7.2 | / 10 |
Users | 0.0 | |
Reviewer | 3.5 | |
Overall | 3.5 |
This time the bumbling French detective Inspector Clouseau is reluctantly called back into service by Chief Inspector Dreyfus when someone swipes the infamous Pink Panther diamond from the museum in Lugash. The prime suspect is the smoothly aristocratic jewel thief Sir Charles Lytton, aka the Phantom.
Starring: Peter Sellers, Christopher Plummer, Catherine Schell, Herbert Lom, Peter ArneComedy | 100% |
Crime | Insignificant |
Family | Insignificant |
Mystery | Insignificant |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 2.35:1
Original aspect ratio: 2.39:1
English: DTS-HD Master Audio 2.0 (48kHz, 24-bit)
1576 kbps
English SDH
Blu-ray Disc
Single disc (1 BD)
Region A (locked)
Movie | 4.0 | |
Video | 3.5 | |
Audio | 3.0 | |
Extras | 3.5 | |
Overall | 3.5 |
The Return of the Pink Panther is being released as part of The Pink Panther Film Collection.
Exempting Inspector Clouseau (1968), which wasn't directed by Blake Edwards and didn't star Peter Sellers, The Pink Panther series went on an eleven-year hiatus without a film since A Shot in the Dark (1964) for reasons that are still not entirely clear. An idea for another sequel had been percolating in Edwards's mind for a long time and with The Return of the Pink Panther, that idea went from possibility to probability to finally eventuality. Edwards and Sellers had not had a big hit in a long while and their hopes pinned on this 1975 feature, which although distributed by United Artists, was financed independently. Edwards and co-scenarist Frank Waldman took a "back to the basics" approach with returning to the premise of Inspector Clouseau sleuthing for the priceless diamond that has supposedly been looted by the same Black Phantom that he chased in the series' first installment. Edwards and his cast/crew infuse The Return of the Pink Panther with new locations and find fresh ways to handle the comedic material and visual gags. I am in total agreement with Jason Simos on this BD's audio commentary that The Black Phantom's snatching of the Pink Panther jewel is one of the most brilliantly conceived heist sequences in all of cinema. Cinematographer Geoffrey Unsworth films a cat-burglar sliding along a cable from a nearby apartment-block after she or he has fired a crossbow. The black-clad figure sidles atop the roof of a minaret and archway belonging to the Middle Eastern Lugash Museum. The Phantom then slides down the cable and lands very stealthily on the entrance ground. Upon entering the Room of Jewels, The Phantom tries somehow to avoid the electronic eyes and radar shield by gingerly moving across the floor on its back. Once it reaches the pedestal of the Pink Panther diamond, The Phantom lowers one mechanical claw-device onto the jewel's cushion and tries to extract the gem with the other. The suspenseful sequence is perfectly shot and flawlessly executed by the stunt person in the suit.
General Wadafi (Peter Jeffrey) calls Clouseau (Peter Sellers) about the theft. After being reinstated following a suspension by his superior, Chief Inspector Charles Dreyfus (Herbert Lom), Clouseau flies into Lugash from France to meet with government officials. Clouseau quickly suspects that Sir Charles Litton (Christopher Plummer) is up to his old tricks again. Litton is relaxing in his swimming pool in Nice when his wife, Lady Claudine Litton (Catherine Schell), confronts him about a newspaper story reporting the burglary. Although he predicts that authorities will seek him, Charles tries to assure her that he wasn't the thief and pledges to remain in retirement.
Inspector Clouseau begins another investigation of the precious stolen jewel.
Shout Select presents The Return of the Pink Panther in its original theatrical aspect ratio of 2.35:1 on this MPEG-4 AVC-encoded BD-50, with a standard bitrate averaging 29999 kbps and total bitrate on the disc amassing 35.19 Mbps. Before examining the transfer and its UK counterpart, the reader should keep in mind the camera equipment, lighting conditions, et al. that were employed on the film. In an article for American Cinematographer (AC), production manager Peter Samuelson documents that the crew used the then-new Panavision Panaflex and also the HardFront wild Arris as backup, as well as for multi-camera use. Camera operator Peter Macdonald (future director of Rambo III) was saddled with the Studio Base for the Panaflex, which helped to provide coverage for very tight location interiors. According to Samuelson, the crew experienced exceedingly low-light levels during evening shoots in the alleyways and squares of Marrakech and Casablanca. For the carefully choreographed heist, director of photography Unsworth says in an AC interview that he used Panavision fast lenses and was aided by street lights below, as well as car headlights and traffic lights. Unsworth and his crew brought a significant number of quartz lights and Mini-Brutes (as Unsworth calls them) along so they could bounce off of ceilings and white walls. They also placed them behind brass columns and things where conventional lamps couldn't operate. While interior shots on the Shout transfer reveals a washed-out look (see various captures throughout), the glean and glistening look on the actors' faces is probably due to the presence of quartz lights that Unsworth spoke about. Another intent was to generate a soft effect when the camera panned within an interior. Camera crew only had one 1,000-amp generator, which means that only four arcs could be used. For exterior shots in Marrakech/North Africa, brute arcs were set up to fill the extremely bright sunlight (see Screenshot #13). Unsworth says he chose them because they're the only units that could match the bright sunlight.
The Shout transfer likely originates from the 2006 Universal DVD. In his critique of that disc, Peter Schorn of IGN notes that "the opening scenes are a swarm of grain, flicker and soft detail that made it appear that the print was stored in a sandbox. After that inauspicious beginning, it gets better without ever getting really good...Black levels and shadow detail are poor." Even though this isn't a new restoration, Shout seems to have cleaned some of these issues up. Shout's print also probably emanates from the source used by UK-based Fabulous Films for its Blu-ray. Based on what I've gathered about that transfer, Shout's appears to have less print damage, though. There are occasional blemishes, such as the two thin tramlines and scratch on the right side in #14. The animated titles designed by Richard Williams look clean in pink and cherry red (see #s 15-17). The transfer is still far from perfect but I believe there have been at least minor and subtle improvements made compared to the first BD release.
Shout has only included a DTS-HD Master Audio 2.0 Dual Mono (1576 kbps, 24-bit). Henry Mancini's main theme sounds warm and jazzy. Dialogue is mostly intelligible (especially once you get used to Sellers's accent). Though not wholly necessary, a stereo option or a 5.1 remix could have exploited the f/x more from the various sight gags. It also could have provided a boosted ambiance for the on-location scenes.
Shout has included optional English SDH for the main feature.
The Return of the Pink Panther mostly fires on all cylinders and ranks high on my list for best sequel in the series. Shout's transfer offers a slight upgrade over Fabulous Film's BD but greatly advances in way of a plethora of new bonus materials. The UK edition offered zilch while Shout recorded a solid commentary track, two new interviews, vintage featurettes, and photo galleries. HIGHLY RECOMMENDED.
(Still not reliable for this title)
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