A Trilha da Pantera Cor-de-Rosa

Peter Sellers died in late 1980, just as he was on the verge of getting another Clouseau flick off the ground. The film was to be titled Romance of the Pink Panther, and this time Sellers was writing the film, with Blake Edwards nowhere in sight. Upon Sellers' death, UA offered the film (which was originally to be helmed by Sidney Poitier, then later Clive Donner) back to Edwards. Rumor has it that the studio wanted Dudley Moore to replace Sellers. Moore and Edwards passed on the same grounds: that no actor could possibly replace could Sellers. A sensible move. Unfortunately, Edwards had other ideas....

This is the result.

There's seldom been a film that's felt as simply, utterly wrong as Trail of the Pink Panther. With this film, Edwards attempted to make an "all new" Panther escapade using deleted footage of Sellers from the previous three Panthers, with brand new scenes filmed around him to make it appear as if Sellers was really involved. For a little while, it almost works (the joins are at times seamless) despite itself. But then you see a sequence lifted wholesale from "Strikes Again" (Clouseau's mishap with a bag of groceries) and things go rapidly downhill. The Sellers footage is of course very amusing, but it's painfully obvious which Panther films the scenes were cut from (especially the "Strikes Again" footage, where a number of that film's supporting characters suddenly appear for no good plot reason) and the flimsy plot does all manner of convulsions to fit the scenes in.

Then, 40 minutes in, Clouseau vanishes, his plane having "disappeared". Suddenly, what plot there was (which was nothing hot anyway) evaporates and the film wanders into would-be Citizen Kane territory. From here on Joanna Lumley (quite lovely with a French accent) wanders in as a TV reporter determined to track down Clouseau. With her arrival, the pace grinds to a halt and so do the laughs. It's certainly nice to see some of the early Panther notables again (David Niven, Graham Stark, Capucine) along with an amusing contribution from Richard Mulligan as Clouseau's even battier father, but even this doesn't really work, outside of padding the film to a releasable running time.

Even worse is that Niven, who was gravely ill at the time, is dubbed by C-Grade impressionist Rich Little. Little can be hilarious impersonating celebrities (his Howard Cosell on Futurama is a blast) but his attempt to seriously imitate Niven is just painful, with his own accent frequently creeping in. It only gives Niven's scenes a bizarre, otherworldly quality, in a film that already feels mighty creepy. Little is also roped in to imitate the voice of Harvey Korman (more successfully) and Sellers (excruciating), which only makes things stranger.

This second half of the film mixes Lumley's interviews with Clouseau's contemporaries with heavy doses of flashback footage (from earlier Panthers), all of it so much better that the new stuff. Even when it attempts to be funny on its own, Edwards resorts to stealing these gags (as opposed to the footage) from earlier triumphs. Witness Dreyfus's barely concealed laughter during his attempt to eulogise his former nemesis...And then remember that he did the exact same thing in "Revenge"...

If there is one shining light in this misbegotten dud, its the peerless Herbert Lom. He's a truly underrated comic presence who manages to rise above the material with all his facial ticks, pratfalls and explosions of rage.

The final shot of the film, with Clouseau standing on a cliff face, looking out to sea (only to get pooped on by a seagull) manages to sum up the whole enterprise. It's a blatant stand-in (how could it be anything but?) and when he does speak (cursing the "swine seagull") it's clearly Little's voice doing a bad Sellers impression. Having passed on "Romance" because he believed no one could replace Peter Sellers, Blake Edwards only went on to prove his point.... In an even less dignified way!

Maybe the final comment should go to Edwards and his dedication at the beginning of this misguided, shambolic but possibly well-intentioned fiasco..."To Peter. The One and Only Inspector Clouseau"

Trying to piece together a movie with a limited number of outtakes is asking for trouble. Actually, they (barely) manage to make a plot of some kind for about the first half of the movie. But when they run out of footage of the late star (even desperately at one point using a longer version of a scene that actually made the final cut in a previous Panther movie), the movie collapses with the ridiculous device of trying to finish the movie by having people relating their memories of the detective.

However, during this second half, there is one bright spot: Richard Mulligan, who plays the famous detective's father. He is *hilarious* in his scenes! And the scenes showing the past of the detective (played by different actors) were pretty amusing. You have to wonder why the movie didn't just focus on Mulligan or the idea of showing the detective in the past.

Cut 45 minutes of filler material and this would make a nice little hour-long network retrospective and a decent tribute to Peter Sellers. It mostly plays that way anyway, with a "plot" which is simply dropped halfway through, serving only as one of the framing devices to introduce the Sellers clips. The other framing device, a reporter's series of interviews with Clouseau's associates, is so inanely written and obviously "tribute-y" that it's shocking to remember that this was a theatrical feature film.

And that was Blake Edwards' major mistake. Some of the unused footage is amusing, but if it had been up to Sellers' usual hilarious standard, it wouldn't have gone unused. And the flashback sequences are made up of, well, flashbacks--scenes which we already saw in the previous movies. On a TV special, that would have been fine. Here, it just makes you wonder what Edwards could have been thinking.

Blake Edwards was not interested in doing a "tribute" to the late Peter Sellers with this movie. What he wanted to do was find a way to milk more money out of the property by first setting us up with a "Clouseau disappears" movie to squeeze the last nickel out of Sellers posthumously and then hope audiences would come back for the dreadful follow-up with Ted Wass and he could then get some more movies out of it. For the first half, we have half a plot by using old Sellers outtakes and then when he runs out it turns into a "tribute" by spotlighting old clips. What I remember so vividly when I saw this movie in the theaters was how after the outtakes ended, absolutely no one in the theater laughed for the last half of the movie.

If Edwards wanted to do a proper "tribute" he would have taken these Sellers outtakes (which are funny) and put them back into longer directors cut versions of the Panther films they were originally intended for (one outtake finally clears up why Clouseau keeps referring to Colin Blakely as "Sergeant Yard" in "Pink Panther Strikes Again"). The end result would have pleased everyone as a proper tribute to Sellers' genius and when Edwards used to know how to make a funny movie. Unfortunately Edwards wasn't bright enough to think of a sensible idea like that.

I still can't figure out why they made a Pink Panther movie after Peter Sellers died. This one features someone stealing the diamond and Insp. Clouseau getting sent to find it, only to disappear in the process. So, most of the movie features interviews with other cast members about how they met Clouseau (and featuring many of Clouseau's mishaps). At the beginning they say "To Peter, the one and only Inspector Clouseau", but I would agree with Peter Sellers's widow that "Trail of the Pink Panther" dishonored his memory. Maybe it is good for a few laughs - namely the airplane scene - but it otherwise just seems unnecessary. And then there was another Pink Panther movie after this.