A Shot in the Dark Reviews

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Super Reviewer
October 13, 2012
Jacques Clouseau investigates a murder in an upper class Parisian residence, protecting the prime suspect for whom he has a crush.
Broad comedy at its best, A Shot in the Dark features Peter Sellers reprising his most famous role. Sellers is great as Clouseau, and many of the physical gags are well choreographed and fun. If nothing else this film proves that the nudity-hiding bits in Austin Powers were thoroughly unoriginal.
The film doesn't say anything, but it doesn't try to.
Overall, this film is fun to watch, and that's about it.
Super Reviewer
½ April 6, 2012
A clever, well-made, funny entry into the 'Pink Panther' series, with the bumbling Inspector Clouseau (the legendary Peter Sellers) being called to investigate a murder in Paris, and how he continually finds ways to screw up the case. While occasionally too silly and stupid, this movie for the most part is a hilarious blast, with a Sellers-esque turn that is crowd-pleasing and irrefutably hysterical. It is not as good as 'Pink Panther', but director Blake Edwards finds ways to keep it interesting, especially when the pace threatens to drag down the movie to a screeching halt. If you like an old-school, clean style of humor, look no further than this movie.
Super Reviewer
May 14, 2011
My favorite of The Pink Panther series, as well as one of the funniest films ever made. This is the quintessential Clouseau film. The comedy is sharp and the outrageousness is, well, outrageous. There are also some fabulous set pieces and great improvisation from not just Sellers, but others as well. It all makes for a classic piece of comedic cinema.
Daniel Mumby
Super Reviewer
½ March 12, 2011
When stripped of their reputation, the Pink Panther series are a complete rollercoaster, ranging from the early brilliance of Peter Sellers to the cash-cow efforts in the 1980s and 1990s which brought lawsuits, controversy and further embarrassment to anyone close to Roberto Benigni. A Shot in the Dark, often held up as the best instalment, has dated as badly as the rest in certain aspects, but still has plenty to offer as a piece of light-hearted entertainment.

Like The Pink Panther before it, A Shot in the Dark was not originally designed as a vehicle for either Peter Sellers or Inspector Clouseau. The film started out in life as the French play L'Idiote, which had been translated into English by Harry Kurnitz. Blake Edwards bought the rights and worked on a screenplay with William Peter Blatty, the man who would later create The Exorcist. After Sellers stole his every scene while filming The Pink Panther, Edwards and Blatty retuned this script for Sellers should the film be a success.

But it wasn't just the emphasis on Clouseau that changed. Before shooting his part in The Pink Panther, Sellers had completed filming for Dr. Strangelove, developing a strong rapport with Stanley Kubrick who in turn allowed him to freely improvise. Any new director coming along would have struggled to replicate such a bond, made doubly hard by the relatively small role accorded to Clouseau. But by the time A Shot in the Dark began shooting, Sellers had an Oscar nomination under his belt, making working with him all the more impossible.

This conflict between Sellers and Edwards might explain the grimmer nature of the finished product. Where The Pink Panther revolved around a jewellery heist, fancy dress and drunken seduction, A Shot in the Dark is a murder mystery with multiple casualties, most of them unintentional. Where there are direct crossovers, such as Clouseau messing with a globe, the punch lines are much harsher - instead of putting his hand on and falling down, his fingers are painfully trapped. And then there is the addition of Commissioner Dreyfus, whose very physical presence brings a sense of danger and threat.

As with all the subsequent Pink Panther films, A Shot in the Dark rises and falls on the comic timing of Sellers, who was in his prime as a comedian. Because the French accent is less exaggerated, it allows him to play everything straight without making it look like he is trying to do just that. Edwards' love of silent cinema shines through in both his approach to jokes and his characterisation of the leading man: Clouseau is so clearly and sympathetically drawn than we care about him and root for him even when his circumstances become outlandishly overblown.

The supporting performances around Sellers are also pretty agreeable. Herbert Lom is terrific as Dreyfus, creating one of the best comedy psychos in cinema. Drawing on his performance in Hammer's The Phantom of the Opera, he descends into operatic levels of madness as the nervous tic slowly consumes his face. George Sanders is his usual caddish self, and his scenes with Sellers are enough to make any Goon Show fan-boy go weak at the knees (Sanders was the inspiration behind Hercules Grytpype-Thyne, the show's main villain voiced by Sellers). And there is an enjoyable cameo by Turk Thrust a.k.a. Bryan Forbes, director of The Stepford Wives and Whistle Down The Wind.

By having such warm and enjoyable characters, the film manages to pull quite a sneaky trick on us. Underneath all the japes involving Clouseau and his infatuation with Maria Gambrelli, there is a pretty complex murder mystery involving multiple adulteries, back-stabbing and blackmail, with an 'everyone-in-on-it' solution similar to Murder on the Orient Express. In certain scenes, Blatty's script takes the opportunity to send up several Agatha Christie conventions - for instance, Clouseau assembles all the suspects together in one room, only to make a fool of himself and cause considerable damage in the process.

The central thrust of both the original play and the film is based around the idea of the holy fool: the one person who seems to have no bearing on reality, ignoring the 'facts' to support his own conclusions, turns out to have been right all along. Regardless of the nature of the pre-Clouseau script, the jury is still out on whether this approach was the right one. On the one hand, the idea of Clouseau rigorously pursuing his theory with the aim of pulling Maria does have great comic potential, most of which is realised. On the other hand, one can't help but thinking that we have been deprived of a great comedy in place of a much lighter good one: after we have seen what Sellers is capable of, we wish that there was more material on which he could riff.

Then we come to the actual comedy of A Shot in the Dark. For the most part it's still funny, particularly when Sellers is allowed off the leash to partake in all-out slapstick. The running jokes about him going undercover and then being arrested are funny, as is the sequence of him breaking down a door, charging through an opera recital and falling out of a fourth-floor window into a river. In the final sequence at Sanders' house, Sellers is on top form, stumbling seamlessly from joke to joke while somehow retaining his dignity.

In other aspects, however, the film had not stood up to the test of time. Even if we buy into the central romance and accept that the film will have a bawdy edge to it, the amount of bawdiness eventually becomes tiresome. The scenes in the nudist colony are only fleetingly funny and drift dangerously close to the Carry On series, which was reaching its peak at around the same time. Many jokes which are not built around slapstick feel telegraphed, like they are being shouted at their audience. The second that the camera cuts between Sellers and a bird in a tree, the outcome is so predictable that they needn't have bothered with the punch line.

In its middle section, during the various attempts on Clouseau's life, the film also begins to get repetitive. The actual montage of the deaths is well-constructed, if we can forgive the lingering on dancers' derrieres and the general tackiness of after-dinner entertainment. And the idea of assassins accidentally killing bystanders in their hunt for Clouseau hints at the most elaborate sequences in The Pink Panther Strikes Again, in which a league of assassins hired by Dreyfus end up doing each other in. But from a narrative point of view, this part of the film is found wanting and feels a little stagey.

All in all, A Shot in the Dark remains a pretty good comedy and the most consistent in tone of the Pink Panther series. It is not without its flaws, which have become more marked with the passage of time, and some viewers will feel cheated at being given a frothy, bawdy romp at the expense of something more complex and interesting. But for every second that Sellers is on screen, it never fails to be entertaining, and there are enough laugh-out-loud moments for us to mostly overlook all the little niggles.
Super Reviewer
½ August 21, 2010
One of Clouseau's greatest outings. Full review later.
Super Reviewer
½ May 5, 2007
I feel like I need to see this in a theater with an audience to appreciate it.
Super Reviewer
½ January 26, 2007
a hilarious who done it featuring the bumbling but effective inspector clouseau. the second film in the lengthy panther series, at least as good as the first and possibly better. solid slapstick comedy.
Super Reviewer
February 2, 2009
Shot in the Dark is the sequel to 1963's Pink Panther and in some ways is superior to that original film. Inspector Clouseau (Peter Sellers) is back, this time investigating a murder where the beautiful Maria (Elke Sommer) is the main suspect. As the film continues and the body count rises Clouseau's persistent claim that Maria is innocent drives his boss, Insp. Dreyfuss (Herbert Lom) insane.

The thing about Shot in the Dark is that Peter Sellers doesn't have to play second fiddle to David Niven. In the original Panther film Sellers was a bumbling idiot scapegoat, but in this film he's a bumbling idiot but he's funny. Sellers runs with the role and truly defines who Clouseau is. Peter Sellers turns a film that is typical '60's camp and gives us a brilliant performance that highlights the film under the direction of Blake Edwards.

Yes, the Pink Panther started it all, but Shot in the Dark is the film that cemented the persona of Inspector Clouseau.
Super Reviewer
January 13, 2007
Another funny slapstick comedy as Inspector Clouseau investigates a murder.
Super Reviewer
½ May 15, 2007
The Clouseau franchise soon became unimaginative and tedious, but the original sequel still had a modicom of wit and charm. It all went downhill after this though...
Super Reviewer
½ April 17, 2007
As a kid the Inspector Clouseau movies were always a huge highlight if one was showing at night. Not having seen one for years and years I was somewhat disappointed after revisiting now. I can still see why the slapstick and silliness of his character entertained me and made ma laugh, but somehow the magic is gone.
Too bad.
Super Reviewer
January 7, 2007
Excellent comedy :)
Super Reviewer
November 13, 2006
One of the funniest things you will ever see in your life.
Super Reviewer
December 26, 2013
I recently re visited the original Pink Panther, I can't say I overly enjoyed it, and the only reason I give it only half a star less than this is the charming ending won me over. Overall, A Shot In the Dark is more up my alley for what I want in a Peter Sellers, Pink Panther movie. This is far more foc film used on comedic elements with the clumsy Clouseau. I'm in a minority who thinks the two modern Pink Panther are hilarious, and would pick them over the classics. I did enjoy this though, and the nudist colony scene may just be the best I've seen in a Panther film (thus far)
Super Reviewer
November 21, 2012
There are some comedic moments in "A Shot in the Dark" that work quite well, but a lot of the time, the slapstick feels either forced or just plain dated, and I think that a lot of this is owed to Peter Sellers' performance, which is moderately unconvincing. That being said, "A Shot in the Dark" is an enjoyable time-passer, even though it hasn't held up well, and I can appreciate how sophisticated the comedy in it is. I very much so enjoyed the whole nudist colony bit.
Super Reviewer
February 18, 2009
The girl in this one is annoying but I like it.
Super Reviewer
½ August 13, 2007
A Shot in the Dark is one of the more clever movies in the original Pink Panther series. Inspector Clouseau is back and this time he's on a case involving murder. A beautiful blond (Eke Sommer) is found at every murder scene.

However, Clouseau keeps releasing her from custody convinced that she's not guilty. Which drives Chief Inspector Dreyfus (Herbert Lom) mad.
January 20, 2010
Sellers is rather understated at times in this movie, but very, very funny. I almost prefer Herbert Lom's twitchy, slowly-driven-insane Inspector Dreyfuss, however. He's just so fun, especially at the end of the film.
June 12, 2012
The best and funniest of the Pink Panther films. Peter Sellers is a comic genius and Blake Edwards stages the comedy to perfection.

Grade: A-
March 24, 2012
I actually think this is better than the first Pink Panther film. I think the reason being that the most successful part of the original, for me at least, was Sellers alone. This film focuses more on his character than others, and it makes the film more enjoyable overall. I'm still not the biggest fan of this series, but I think this is a definite improvement over the original.
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