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Revenge of the Pink Panther

Revenge of the Pink Panther

Comedy · Crime · Mystery · 1978

Chief Inspector Jacques Clouseau is dead. At least that is what the world—and Charles Dreyfus—believe when a dead body is discovered in Clouseau's car after being shot off the road. Naturally, Clouseau knows differently and, taking advantage of not being alive, sets out to discover why an attempt was made on his life.

Movie details

Revenge of the Pink Panther

“Just when you thought it was safe to go back to the movies.”

1978 Comedy · Crime · Mystery 1h 39m

Critical arithmetic

One number, for now.

TMDB

6.4 / 10

Community rating

Chief Inspector Jacques Clouseau is dead. At least that is what the world—and Charles Dreyfus—believe when a dead body is discovered in Clouseau's car after being shot off the road. Naturally, Clouseau knows differently and, taking advantage of not being alive, sets out to discover why an attempt was made on his life.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Revenge of the Pink Panther?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Blake Edwards

Written by

Frank Waldman · Ron Clark · Blake Edwards

Peter Sellers

Peter Sellers

Chief Inspector Clouseau

Herbert Lom

Herbert Lom

Chief Inspector Dreyfus

Dyan Cannon

Dyan Cannon

Simone Legree

Robert Webber

Robert Webber

Philippe Douvier

Robert Loggia

Robert Loggia

Al Marchione

Paul Stewart

Paul Stewart

Julio Scallini

Adrienne Corri

Adrienne Corri

Therese Douvier

Court is in session

Put Revenge of the Pink Panther on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Cool Ironist

“Form is the argument.”

Every composed frame and deliberate cut is evidence that control can be thrilling in its own right.

The prosecution The Popcorn Loyalist

“Technique in search of a pulse.”

Immaculate construction is still construction. The film may be too busy proving its craft to feel alive.