The Panther sneaks up behind him and pats his shoulder, and while Jacques looks away, he grabs the baton from his hands. This having been Jacques' fault, the Panther angrily chases him around the studio and back into the screen.īack in the animated world, a flap-like door opens in front of Jacques, who now has the baton. The baton falls into the Panther's hands once again, but denigrates. This ends in the Panther getting tossed out of the screen, with Jacques careening out shortly afterwards and crashing into him. Inside an abstract animated world filled with floating shapes of all sizes, the Panther and Jacques both attempt to grab the Panther's baton, but both can never seem to hold onto it for long.
He tries to catch himself on a lever, but ends up causing the projector to reverse, which sends the Panther rocketing through the booth window and splashing onto the screen. Jacques tries to walk away, but the strip of film wrapped around his leg gets caught on the Panther's tail, causing Jacques to trip. He nervously smiles at the Panther, who only angrily glares at him as he tries to roll the film back into the projector. Horrified, the Panther dashes for the projection booth, where he finds the animated caricature of Jacques Gambrelli, who had trapped himself in the film roll. Things go swimmingly, until the footage being shown on the screen begins to warp and burn. He jumps from a screen, wears some dark sunglasses, takes a baton from Henry Mancini, and begins to conduct Bobby McFerrin's a capella rendition of his own theme song. The Pink Panther makes his last "classic" theatrical appearance in the title sequence of Son of the Pink Panther, now being blended with live-action footage. He has black eyes with yellow sclerae and whiskers. He is also very sneaky, not using force to get what he wants, but rather depending on sneaky tricks to go about his goals. He is often shown to want things done his way, such as tampering with the Mona Lisa and painting a house that is supposed to be blue, going to opposites in both cases. He is shown to like hospital treatment more than other types and likes the habit of eating and for some reasons, going on a diet to lose weight when overweight. He has a high level of curiosity, as he loves discovering and trying new things. The Pink Panther is often seen in episodes as a prankster, as he likes pulling pranks on the janitor whenever he's seen. (Years later, Little would overdub Niven's voice for Trail of the Pink Panther and Curse of the Pink Panther, due to Niven's ill health.) Most of the animated Pink Panther shorts utilized the distinctive jazzy theme music composed by Henry Mancini for the 1963 feature film, with additional scores composed by Walter Greene or William Lava. Rich Little provided Pink's voice in these shorts, modeling it on that of David Niven (who had portrayed Clouseau's jewel thief nemesis in the original live-action film).
PINK PATHER VIDEO SERIES
In an earlier series of the Pink Panther animated cartoons, Pink generally remained silent, speaking only in two theatrical shorts, Sink Pink (one line) and Pink Ice (throughout the film). The Pink Phink won the 1964 Academy Award for Animated Short Film, and subsequent shorts in the series, usually featuring the Pink Panther opposite the Little Man, were successful releases. The first entry in the series, 1964's The Pink Phink, featured Pink harassing his foil, a little white-mustachioed man who is actually a caricature of Friz Freleng (this character is officially known as The Little Man), by constantly trying to paint the Little Man's blue house pink.
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.
1 DePatie-Freleng/United Artists cartoons.
0 kommentar(er)
