Pink Panther prowls to a theater near you

By Chhun Sun
The Collegian

Inspector Jacques Clouseau is a complete dork. But somehow, through his idiotic tendencies during crime investigations, he always gets his man.

In “The Pink Panther,” which opens today nationwide, Steve Martin channels his inner clumsiness for the sake of laughter. And surprisingly, even through comic routines that can be downright silly, Martin has captured the ability to make his audience laugh, despite that some parts in this remake of the popular 1960s TV show garner pity laughs.

That’s exactly it.

Martin and director Shawn Levy (“Cheaper By the Dozen” and “Just Married”) earn laughs through pure repetition and predictability. That is, unless you’re a big fan of TV show, then don’t have high expectations.

Just know it follows the spirit of silliness.

Take, for example, the plot.

Clouseau is called to Paris, France, by chief inspector Dreyfus (Kevin Kline) to solve the murder of famed soccer coach Yves Gluant (Jason Statham), who is romantically linked to international pop singer Xania (Beyonce Knowles).

Clouseau is a diversion while the police chief and his team secretly tries to solve the murder.

But that’s the catch.

This is the perfect opportunity for Clouseau to track down the killer and, at the same time, show the world that he’s a complete dork.

And, of course, he doesn’t fail to do both.

Martin does not draw close comparisons to the original Inspector Clouseau, who was played by Peter Sellers. But Martin does have flavor to the role, adding a few modern-day hip dialogue and showing off some nice dance moves as Beyonce’s so-called back-up dancers.

Then at times, Martin goes beyond the character and teeters on nonsense.

When Clouseau is working late one night, his secretary (who parallels his silliness) approaches him, asking if she can help with the investigation. He says no, claiming that he doesn’t want to be in a position where he might make her feel uncomfortable. Then he unnecessary kisses her on the cheek and slaps her on the backside.

Another scene involves him trying to download a ringtone on the Internet, but he fails miserably and, somehow, crashes his computer, as well as the entire city of Paris.

Huh?

It’s moments like those that make you say, “Why?”

Even the silliness rubbed on the editing crew, who — at least for the free screening edition of the film — couldn’t catch two scenes where the microphone was in plain view.

But this film isn’t measured by how many times Clouseau ends up looking like a fool.

It’s how much laughter can be earned from an audience, who, despite knowing all too well that Clouseau can’t be normal, knows when to laugh.

Come on, it’s the spirit of silliness.

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