History always repeats itself. When I was young, my father was a big fan of the "Pink Panther" film series, and I remember how I loved sitting next to him for those hilarious animated opening sequences, but couldn't be bothered with the rest of the film. Last weekend when "A Shot in the Dark" came on television, my own 10-year-old son was also delighted with the animated footage, but then voluntarily asked to go to bed because he was disappointed that the rest of the film was with "real" people. Whether you are 10, 40 or 80 years of age, I guess the animated credit sequences of "The Pink Panther" remain timeless and brilliant (even if, like in this case, the animation doesn't even feature the famous theme song and iconic cartoon panther).
Same as me 30 years ago, my own son is still too young to appreciate that the rest of "A Shot in the Dark" is also marvelous comedy-material! Peter Sellers guarantees non-stop chuckles and hilarious laughter as the clumsy and incompetent Parisian police inspector Jacques Clouseau, and the genius lies within the fact that he (as well as his co-stars) remain dead serious and straight-faced regardless what mayhem he unwarily causes around him. In "A Shot in the Dark", surprisingly co-written by none other than William Peter Blatty (author of "The Exorcist"), Clouseau is sent for when a murder occurs in the fancy estate of millionaire Mr. Benjamin Ballon. During the fantastically convoluted pre-credits opening sequence, we are already made clear this is a household full of affairs, betrayal and dangerous liaisons, though. The chauffeur has been shot four times in the chest, and the chambermaid Maria Gambrelli is undoubtedly the culprit because she stood over his dead body with the murder weapon in her hand. When Clouseau sees her, however, he promptly falls in love with her and does whatever it takes to prove her innocence.
"A Shot in the Dark" is, hands down, one of the funniest comedies I've ever seen. The comical highlights are almost too numerous to list, like the game of pool between Inspector Clouseau and Mr. Ballon, the trip to the nudist colony, Clouseau's unsuccessful attempts to shadow Maria whilst undercover, the increasing nervous tics of Commissioner Dreyfus or the collateral damage piling up during Clouseau and Maria's night on the town. I must admit, however, that I secretly also hoped for the actual whodunit plot to be better and more engaging. This film is somewhat the complete opposite of the contemporary Agatha Christie adaptations featuring Margaret Rutherford as Miss Marple. In those films, the aspired comedy isn't so great, but the denouements are vintage Agatha Christie greatness, whereas in "A Shot in the Dark", the comedy elements are impeccable, but the end revelation is rather disappointing. You can't have it all, I guess...
Same as me 30 years ago, my own son is still too young to appreciate that the rest of "A Shot in the Dark" is also marvelous comedy-material! Peter Sellers guarantees non-stop chuckles and hilarious laughter as the clumsy and incompetent Parisian police inspector Jacques Clouseau, and the genius lies within the fact that he (as well as his co-stars) remain dead serious and straight-faced regardless what mayhem he unwarily causes around him. In "A Shot in the Dark", surprisingly co-written by none other than William Peter Blatty (author of "The Exorcist"), Clouseau is sent for when a murder occurs in the fancy estate of millionaire Mr. Benjamin Ballon. During the fantastically convoluted pre-credits opening sequence, we are already made clear this is a household full of affairs, betrayal and dangerous liaisons, though. The chauffeur has been shot four times in the chest, and the chambermaid Maria Gambrelli is undoubtedly the culprit because she stood over his dead body with the murder weapon in her hand. When Clouseau sees her, however, he promptly falls in love with her and does whatever it takes to prove her innocence.
"A Shot in the Dark" is, hands down, one of the funniest comedies I've ever seen. The comical highlights are almost too numerous to list, like the game of pool between Inspector Clouseau and Mr. Ballon, the trip to the nudist colony, Clouseau's unsuccessful attempts to shadow Maria whilst undercover, the increasing nervous tics of Commissioner Dreyfus or the collateral damage piling up during Clouseau and Maria's night on the town. I must admit, however, that I secretly also hoped for the actual whodunit plot to be better and more engaging. This film is somewhat the complete opposite of the contemporary Agatha Christie adaptations featuring Margaret Rutherford as Miss Marple. In those films, the aspired comedy isn't so great, but the denouements are vintage Agatha Christie greatness, whereas in "A Shot in the Dark", the comedy elements are impeccable, but the end revelation is rather disappointing. You can't have it all, I guess...