Revenge of the Pink Panther (1978)

Revenge of the Pink Panther (1978) is the fifth and final Pink Panther film to be released during Peter Sellers' lifetime, and the last of the series made before his death in 1980. Directed once again by Blake Edwards, the film continues the comic misadventures of the eternally clumsy Inspector Jacques Clouseau, this time embroiled in a plot involving the French underworld, international intrigue, and mistaken death. While not as innovative as the original The Pink Panther (1963) or as tightly constructed as The Return of the Pink Panther (1975), this entry nonetheless serves as a showcase for Sellers’ unparalleled physical comedy and the long-running synergy between him and Edwards.

Plot Summary

The plot of Revenge of the Pink Panther centers around a French crime syndicate led by Philippe Douvier (Robert Webber), whose authority is being questioned by his peers. To reaffirm his standing in the criminal underworld, Douvier concocts a scheme to assassinate the world-famous Inspector Clouseau.

However, the plan goes awry. Though a body dressed in Clouseau’s clothes is killed in an explosion, the real Clouseau survives, mistakenly assuming someone else was the target. Using this opportunity, he fakes his own death to investigate the criminal plot from the shadows. As Clouseau dons a series of ludicrous disguises—including that of a camp fashion designer and a Chinese mafia boss—he uncovers Douvier's plans to smuggle drugs with the help of American business interests.

Meanwhile, Clouseau's long-suffering superior, Chief Inspector Dreyfus (Herbert Lom), who had finally found peace after Clouseau's supposed demise, begins to unravel once again upon learning his nemesis might still be alive.

The investigation takes Clouseau to Hong Kong for a climactic series of slapstick sequences involving gunfights, chases, and explosive showdowns, all capped by the inspector's signature bumbling.

Performance and Characters

Peter Sellers remains the cornerstone of the film’s success. His Clouseau is a masterclass in physical comedy, malapropisms, and oblivious self-regard. Though by 1978 Sellers’ health was declining, his comic timing remains impeccable. His improvisational instincts breathe life into otherwise thin scenarios—he doesn’t just act Clouseau, he embodies him in a way that is both ridiculous and, at times, oddly endearing.

The parade of disguises allows Sellers to indulge in comic voices and personas. Some, such as his exaggerated French designer and cross-dressing mafioso, toe the line of cultural insensitivity today, but they reflect the comedic norms of the time and Sellers’ love of character-based transformation.

Herbert Lom is again excellent as the increasingly deranged Dreyfus. His descent into madness has become a reliable running gag in the series, and Lom gives the role more than just cartoon villainy—his twitchy physicality and eyes-wide-incredulity provide some of the film’s biggest laughs.

Robert Webber plays Douvier with suave menace, though he often takes a backseat to the chaos around him. Dyan Cannon, as Douvier’s mistress Simone, adds a touch of glamour and sly comic wit, providing a competent and engaging foil to Clouseau’s buffoonery.

Burt Kwouk, as the ever-loyal Cato, again provides standout physical comedy in his random attacks on Clouseau, designed to keep the inspector on his toes. The ongoing joke of their surprise combat never grows stale due to the inventiveness of the setups.

Direction and Style

Director Blake Edwards continues to rely on the formula that brought the series success: visual gags, mistaken identities, pratfalls, and the escalating absurdity of Clouseau’s presence. By this fifth installment, Edwards has the rhythm down to a science, and while there’s a sense of diminishing returns in some segments, the film is paced briskly and never overstays its welcome.

One of Edwards' most notable strengths here is his handling of large-scale comedic set pieces—especially the Hong Kong sequence, which features a satisfying blend of choreography, action, and slapstick. The tone stays light throughout, and the cartoonish exaggeration of events is consistent with the series’ comedic universe.

Henry Mancini’s score, including the iconic Pink Panther theme, is once again a delight. The jazzy cues underscore the sleuthing spoof tone while also enriching scenes with a sense of mischief and elegance. The animated opening credits—featuring the titular Pink Panther character—remain charming and well-executed.

Humor and Set Pieces

The film’s humor is rooted in chaos and absurdity, with highlights including:

Clouseau’s attempt to infiltrate Douvier’s party in drag.

A series of slapstick fights with Cato, including one staged in a Japanese-style apartment complete with collapsing furniture.

Dreyfus’ reaction upon discovering that Clouseau may still be alive—complete with eye-popping madness.

A chaotic climax involving a Hong Kong brothel, kung-fu clichés, and a mistaken identity with a mob boss.

While not all jokes land—some skits go on longer than needed or feel like retreads—the energy rarely flags. The humor is primarily physical and visual, eschewing plot sophistication in favor of comic mayhem.

Criticism and Limitations

By 1978, the Pink Panther formula had begun to show signs of wear. Revenge of the Pink Panther offers little in the way of narrative innovation and relies heavily on past glories. Some critics at the time felt the series was treading water, and there's truth to that. The character of Clouseau, though still funny, has become more caricature than character.

The plot, as usual, is flimsy, often serving as a mere excuse for gags rather than as a coherent mystery or adventure. The reliance on racial and cultural stereotypes—particularly in the Hong Kong scenes and Clouseau’s disguises—feels dated and problematic by modern standards, though it was largely unremarked upon at the time.

Legacy and Conclusion

Revenge of the Pink Panther marked the end of an era. Peter Sellers would die just two years later, and subsequent Pink Panther films struggled to recapture the original magic. While this film doesn’t reach the comic heights of A Shot in the Dark (1964) or The Return of the Pink Panther (1975), it is nonetheless a solid and affectionate entry in the series. For fans of Sellers’ Clouseau, it’s a worthy swan song, offering moments of inspired lunacy and gentle satire.

In retrospect, the film stands as a nostalgic slice of late-70s comedy cinema, reminding us of a time when slapstick reigned, stars improvised freely, and comedy dared to be delightfully absurd.

While not the most original of the series, Revenge of the Pink Panther is buoyed by Peter Sellers’ comic brilliance, memorable set pieces, and a sense of play that few comedies today can replicate. A flawed but loving send-off for an iconic character.