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更新時間：2024-04-11 16:42
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本片描述瑞士達拉公主舉辦化裝舞會，各路人馬都來目睹粉紅豹巨鉆的風采，而鉆石盜與反抗軍皆覬覦公主豹巨鉆。法國杜索探長追到瑞士欲擒鉆石盜。查理爵士有紳士般的風采，公主與杜索夫人均被他所迷惑，并暗自與之私通。舞會上，杜索當場逮到查理爵士行竊，但巨鉆卻失蹤；杜索夫人與公主共商妙計為查理脫罪，乃栽贓杜索探長而使杜索一夜之間成為家喻戶曉的鉆石大盜。
長篇影評
1 ) 粉紅豹
2 ) Pink Panther電影系列由此開始
比第二部差了很多。這里其實Clouseau就不是主角，其經(jīng)典形象根本不用建立——不過經(jīng)典的主題旋律是經(jīng)久不衰了?? 能排在系列的第二，實在只是因為是第一部，就表演來講未必比Steve Martin的強。開始的場景切換很有意思，4人一屋的戲也很有趣、有點《三岔口》的意思。結局收的有點倉促，Clouseau下水沒問題，但沒有反轉就有點另類了。
3 ) 《粉紅豹》：衰男人
繼續(xù)看老片。這次看的是1963年的《粉紅豹》。
雖然年代比較古老，片子一樣有趣。
這是一個神偷的故事。我從到看到尾，也沒看出來這個“神偷”有多神。他的偷竊伎倆快趕上“蠢賊”了，到頭來還是被公主給耍了。
片子的看點很明顯不是在偷竊技術上?？袋c是搞笑。全片最出彩的，就是那個笨蛋警察了。他做男人簡直衰到家了。
走路從來不看腳下，走到那里都磕磕絆絆的。手也不太好使，拿東西總是不穩(wěn)。和老婆結婚十年，還不知道她背著自己去跟神偷做情人。最后還被公主算計一把，成為了“幻影”大盜。做男人做到極致了。
除卻本片搞笑的情節(jié)以外，其他的都很一般。還有一段跟醉酒公主聊天的場景，很勾人。老男人是很有魅力，可最終還是沒有騙到小姑娘。
作為一部六十年代出的電影，拍成這樣，已經(jīng)很不錯了。我喜歡那個年代電影的風格，很優(yōu)雅，舒緩，還不失風趣。
2010-10-05
[粉紅豹].The.Pink.Panther.1963.BDRip.X264-TLF
雖然年代比較古老，片子一樣有趣。
這是一個神偷的故事。我從到看到尾，也沒看出來這個“神偷”有多神。他的偷竊伎倆快趕上“蠢賊”了，到頭來還是被公主給耍了。
片子的看點很明顯不是在偷竊技術上?？袋c是搞笑。全片最出彩的，就是那個笨蛋警察了。他做男人簡直衰到家了。
走路從來不看腳下，走到那里都磕磕絆絆的。手也不太好使，拿東西總是不穩(wěn)。和老婆結婚十年，還不知道她背著自己去跟神偷做情人。最后還被公主算計一把，成為了“幻影”大盜。做男人做到極致了。
除卻本片搞笑的情節(jié)以外，其他的都很一般。還有一段跟醉酒公主聊天的場景，很勾人。老男人是很有魅力，可最終還是沒有騙到小姑娘。
作為一部六十年代出的電影，拍成這樣，已經(jīng)很不錯了。我喜歡那個年代電影的風格，很優(yōu)雅，舒緩，還不失風趣。
2010-10-05
[粉紅豹].The.Pink.Panther.1963.BDRip.X264-TLF
4 ) 看的非常開心
粉紅豹這個片子挺有名，一開始看的是現(xiàn)代版本，粉紅鉆石夾在手袋隔層的那一個；
這個是原版，唯一相像的也是一個糊涂偵探，不過這個糊涂偵探的妻子老是折磨她，但他對老婆百依百順，工作也很負責，最后還背了黑鍋，但是現(xiàn)代版的居然能破了案，他們兩個都很可愛！
看到四輛車在馬路上開來開去的時候，笑的眼淚都要出來了，
可憐站在馬路中間的老人，本來要過馬路的，被攪糊涂了，只好再回去坐下，表情好可憐哦。
服裝很精彩，現(xiàn)在的服裝找不回那種精致感了，偵探老婆淺灰色的大衣，蓬蓬的頭發(fā)，大墨鏡，電梯變身之后，又是綠色的包頭帽子，包包和大衣都可以反過來穿，連鞋子也換了另一雙顏色的，厲害！
公主的表現(xiàn)也很不錯，喝香檳醉了但是憨態(tài)可愛；
男士的大衣里襯是艷紅色，偵探的白色風衣也很美！
中間的一段舞蹈有意思，聯(lián)想到奧黛麗赫本在funny face里面也有一段黑衣黑褲白襪子的舞蹈，不過在身材上沒有這位這么凹凸有致，也沒有總把白白的手擱在腰部造成顏色對比。
而且片頭的粉紅豹的一段動畫，很友愛，很聰明，很幽默。
有趣有趣，老電影太有才了，繼續(xù)看！
這個是原版，唯一相像的也是一個糊涂偵探，不過這個糊涂偵探的妻子老是折磨她，但他對老婆百依百順，工作也很負責，最后還背了黑鍋，但是現(xiàn)代版的居然能破了案，他們兩個都很可愛！
看到四輛車在馬路上開來開去的時候，笑的眼淚都要出來了，
可憐站在馬路中間的老人，本來要過馬路的，被攪糊涂了，只好再回去坐下，表情好可憐哦。
服裝很精彩，現(xiàn)在的服裝找不回那種精致感了，偵探老婆淺灰色的大衣，蓬蓬的頭發(fā)，大墨鏡，電梯變身之后，又是綠色的包頭帽子，包包和大衣都可以反過來穿，連鞋子也換了另一雙顏色的，厲害！
公主的表現(xiàn)也很不錯，喝香檳醉了但是憨態(tài)可愛；
男士的大衣里襯是艷紅色，偵探的白色風衣也很美！
中間的一段舞蹈有意思，聯(lián)想到奧黛麗赫本在funny face里面也有一段黑衣黑褲白襪子的舞蹈，不過在身材上沒有這位這么凹凸有致，也沒有總把白白的手擱在腰部造成顏色對比。
而且片頭的粉紅豹的一段動畫，很友愛，很聰明，很幽默。
有趣有趣，老電影太有才了，繼續(xù)看！
5 ) [Last Film I Watched] The Pink Panther (1963)
Title: The Pink Panther
Year: 1963
Country: USA
Language: English, Italian
Genre: Comedy, Crime, Romance
Director: Blake Edwards
Writers:
Blake Edwards
Maurice Richlin
Music: Henry Mancini
Cinematography: Philip H. Lathrop
Cast:
Peter Sellers
David Niven
Capucine
Claudia Cardinale
Robert Wagner
Colin Gordon
John Le Mesurier
Brenda de Banzie
James Lanphier
Fran Jeffries
Guy Thomajan
Rating: 7.4/10
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Blake Edwards’ THE PINK PANTHER, which launches Peter Sellers’ beloved character Inspector Jacques Clouseau onto the celluloid, is originally deemed a star vehicle for David Niven’s Sir Charles Lytton, whose secret identity is a roué jewelry thief, aka, “The Phantom”. Mr. Niven oozes an innate luster of urbanity tinged with bashfulness and innocuousness which is disarming and photogenic, women shall be enamored with him, and men would love to be him because his philandering mischief will hurt no one. Indeed, the script insouciantly glosses over its criminal technicalities in favoring of a goofy comedy upstaged by Mr. Sellers’ comic tics, Inspector Clouseau is a bungling caricature, unwittingly two-timed by his wife Simone (Capucine), and conscientious to catch The Phantom before he lay claims to the titular diamond in possession of an Indian princess Dala (Cardinale, whisked to Hollywood in a race-insensitive role trading on her gorgeousness and she is quite a delight in capturing a whiff of tipsy feline bewitchment).
Dawdling from a picturesque ski resort in Cortina d’Ampezzo to Princess Dala’s imperial villa in Rome, where a masquerade is followed by a pyrotechnic commotion, the film is conspicuously light in its action (the only set piece is a midnight four-vehicle caper witnessed by an aloof old man in the square), but predominantly elicits laughter from its cartoony context, the most delectable one actually takes place in a bedroom which involves Simone painstakingly trying to hide two men from her husband, who feels frisky to assume their nightly amusement.
Peter Sellers makes great play of Jacques’ flat-footedness and unassuming persona to a sparking extent, its drollness would be further and maximally exploited in another Edward-Sellers comedy THE PARTY (1968), the mismatch of his unyielding physicality and dead-pan expression is a winning combo. A silk-stocking Capucine also relishes in her duplicitous flip-flopping with mild exasperation mingled with simmering gaiety, but Robert Wagner’s George, the prodigal nephew of Charles, comes across as a drag vaunting his shallow good-looking and brazen chivalry. Also, singer Fran Jeffries contributes a swooning MEGLIO STASERA (IT HAD BETTER BE TONIGHT) which is forever inscribed in one’s cortex along with its ear-worm theme ditty, both penned by Henry Mancini.
In toto, it is a comforting experience to see Blake Edawrds’ THE PINK PATHER still holds its allure amazingly with its exquisite patina of sophistication and humor, unadulterated by vulgarity and snobbery - the pathology prevalent in modern-day studio comedy wheeled out from Hollywood, a blessing from the past.
referential points: Blake Edward’s BREAKFAST AT TIFFANY (1961) 7.4/10; THE PARTY (1968) 7.2/10.
![]()
Year: 1963
Country: USA
Language: English, Italian
Genre: Comedy, Crime, Romance
Director: Blake Edwards
Writers:
Blake Edwards
Maurice Richlin
Music: Henry Mancini
Cinematography: Philip H. Lathrop
Cast:
Peter Sellers
David Niven
Capucine
Claudia Cardinale
Robert Wagner
Colin Gordon
John Le Mesurier
Brenda de Banzie
James Lanphier
Fran Jeffries
Guy Thomajan
Rating: 7.4/10
Blake Edwards’ THE PINK PANTHER, which launches Peter Sellers’ beloved character Inspector Jacques Clouseau onto the celluloid, is originally deemed a star vehicle for David Niven’s Sir Charles Lytton, whose secret identity is a roué jewelry thief, aka, “The Phantom”. Mr. Niven oozes an innate luster of urbanity tinged with bashfulness and innocuousness which is disarming and photogenic, women shall be enamored with him, and men would love to be him because his philandering mischief will hurt no one. Indeed, the script insouciantly glosses over its criminal technicalities in favoring of a goofy comedy upstaged by Mr. Sellers’ comic tics, Inspector Clouseau is a bungling caricature, unwittingly two-timed by his wife Simone (Capucine), and conscientious to catch The Phantom before he lay claims to the titular diamond in possession of an Indian princess Dala (Cardinale, whisked to Hollywood in a race-insensitive role trading on her gorgeousness and she is quite a delight in capturing a whiff of tipsy feline bewitchment).
Dawdling from a picturesque ski resort in Cortina d’Ampezzo to Princess Dala’s imperial villa in Rome, where a masquerade is followed by a pyrotechnic commotion, the film is conspicuously light in its action (the only set piece is a midnight four-vehicle caper witnessed by an aloof old man in the square), but predominantly elicits laughter from its cartoony context, the most delectable one actually takes place in a bedroom which involves Simone painstakingly trying to hide two men from her husband, who feels frisky to assume their nightly amusement.
Peter Sellers makes great play of Jacques’ flat-footedness and unassuming persona to a sparking extent, its drollness would be further and maximally exploited in another Edward-Sellers comedy THE PARTY (1968), the mismatch of his unyielding physicality and dead-pan expression is a winning combo. A silk-stocking Capucine also relishes in her duplicitous flip-flopping with mild exasperation mingled with simmering gaiety, but Robert Wagner’s George, the prodigal nephew of Charles, comes across as a drag vaunting his shallow good-looking and brazen chivalry. Also, singer Fran Jeffries contributes a swooning MEGLIO STASERA (IT HAD BETTER BE TONIGHT) which is forever inscribed in one’s cortex along with its ear-worm theme ditty, both penned by Henry Mancini.
In toto, it is a comforting experience to see Blake Edawrds’ THE PINK PATHER still holds its allure amazingly with its exquisite patina of sophistication and humor, unadulterated by vulgarity and snobbery - the pathology prevalent in modern-day studio comedy wheeled out from Hollywood, a blessing from the past.
referential points: Blake Edward’s BREAKFAST AT TIFFANY (1961) 7.4/10; THE PARTY (1968) 7.2/10.
找粉紅豹的電影找錯了，誤打誤撞下了1963年這個版本，看完后再上網(wǎng)查了下，才發(fā)現(xiàn)這是個系列。。。，無知的我啊。不過后來一想我還是很幸運的，能從這個系列的第一級看起，真是運氣。第一部雖然是老片子，但味道十足，里面探長搞笑，兩竊賊盡顯紳士風度。算佳片一部。
很充實的無聊
新藝城的一切花樣都源自于此
好老的片子啊～不過卡通粉紅豹真的設計的很別出心裁
Peter Selles嚴肅而不刻意的討巧是Steve Martin學不來的。求后幾部檔！
1963年 粉紅豹系列電影第一部。本片情節(jié)豐富，人物性格鮮明，稱得上是一部緊張熱鬧的喜劇。彼得謝勒在本片盡情表露了他的喜劇天才，并生動地創(chuàng)造出杜索探長這個膾炙人口的角色，創(chuàng)下了頑皮豹卡通影集的佳績?？藙诘蟻啞たㄍ∧日婷?，臥室戲有點意思。
6。傳說中的粉紅豹，有點失望，Sellers的蹩腳警探。
公主真美麗
四星半
套房三岔口
配樂太經(jīng)典啦
澳洲鉛筆都是神馬笑點
套房和保險箱兩場戲確實很棒，但惟有餐館門口那場大撞車才真是深得Keaton中期精髓。港片抄得了形式，但抄不了那份對comedian的溫柔與克制。
好愛！
沒第二部嗲，而且很多戲沒有Clouseau的。不過越后面越好，而且結尾巨瀟灑。Natalie Wood的老公賣相真好，典型的60年代帥哥。
把這楞勁堅持完全片也是蠻厲害的
笑趴下了
化裝舞會和其后的追車一段簡直笑死我了。
經(jīng)典片前兩天才看?？ㄊ克坪鹾軓姶?，Dala公主的眼睛和嘴唇都很挑逗。另一個女主角周旋于男人之間是不是太累了一點。中間插入的歌舞有點突兀不過挺有意思。
Sellers擰斷門把手時沒笑，RJ擰斷時笑得不能自理；叔侄大猩猩開保險箱那段二貨X2；站馬路中間那位大爺內心是崩潰的；最后神似一家三口。