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The film that launched the second Pink Panther series, The Pink Panther, starring Steve Martin as Clouseau, directed by Shawn Levy and produced by Robert Simonds, was released in February 2006 by Metro-Goldwyn-Mayer and was co-produced with Columbia Pictures. It is set in the present day and introduces different main characters, therefore ...
The Pink Panther is a 1963 American comedy film directed by Blake Edwards and distributed by United Artists.It was written by Maurice Richlin and Blake Edwards. It is the first installment in The Pink Panther franchise.
The role was originated and developed by Peter Sellers over the years but has also been played by Alan Arkin (in Inspector Clouseau), Daniel Peacock and Lucca Mezzofonti (as younger versions in flashbacks in Trail of the Pink Panther), Roger Moore (in a cameo appearance at the conclusion of Curse of the Pink Panther), and Steve Martin (in the ...
The Pink Panther was released theatrically in United States on February 10, 2006, by Sony Pictures Releasing under the Columbia Pictures banner with 20th Century Fox and Metro-Goldwyn-Mayer handling the international distribution, and was released on DVD and Blu-ray on June 13, 2006.
The animated Pink Panther character's initial appearance in the live action film's title sequence, directed by Friz Freleng, was such a success with audiences and United Artists that the studio signed Freleng and his DePatie–Freleng Enterprises studio to a multi-year contract for a series of Pink Panther theatrical cartoon shorts.
The Pink Panther Show is a showcase of animated shorts produced by David H. DePatie and Friz Freleng between 1969 and 1978, starring the animated Pink Panther character from the opening credits of the live-action films.
“The Pink Panther” franchise began with the 1963 comedy film starring Peter Sellers as Inspector Jacques Clouseau. Sellers would go on to reprise the role in 1964’s “A Shot in the Dark ...
The Pink Panther was released in the UK in January 1964 [128] and received a mixed reception from the critics, [129] although Penelope Gilliatt, writing in The Observer, remarked that Sellers had a "flawless sense of mistiming" in a performance that was "one of the most delicate studies in accident-proneness since the silents". [130]