The Pink Panther

It was only ever going to end in tears. Well, critically anyway. The remake, sequel, update, whatever, of the Pink Panther has been roundly panned, but even this early in the year seems set to become one of 2006's biggest comedy blockbusters. In fact I wouldn't be in the least bit surprised if it makes more than all of the originals put together. Maybe everyone went through sheer curiosity. Had he still been with us, one would hope that the producers would have turned to Henry Mancini to provide the score. However, after a protracted game of composer chess - Beck then David Newman and then back to Beck - Christophe Beck got the job. While it's tempting to say that Henry Mancini's shoes are big ones to fill, in truth, provided the iconic main them appears liberally, what happens elsewhere is largely immaterial.
The Main Title, unsurprisingly, features Mancini's theme, with original session player Plas Johnson whose saxophone is to The Pink Panther as Vic Flick's guitar is to Bond. Beck goes off at a tangent a couple of times, notably a curious tango middle section, plus some additional counter melodies here and there. For anyone wanting a brand spanking new recording, as it was originally written, the final track duly delivers. However, purists are likely to be displeased with the direction some of the score takes. Perfect Day for a Murder introduces some David Arnold style Bondian synthetic percussion to pep up the main theme - nothing too heavy or intrusive, but just enough to tell you that this is a score from 2006, not 1966. I'm not entirely sure that the Mancini sound needed updating in that way, however Beck keeps the modern mannerisms largely under control and the tone enjoyably light.

One of the striking differences between Beck's and Mancini's approach - at least on album - is that Mancini recorded the album as a series of set pieces, each functioning as a pop instrumental. However, Beck's album is a simple selection of highlights from the underscore proper. However, unlike Mancini, there is little beyond the main theme and while some of the variations in tempo and instrumention are ingenious - he uses the Pink Panther melody in ways that Mancini would never have even contemplated and far more frequently - Beck's function is one of arranger rather than composer. However, his contemporary spin is highly enjoyable and he certainly doesn't disgrace himself. Resolutely lightweight and undemanding, but not lacking in entertainment value.