The Pink Panther is - paws down - the world's grooviest cartoon star. In 1964, this pink-inked feline slinked onto the opening credits of Blake Edwards' caper film by the same name and threatened to steal the entire show. Sleek, sophisticated and witty, the animation, produced by Friz Freleng and David H. DePatie, was a stylish departure from its contemporaries…and an instant hit. A subsequent short film, The Pink Phink, would go on to win* an Oscar® and spawn a celebrated series of six-minute cartoons featuring the sly cat. Now, for the first time, 124 cartoons produced by Freleng and DePatie between 1964 and 1980 are collected here in a swingin' 5-disc set. With over 14 hours of 'pink comedy,' you can't help but lick your whiskers!
One of the unforeseen (and hugely profitable) benefits of the first Pink Panther movie was the popularity of the cartoon cat from that film's classic credits sequence. Added on a hunch by director Blake Edwards and concocted by the DePatie-Freleng animation team, the slinky pink feline immediately spawned his own series of cartoons, first for theatrical release and later for television. The saga is gathered in The Pink Panther Classic Cartoon Collection, five discs of 124 cartoons, plus extras. This would have to be considered the ultimate such collection, and more than the average fan could handle in a few sittings (or a few dozen). But they're all here.
When United Artists commissioned David DePatie and Friz Freleng (whose new company was born from the eclipse of the old Warner Bros. cartoon unit) to make freestanding Pink Panther cartoons, their first effort struck gold. Literally: The Pink Phink won the Oscar for best animated short subject, and is still a prime example of circa-1964 line drawing and visual humor. Most of the early shorts display a sure sense of timing and a cheeky feel for the era; they were directed by Freleng and Hawley Pratt (Pratt's design for the Pink Panther had been selected by Blake Edwards from dozens of offerings at the time of the first feature). In two of the first handful, Sink Pink and Pink Ice, the Pink Panther himself speaks stray lines of dialogue, a mistake that would not be repeated later. One unwelcome aural intrusion: some of the cartoons here have a laugh track from the TV series, even on the Oscar-nominated Pink Blueprint.
Animation voiceover veterans of the era chimed in with narration or voices for other characters; for instance, the indefatigable Paul Frees does the narration on Phinkfinger, a funny spoof of 007-style spy movies. But most of the cartoons are wordless, which is one reason they remained popular internationally for so many years. The main reason is the slinky character of the Panther, a mischievous hipster who could be either the instrument of chaos or the victim, depending on the cartoon. The plots tend toward the cartoon verities: the necessity of catching a mouse or silencing an alarm clock, for instance. A documentary, Behind the Feline, gives a fine account of the history of the character; it is also bundled on a previous boxed set, The Pink Panther Film Collection. Useful new extras include a portrait of Friz Freleng by his daughters, an illuminating interview with animator-director Art Leonardi, and a delightful vignette with Leonardi instructing us on how to quickly draw the Pink Panther. The opening-title sequences from five Pink Panther movies are included. Throughout the cartoons and the extras, you will be reminded of one incalculable boost to the series: Henry Mancini's lithe, foxy theme music, which surely had much to do with the character's enduring fame. Mancini gets an onscreen shout-out in Pink, Plunk, Plink, in which the Panther tries to inject his theme into an orchestral performance of Beethoven's Fifth. --Robert Horton

PINK PANTHER (COLLECTORS EDITION) - DVD Movie
The history of film comedy would have been much altered if Peter Ustinov had stayed in the role of Jacques Clouseau, the bumbling French police inspector in The Pink Panther. But Ustinov dropped out, the role went to Peter Sellers, and a classic character was born: suspicious, blundering, with a pompous little mustache and a sometimes impenetrable accent, Clouseau was always one step behind everybody else in the room. The Pink Panther introduced Clouseau hot on the trail of a famous jewel thief (David Niven), who may be planning to make off with an expensive gem known as the Pink Panther. Set in a European ski resort, this bubbly comedy is a wonderful dose of '60s style, from the famous Henry Mancini theme music to the presence of two of Europe's top sex symbols of the era, Claudia Cardinale and Capucine. The film also introduced the popular cartoon Pink Panther, slinking around to Mancini's music in an animated credits sequence. The film's success brought a follow-up, A Shot in the Dark, also released in 1964; after 11 years, Sellers and top comedy director Blake Edwards (10) returned with three more sequels. --Robert Horton
The history of film comedy would have been much altered if Peter Ustinov had stayed in the role of Jacques Clouseau, the bumbling French police inspector in The Pink Panther. But Ustinov dropped out, the role went to Peter Sellers, and a classic character was born: suspicious, blundering, with a pompous little mustache and a sometimes impenetrable accent, Clouseau was always one step behind everybody else in the room. The Pink Panther introduced Clouseau hot on the trail of a famous jewel thief (David Niven), who may be planning to make off with an expensive gem known as the Pink Panther. Set in a European ski resort, this bubbly comedy is a wonderful dose of '60s style, from the famous Henry Mancini theme music to the presence of two of Europe's top sex symbols of the era, Claudia Cardinale and Capucine. The film also introduced the popular cartoon Pink Panther, slinking around to Mancini's music in an animated credits sequence. The film's success brought a follow-up, A Shot in the Dark, also released in 1964; after 11 years, Sellers and top comedy director Blake Edwards (10) returned with three more sequels. --Robert Horton