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更新时间：2023-12-04 16:40
详细剧情
本片描述瑞士达拉公主举办化装舞会，各路人马都来目睹粉红豹巨钻的风采，而钻石盗与反抗军皆觊觎公主豹巨钻。法国杜索探长追到瑞士欲擒钻石盗。查理爵士有绅士般的风采，公主与杜索夫人均被他所迷惑，并暗自与之私通。舞会上，杜索当场逮到查理爵士行窃，但巨钻却失踪；杜索夫人与公主共商妙计为查理脱罪，乃栽赃杜索探长而使杜索一夜之间成为家喻户晓的钻石大盗。
长篇影评
1 ) 《粉红豹》：衰男人
继续看老片。这次看的是1963年的《粉红豹》。
虽然年代比较古老，片子一样有趣。
这是一个神偷的故事。我从到看到尾，也没看出来这个“神偷”有多神。他的偷窃伎俩快赶上“蠢贼”了，到头来还是被公主给耍了。
片子的看点很明显不是在偷窃技术上。看点是搞笑。全片最出彩的，就是那个笨蛋警察了。他做男人简直衰到家了。
走路从来不看脚下，走到那里都磕磕绊绊的。手也不太好使，拿东西总是不稳。和老婆结婚十年，还不知道她背着自己去跟神偷做情人。最后还被公主算计一把，成为了“幻影”大盗。做男人做到极致了。
除却本片搞笑的情节以外，其他的都很一般。还有一段跟醉酒公主聊天的场景，很勾人。老男人是很有魅力，可最终还是没有骗到小姑娘。
作为一部六十年代出的电影，拍成这样，已经很不错了。我喜欢那个年代电影的风格，很优雅，舒缓，还不失风趣。
2010-10-05
[粉红豹].The.Pink.Panther.1963.BDRip.X264-TLF
虽然年代比较古老，片子一样有趣。
这是一个神偷的故事。我从到看到尾，也没看出来这个“神偷”有多神。他的偷窃伎俩快赶上“蠢贼”了，到头来还是被公主给耍了。
片子的看点很明显不是在偷窃技术上。看点是搞笑。全片最出彩的，就是那个笨蛋警察了。他做男人简直衰到家了。
走路从来不看脚下，走到那里都磕磕绊绊的。手也不太好使，拿东西总是不稳。和老婆结婚十年，还不知道她背着自己去跟神偷做情人。最后还被公主算计一把，成为了“幻影”大盗。做男人做到极致了。
除却本片搞笑的情节以外，其他的都很一般。还有一段跟醉酒公主聊天的场景，很勾人。老男人是很有魅力，可最终还是没有骗到小姑娘。
作为一部六十年代出的电影，拍成这样，已经很不错了。我喜欢那个年代电影的风格，很优雅，舒缓，还不失风趣。
2010-10-05
[粉红豹].The.Pink.Panther.1963.BDRip.X264-TLF
2 ) Pink Panther电影系列由此开始
比第二部差了很多。这里其实Clouseau就不是主角，其经典形象根本不用建立——不过经典的主题旋律是经久不衰了😂 能排在系列的第二，实在只是因为是第一部，就表演来讲未必比Steve Martin的强。开始的场景切换很有意思，4人一屋的戏也很有趣、有点《三岔口》的意思。结局收的有点仓促，Clouseau下水没问题，但没有反转就有点另类了。
3 ) [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
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.
4 ) 看的非常开心
粉红豹这个片子挺有名，一开始看的是现代版本，粉红钻石夹在手袋隔层的那一个；
这个是原版，唯一相像的也是一个糊涂侦探，不过这个糊涂侦探的妻子老是折磨她，但他对老婆百依百顺，工作也很负责，最后还背了黑锅，但是现代版的居然能破了案，他们两个都很可爱！
看到四辆车在马路上开来开去的时候，笑的眼泪都要出来了，
可怜站在马路中间的老人，本来要过马路的，被搅糊涂了，只好再回去坐下，表情好可怜哦。
服装很精彩，现在的服装找不回那种精致感了，侦探老婆浅灰色的大衣，蓬蓬的头发，大墨镜，电梯变身之后，又是绿色的包头帽子，包包和大衣都可以反过来穿，连鞋子也换了另一双颜色的，厉害！
公主的表现也很不错，喝香槟醉了但是憨态可爱；
男士的大衣里衬是艳红色，侦探的白色风衣也很美！
中间的一段舞蹈有意思，联想到奥黛丽赫本在funny face里面也有一段黑衣黑裤白袜子的舞蹈，不过在身材上没有这位这么凹凸有致，也没有总把白白的手搁在腰部造成颜色对比。
而且片头的粉红豹的一段动画，很友爱，很聪明，很幽默。
有趣有趣，老电影太有才了，继续看！
这个是原版，唯一相像的也是一个糊涂侦探，不过这个糊涂侦探的妻子老是折磨她，但他对老婆百依百顺，工作也很负责，最后还背了黑锅，但是现代版的居然能破了案，他们两个都很可爱！
看到四辆车在马路上开来开去的时候，笑的眼泪都要出来了，
可怜站在马路中间的老人，本来要过马路的，被搅糊涂了，只好再回去坐下，表情好可怜哦。
服装很精彩，现在的服装找不回那种精致感了，侦探老婆浅灰色的大衣，蓬蓬的头发，大墨镜，电梯变身之后，又是绿色的包头帽子，包包和大衣都可以反过来穿，连鞋子也换了另一双颜色的，厉害！
公主的表现也很不错，喝香槟醉了但是憨态可爱；
男士的大衣里衬是艳红色，侦探的白色风衣也很美！
中间的一段舞蹈有意思，联想到奥黛丽赫本在funny face里面也有一段黑衣黑裤白袜子的舞蹈，不过在身材上没有这位这么凹凸有致，也没有总把白白的手搁在腰部造成颜色对比。
而且片头的粉红豹的一段动画，很友爱，很聪明，很幽默。
有趣有趣，老电影太有才了，继续看！
化装舞会和其后的追车一段简直笑死我了。
新艺城的一切花样都源自于此
没第二部嗲，而且很多戏没有Clouseau的。不过越后面越好，而且结尾巨潇洒。Natalie Wood的老公卖相真好，典型的60年代帅哥。
好老的片子啊～不过卡通粉红豹真的设计的很别出心裁
配乐太经典啦
套房三岔口
6。传说中的粉红豹，有点失望，Sellers的蹩脚警探。
好爱！
套房和保险箱两场戏确实很棒，但惟有餐馆门口那场大撞车才真是深得Keaton中期精髓。港片抄得了形式，但抄不了那份对comedian的温柔与克制。
找粉红豹的电影找错了，误打误撞下了1963年这个版本，看完后再上网查了下，才发现这是个系列。。。，无知的我啊。不过后来一想我还是很幸运的，能从这个系列的第一级看起，真是运气。第一部虽然是老片子，但味道十足，里面探长搞笑，两窃贼尽显绅士风度。算佳片一部。
公主真美丽
Sellers拧断门把手时没笑，RJ拧断时笑得不能自理；叔侄大猩猩开保险箱那段二货X2；站马路中间那位大爷内心是崩溃的；最后神似一家三口。
经典片前两天才看。卡士似乎很强大，Dala公主的眼睛和嘴唇都很挑逗。另一个女主角周旋于男人之间是不是太累了一点。中间插入的歌舞有点突兀不过挺有意思。
Peter Selles严肃而不刻意的讨巧是Steve Martin学不来的。求后几部档！
1963年 粉红豹系列电影第一部。本片情节丰富，人物性格鲜明，称得上是一部紧张热闹的喜剧。彼得谢勒在本片尽情表露了他的喜剧天才，并生动地创造出杜索探长这个脍炙人口的角色，创下了顽皮豹卡通影集的佳绩。克劳迪亚·卡汀娜真美，卧室戏有点意思。
澳洲铅笔都是神马笑点
把这楞劲坚持完全片也是蛮厉害的
很充实的无聊
笑趴下了
四星半