Son of the Pink Panther

Metro-Goldwyn-Mayer (MGM) | Release Date: August 27, 1993

2.8	USER SCORE Generally unfavorable reviews based on 5 Ratings

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FilipeNetoJun 5, 2022

People say that presumption is like holy water, each one takes what they want. And Blake Edwards, out of conceit, vanity, stubbornness or greed, could not understand that the entire Pink Panther franchise was long dead when he released thisPeople say that presumption is like holy water, each one takes what they want. And Blake Edwards, out of conceit, vanity, stubbornness or greed, could not understand that the entire Pink Panther franchise was long dead when he released this ultimate film, an inglorious, almost shameful swan song for a franchise that deserved to have had a most worthy and honorable end. In fact, with the death of Peter Sellers, the franchise lost all viability and continuing it, movie after movie, was a mistake that Edwards couldn't recognize.

In this film, the plot picks up several loose ends from the first films, over thirty years old, to build a new story where the princess of Lugash is kidnapped by a terrorist. In the middle of the escape, the terrorist is stopped by Jacques Gambrelli, a young policeman with little sense and very idiot, who lets him escape out of sheer naivety, and to the astonishment of Commissioner Dreyfus. Only later does it come to be discovered that this policeman is, in fact, the son of the late Inspector Clouseau and Maria Gambrelli, who the inspector had previously assisted in one of his cases.

The problem I felt the most with this film is the absolutely idiotic plot, and the almost crazy and obscene way in which Blake Edwards tries to make money off of past successes without giving us anything truly new and worthwhile. Slapstick comedy is very much present here, as it has always been in this franchise, but the resources used are old, worn out and not surprising us anymore.

The cast also leaves a lot to be desired, making me wonder how much they really wanted to be involved in a project so inevitably doomed. Herbert Lom and Claudia Cardinale try to do everything they can to save their work, but all their effort is ruined by the weakness of the work done by Robert Davi, Debrah Farentino and, most importantly, Roberto Benigni. The film could not be saved.

With lackluster but functional cinematography and an elegant and funny animated opening credits sequence, the film manages reasonably well on the technical aspects. The filming locations were well selected, but sometimes poorly used, the editing is neither the best nor the most inspired and the pace of the film is exasperating and tiring.… Expand

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