producer: Tony Adams Screenplay: Blake Edwards, Madeline Sunshine, Steve Sunshine Music: Henry Mancini Released by United Artists
In 1964's A SHOT IN THE DARK, Peter Sellers' Inspector Clouseau met a young Maria Gambrelli (then played by Elke Sommers, now by Claudia Cardinale). Twenty-nine years later, it's revealed that Maria and Jacques had a brief fling, the result of which was Jacques Gambrelli (Roberto Benigni) who, during the course of this film, comes to be known as Jacques Clouseau Jr. Gambrelli learns of his father's identity while working on the case of the missing Princess Yasmin (Debrah Farentino), the beautiful daughter of an Asian king.
Nothing is sadder than seeing a once-beloved movie series keep churning out sequels long after its time is past. Thirty years ago, when classics like THE PINK PANTHER and A SHOT IN THE DARK came out, they were among the best comedies available. Three more Sellers' PANTHER movies subsequently were released (THE RETURN OF THE PINK PANTHER, THE PINK PANTHER STRIKES BACK, and THE REVENGE OF THE PINK PANTHER), none as good as the first two, but all worthwhile diversions. Unfortunately, Sellers' death in 1980 failed to stem the tide of the films which, at that point, should have been ended. THE TRAIL OF THE PINK PANTHER and THE CURSE OF THE PINK PANTHER were produced, neither of which was worth the price of admission.
Now, ten years after CURSE, just when we thought we were free of the series, movie #8 comes out. Finally, Blake Edwards has acknowledged that the original Clouseau is dead, not missing (as was the premise in the two early-80s pictures), so to fill in the gap he gives us a previously unknown son, played by Italian comic actor Roberto Benigni.
Benigni, star of the farce JOHNNY STECCHINO, is adept when it comes to physical humor, and his abilities are highlighted here in four or five scenes that include heavy doses of slapstick. However, while these produce some laughter, they are largely regurgitations of material from previous PINK PANTHER entries. Beyond copying Peter Sellers' style, Benigni has little to do, and less by which to distinguish himself.
Old friends like Cato (Burt Kwouk) and Dr. Balls (Graham Stark) are back, even though the thinly-plotted script can come up for no logical reason for them to be there. Each appears only briefly, doing the same old shtick. Of course, Commissioner Dreyfus (Herbert Lom) is on hand as well, but he doesn't seem the same. I guess the years have taken away his edge. The anticipated apoplexy when he learns of Clouseau's offspring, is mild.
Blake Edwards, although long regarded as a comic genius, has recently turned out a string of barely-watchable films. Gone are the BREAKFAST AT TIFFANY'S and SOBs, replaced by such memorable titles as SKIN DEEP (with the infamous condom scene) and SWITCH. Far from bringing him back to the glory days, SON OF THE PINK PANTHER further entrenches Edwards in the pit of mediocrity into which he has descended. Once, we demanded superlative films from him; now, we're just hoping for something somewhat entertaining.
The opening titles are as uninspired as those for any of the PINK PANTHERs. Although they give the big cat his first opportunity to mix with live actors, the interaction is stale and fails to stir a chuckle. It's sad, because I always considered the Pink Panther to be one of the funnier cartoon characters, both on his own and introducing the Clouseau movies.
Not only is the animated panther not up to snuff, but the opening theme is sub-par as well. Henry Mancini's well-liked "Pink Panther" tune is horribly "modernized" by Bobby McFerrin ("mangled" might be a better word). At least the end credits retain the original music in its full orchestral splendor.
There's very little about this movie that isn't disappointing. One might make the foolish assumption that for a PINK PANTHER film to be produced out ten years after the last disastrous entry in the series, there had to be a creative reason--preferably something new and inventive. Instead, however, we are lumbered with this cobbled-together effort. If there's a mercy, it's that SON OF THE PINK PANTHER should finally put the Clouseau family to rest. Then again, that's what I thought about THE CURSE OF THE PINK PANTHER.
- James Berardinelli (blake7@cc.bellcore.com)
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