Alright, fellow tapeheads, let's rewind to a time when the bumbling Inspector Clouseau was still causing chaos, seemingly back from the dead. Settle in, maybe adjust the tracking just right, because we're diving into 1978's Revenge of the Pink Panther. This one holds a special place, doesn't it? It was the last time we saw the inimitable Peter Sellers fully embody Clouseau in a film released during his lifetime, and the thought alone adds a layer of poignancy beneath the pratfalls.
### Not Quite Dead Yet
The setup is classic Blake Edwards caper territory: the world believes Chief Inspector Clouseau is assassinated, blown to bits by Philippe Douvier (Robert Webber), head of the French Connection, who needs the famed detective out of the way. Of course, Clouseau, through sheer, baffling luck, isn't dead at all. He sees his "death" as the perfect opportunity to go undercover, teaming up (in his uniquely destructive way) with Douvier's disgruntled former mistress, Simone LeGree (Dyan Cannon). Meanwhile, the perpetually tormented Chief Inspector Dreyfus (Herbert Lom) hears of Clouseau's demise and is... well, let's just say he regains his sanity only to lose it all over again when clues suggest his nemesis might still be shuffling around, causing mayhem.
### The Sellers Masterclass
Let's be honest, you didn't rent a Pink Panther movie for intricate plotting. You rented it for Peter Sellers. Even here, with his health reportedly already failing (a sad "Retro Fun Fact": Sellers suffered from serious heart problems and tragically passed away just two years after this film's release), his commitment to the physical comedy is astonishing. The disguises sequence alone is worth the price of admission – Clouseau testing absurd outfits, including that Toulouse-Lautrec getup, is pure comedic genius delivered with incredible physicality. It’s a masterclass in transforming oneself through posture, voice, and sheer force of will, even when the disguise itself is utterly transparent. Remember how effortless he made those falls and stumbles look? That's timing honed over years, executed practically, right there on screen. No digital trickery, just brilliant performance.
Another bit of trivia often shared is that the running gag involving Clouseau's Japanese informant, Mr. Chong (Burt Kwouk, playing Cato's informant), and the repeated misunderstanding of "Balls" was apparently an ad-libbed line by Sellers that Blake Edwards loved and kept in. It’s those moments of inspired silliness that defined the series.
### Chaos Engineered by Edwards
Blake Edwards, returning to direct and co-write (with Frank Waldman), knew exactly how to orchestrate this brand of sophisticated slapstick. Having honed his craft on previous Panther films and gems like The Party (1968), he gives Sellers ample room to shine while ensuring the surrounding chaos feels perfectly timed. The set pieces, like the increasingly frantic attempts by assassins to actually kill Clouseau while he remains blissfully unaware, or the final extended sequence in Hong Kong, are monuments to escalating absurdity. Edwards uses the widescreen frame beautifully, often letting gags play out in the background or catching reactions that heighten the comedy.
And you can't talk Pink Panther without mentioning Henry Mancini's iconic score. That slinky, instantly recognizable theme weaves its way through, setting the perfect mood for espionage and idiocy.
### The Supporting Players in the Mayhem
While Sellers is the main event, the supporting cast is crucial. Herbert Lom as Dreyfus is, as always, magnificent. His journey from catatonic despair to murderous rage (and back again) is a series highlight across the films. His reactions to Clouseau – the involuntary tics, the strangled cries – are comic perfection. Dyan Cannon brings glamour, sharp comic timing, and holds her own against Sellers' whirlwind performance. She’s not just reacting; she’s an active participant in the lunacy. And having familiar faces like Graham Stark pop up as Hercule adds to that comfortable, returning-to-old-friends feeling these sequels often provided.
### Legacy on Tape
Revenge wasn't universally adored by critics upon release, often seen as relying on familiar formulas. But audiences didn't seem to mind; the film was a box office success, pulling in nearly $50 million worldwide on a roughly $12 million budget (that's solid 70s money!). For those of us browsing the comedy aisle at the video store, seeing Sellers in that familiar hat and trench coat was often an instant rental. It delivered exactly what you expected: Clouseau causing accidental destruction on a global scale, Dreyfus losing his mind, and plenty of genuinely funny, well-executed gags. Rewatching it now, there's a warmth to its silliness, a charm in its practical execution of gags that often feels missing in today's slicker comedies. Does every joke land perfectly decades later? Maybe not. But the commitment, the craft, and Sellers’ sheer comedic brilliance absolutely do.
***
VHS Heaven Rating: 7/10
Justification: While perhaps not hitting the absolute comedic peaks of A Shot in the Dark (1964), Revenge delivers consistent laughs powered by a legendary Peter Sellers performance, even under difficult circumstances. Blake Edwards provides reliably slick direction, Herbert Lom is brilliant, and the practical slapstick still holds up remarkably well. It's a funny, familiar, and ultimately poignant final bow for Sellers in his most iconic role during his lifetime.
Final Thought: For pure, unadulterated Clouseau chaos captured on magnetic tape, Revenge remains a testament to the irreplaceable magic of Peter Sellers and the anarchic joy of practically staged absurdity. A worthy spin in any retro fan's VCR.