The Pink Panther Strikes Again Inspector Clouseau Theme Castle Guitar Sheet Music

This particular reviewer has e'er considered the 5th entry in the Pink Panther serial to exist the very finest. Sellers was neither also assured equally Clouseau nor bored (as he almost seemed in the next and final of his performances [Revenge of]). Information technology has the most advisedly choreographed fight sequence with Cato. Herbert Lom gets to ham upward his role of Dreyfuss gloriously. Plus it features one of the most successful comedy scores from Mancini.

We already knew these movies to be tongue-in-cheek, but with the fabled animated opening credits a wonderful montage of images and sounds comes purloined from very recognisable sources. Led by the infamous "Pinkish Panther Theme" the on-screen cinema plays: "Funeral March Of A Marionette" (the Hitchcock 'Theme'), "Batman" (Neil Hefti's '60s archetype), "The Audio of Music", "Singin' In The Rain", and "Big Spender". It sets the tone superbly.

Immediately afterwards comes the exquisite "Inspector Clouseau Theme" opening with what sounds like mandolin, keyboard, and glockenspiel. Gentle flute notes take upwardly the lackadaisical tempo - a stride in perfect synch with the idea processes on display. Reprised later on the album, either cue could exist from a hilarious sequence of Clouseau attempting entry into the castle across the surrounding moat. Each successive method is more than ridiculous than the last, and the music'due south suggested dimwittedness is pure genius.

When not beating up poor Cato, the Inspector loves to testify off new disguises. In "The Great Quasimodo Disguise" Mancini carries us off with the inflating "hermp" until he is floating obliviously over the Seine. Some beautiful harp glissandos bladder him ever higher, before the inevitable drib into the drink.

The exuberance of "Bier Fest Polka" is equally much at odds with the surrounding cues as the events on screen. A collection of the globe'south most highly skilled assassins are sent Clouseau's way. The increasingly ridiculous 'hit' attempts are all underscored by this bouncing number. It works for the scene by existence as contrapuntal equally the moat sequence's use of 'Clouseau's Theme'. We are carried by the ludicrous melodies which make the bumbling even funnier. These really are showcases for Mancini'due south gift for comedy timing and underscoring. Yet this should not ignore such subtleties as "Along Came Omar" (for Mr Sharif'south uncredited cameo), which tiptoes the hitman along on Egyptian harmonies and guitar.

The anthology generously presents six bonus cues of textile, which are welcome despite messing with the chronological social club. Here we become the brief Aviary flute happiness that opened the picture show. Then a terrific example of Mancini at his nigh dramatic with "The Plan / The Snatch", which is initially urgent on its strings. This leads in to some sustained high pitched effects that are fortunately non as grating on the teeth as when Dreyfuss runs a clawed gauntlet down a chalkboard ! The urgency returns for "The Doomsday Automobile", and moves in and out equally we encounter Clouseau attempting to thwart the mad ex-Main Inspector'due south plans. The brass-built crescendo is sadly spoiled by an obvious edit (at nearly 2:44) - mayhap this is just my copy.

There is also an "Alternating Instrumental Version" of "Until You lot Dear Me". The original 'Instrumental' precedes it, as does 1 of the movie's comic highlights with a showstopping drag turn from Michael Robbins as "The Incomparable Ainsley Jarvis". His vocalisation really isn't all that bad either (!). "Come To Me" also features saucy lyrics by Don Black, merely was the Oscar ^® nominated of the ii. Peradventure Tom Jones' vocals decided that. We are 'treated' here to a segue from the Welsh Wonder's warbling direct into Clouseau's own. A moment for the tone deafened to sympathise with.

However in Bonus territory is the thankfully brief "Organ Interlude" which is as cheesy as possible for Dreyfuss suited in black cape playing chateau phantom. The all-besides short "End Titles" are a reminder that nosotros didn't always accept to sit down through 7 minutes of credited assistants and trainees. With a succession of 'Panther Theme' variations interrupted by what sounds suspiciously similar the Jaws theme, the anthology ends with the traditional musical breakdown signalled by a dying horn wail.

Saving the best for final I at present turn to "The Evil Theme". An almost subterranean chime reverberates an echo below the lightly treading guitar of Dick Abell. The classic exaggerated drawing steps of the Inspector's creeping around is perfectly encapsulated by the first one-half of the cue. It is and then stepped upward by flute, percussion, and the nigh innovative utilize of put of tune pizzicato violin. It is equally important an invention as either the Pink Panther or Clouseau themes, or indeed the original A Shot In The Dark theme (which is sadly absent).

Rykodisc spoil us as ever with a CD-ROM trailer and a fold out booklet with great notes and photographs. Out with the bad music - in with the good!

Reviewer

Paul Tonks

Reviewer

Paul Tonks

tanganch1937.blogspot.com

Source: http://www.musicweb-international.com/film/1998/dec98/ppanther.html