Bon Voyage!

BON VOYAGE (1962) is a curious, mildly entertaining live-action Disney artifact about a typical American family's long awaited trip to France, and an odd attempt at semi-sophisticated comedy from a studio not exactly known for the genre.

In the mom-and-pop leads are the Disney period Fred MacMurray, a long way from DOUBLE INDEMNITY, and the ex-Mrs. Reagan, Jane Wyman, whose dignity manages to hold up better than Fred's. As the two sons we have Disney protégés Kevin "Moochie" Corcoran in a relatively tolerable appearance, and Disney maverick, Tommy Kirk, in a buzz cut that does nothing for him.

For the young love interest daughter Deborah Walley and cynical playboy Michael Callen (Riff in the original stage cast of WEST SIDE STORY) are re-teamed after 1961's GIDGET GOES HAWAIIAN. As Callen's expatriate mother Jessie Royce Landis does her best to bring a touch of giddy sophistication to her Paris soirée sequence.

Around this time they used to say Disney got their live-action performers on the way up (Julie Andrews) or the way down (most of the cast here). It's also somewhat difficult to gage the target audience - adults, teens, family? - because there's not much here to hold a child's interest.

Certainly interesting is the authentic (if brief) footage of vintage ocean liners and their NYC piers (including a comically confused boarding and departure sequence), and location shots of an early '60s Paris.

Most curious sequence: MacMurray meeting what is subtly coded as a Paris street walker, played by the authentically French and rather grave Françoise Prévost, who seems to have inexplicably wandered in from a Godard film. Later she also picks up Kirk, an encounter dad is quick to defuse.

So it's no spoiler to mention that American Family Values triumph at the end in spite of a climactic trip to the decadent French Riviera. On the plus side the film presents a generally positive, even admiring view of French life and culture.

And Bunuel and Dali would surely love the extended sequence in which Fred MacMurray's wiggling finger protrudes from a street level Paris sewer lid.

Bon Voyage Let's See. On board for 'Bon voyage' is my mother's favorite actor 'Fred MacMurray'. There is actress and Ronald Regan's ex 'Jane Wyman'. Disney maverick's 'Tommy Kirk' and 'Kevin Anthony "Moochie" Corcoran' are on board as well. And then there is Deborah Walley, who I never heard of before, but she seems like she's a good actress.

OK, there is the wholesome Disney atmosphere, some wacky situations, one involving Fred getting lost in the sewers of Paris and other wacky things including Fred almost getting arrested from causing a scene at a restaurant. He has some other wacky conversations with some relatives who have never meet him, but think it's horrible that Jane Whyman's character has marred of all things 'A plumber'. He slyly reveals that he is the plumber much to their shocked snobbery surprise. Overall there is the interesting sitcom concept and premise of a family taking a vacation in Europe.

This concept was used in 'National Lampoon's European Vacation' and produced a rather funny film. The concept used in this film produced a rather dull and boring movie. Despite the cleaner friendly film, it isn't a Disney film worth adding to your collection and I would have to say it isn't worth renting either. NLEV is crude in parts and is not worth letting your kids watch unless you find a way to severely edit out all the inappropriate parts.

But 'Bon Voyage' is not the better equivalent. With Fred MacMurray you expect better work. His character is annoying. When a man hits on his wife instead of hitting him, he guzzles down booze and gets upset at his wife because a guy is flirting with her. He does finally sock the guy, so justice wins out in the end, even though you have to wait for it to happen while enduring his whining about it. The melodrama that bubbles up from this film is also annoying and leaves you wondering about the deeper storyline that they never reveal. Even if they did you probably wouldn't care anyway.

The Disney magic does not flow upon everything that it does. This is not the worst film ever made or the worst film Disney ever made, it's just a rather boring dull film. So I say Bon Voyage 'Bon Voyage ( and don't come back)

During the 1955-65 golden era of Disney live action movies targeting baby boomers, there were many hits and only a rare miss; what with huge pre-sold theater audiences who automatically lapped up any Disney comedy that came to their local theaters. There was little risk to studio and to viewer because these things utilized a proven formula and featured a narrow ensemble of likable Disney actors. Interestingly "Bon Voyage!", released in May 1962, was probably the studio's biggest miss.

It is likely I was one of those who paid money that summer to see this film, but if so it made so little of an impression on me that during a recent viewing my normally excellent memory failed to find anything familiar enough convince me that I had seen it 50+ years ago. But assuming that I had seen it and given my sudden and extreme infatuation with Deborah Walley after seeing her one year later in "Summer Magic", "Bon Voyage!" must have been completely erased from my memory within hours of viewing it as I am certain I never connected Walley's Cousin Julia to Amy Willard.

The only virtue of "Bon Voyage!" today is that it evokes a nostalgic reaction of baby boomer family vacations in general and to ocean liner and Paris family vacations in particular. But in the early sixties such a future would not have been a factor in green lighting a production. If you look back on the successful Disney comedies of the era you can easily see the standard formula that was pitched to the studios. Familiar inoffensive actors playing wholesome characters, mild comedy that disparaged no one and was typically at the expense of a harried but well meaning father, and most importantly a hook or gimmick that engaged the audience and made them willing to suspend their disbelief and identify with whichever character targeted their demographic.

Disney first would find a tried and tested hook and then use their stock elements to build a movie around it. "Flubber" was the best of these hooks and worked across several movies, although it was just an unoriginal reprise of "It Happens Every Spring". "Summer Magic" was the application of acute nostalgia to "Mother Carey's Chickens". "Swiss family Robinson", "Babes In Toyland" and "Mary Poppins" were established children's stories given a magical Disney flourish. Apparently something convinced the studio in 1962 that the family European vacation hook was foolproof and the pitch for "Bon Voyage!" got the green light.

Compared to their standard film the concept was original, relatively big budget, and full of location shooting. Making it an odd blend of Disney nature documentary and light comedy. So its crash and burn taught the studio to not be seduced by originally. And also that a inoffensive ensemble of lightweight actors could not save a production doomed by a faulty concept and an extraordinarily weak script.

I suspect that the fundamental failure of the film was in just having too many stories, none of which fostered much viewer identification or otherwise connected with the audience. One of lame bumbling father comedy (Fred MacMurray), one of boringly overwrought romantic melodrama (Walley), and one of gratuitous sleaze (Tommy Kirk). The standard Disney audience was willing to suspend disbelief and even go with a self-knowing whimsy; but only if they strongly identified with one or more of the central characters.

Then again, what do I know? I'm only a child.

This Disney Romantic Comedy is just plain too long for its own good. Fred MacMurray and Jane Wyman star as an Indiana couple finally getting their trip to Paris, but with three "kids" in tow. They get involved in all sorts of complications, especially with the older kids.

Amy (Deborah Walley) has met a rich young man (Michael Callan) who is also taking the ocean liner trip. She's a cold fish and he's a neurotic pain. Elliott (Tommy Kirk) is a sullen little thing, but he perks up when he gets to Paris and meets some girls. Then there's little Skipper (Kevin Corcoran) who makes some trouble for Dad.

While this could have been a fun film, it's so slow and draggy, the pacing kills it dead. Wyman and MacMurray have very little chemistry but go through their paces as the pros they were. Wyman is further hampered by those hideous mid-century clothes and hats.

Jessie Royce Landis provides a punch of fun and color as Callan's flamboyant mother. Ivan Desny makes for a dreary masher. A few other familiar faces like James Milllhollin, Howard Smith, Doris Packer, Max Showalter, and Richard Wattis, don't have much to do. Carol White, a British actress famous (later in the 1960s) for gritty British films like POOR COW, is oddly cast as one of Kirk's girl friends.

MacMurray does have a few good comedy scenes, but there's not enough punch to make this more than an extended sitcom. The film won Oscar nominations for sound and the hideous costumes.

"Bon Voyage" is a very good Disney movie from the studio's heyday of family films - that is, films centered around families. It's a comedy that also includes subtle lessons about life. These may not be such heralded motives or themes in the Hollywood of the 21st century, or even of large audience interests in modern times. But in the mid-20th century - especially the two decades plus, after World War II, they were good themes and very popular. This film finished 13th place in box office sales for the year. So, audiences of that time - and, most critics, enjoyed this movie.

The movie screenplay was written by Joseph Hayes. It is based on the 1956 novel of the same title that he co-wrote with his wife, Merrijane. Hayes is remembered for a number of novels and screenplays. His most notable work was his 1954 book, "The Desperate Hours," from which he then wrote a 1955 Broadway play that won the Tony as the best play of the year. That was followed immediately by a screenplay for the blockbuster film that starred Humphrey Bogart, Fredric March, and Martha Scott. Although more celebrated for his mystery and thriller stories, Hayes also wrote some comedy and drama.

Among the cast of this film set on a ship crossing the Atlantic and then, in Paris and the French Rivera, are some actors dubbed as Disney legends - notably, Fred MacMurray as Harry Willard and Tommy Kirk as his son, Elliott. They and Deborah Walley as daughter Amy give the best performances with the bulk of the screen time. The rest of the cast are good, including Jane Wyman as Mrs. Katie Willard, Michael Callan as Nick O'Mara, who pursues Amy from ship to shore, and Kevin Corcoran as the youngest Willard, Skipper.

Not many movies have been made about families on vacation. There was a small surge of such films in the mid-20th century, mostly comedies. This is one of the better films, along with "Mr. Hobbs Takes a Vacation" of the same year that starred James Stewart and Maureen O'Hara. Other movies, "National Lampoon's European Vacation" of 1985 and later films since then have lots of comedy in the antics of the cast, but very little interplay about family life.

The usual family humor is present here, where the older teens think their parents are old-fashioned, out of touch, or not to be believed or followed. After some antics and mishaps, Harry talks reasonably with Elliott and Amy. And the kids find out that dad may be wise after all. That kind of family interplay is most often left out of modern movies in favor of all-out efforts for humor. The result is often a picture of dumb parents, a dodo dad, and families in which kids have little or no respect for parents. I can't believe that modern vacationing families might really be like that.

Anyway, this is a very good film that is quite funny in places and thought-provoking at times. Here are some favorite lines.

Harry Willard, "Where the devil did she meet that fella?" Katie Willard, "Probably in the elevator." Harry, "How could she possibly meet someone during a ten-second elevator ride? I've been riding elevators all my life. I never meet anyone."

Katie, "He looks rather nice." Harry, "That's probably what he does - hang around elevators all the time. They have a name for his kind - elevator lurkers." Katie, "Oh, don't be silly, Harry. He's one of the passengers."

Harry, "What's wrong son? You can tell me." Elliott, "Dad, let's not do the man-to-man talk bit now, okay? I couldn't take it."

Harry, "I wish you'd stop talking like I'm from Mars or something. What don't I understand?"

Elliott, "I'm not interested in other girls. I'm deeply, beautifully in love with a very fine person. Together we might've had a chance for happiness. Together, we. .." Harry, "Wait a minute, Elliott. Are you talking about that scrawny Hamilton kid back home - the one with the floppy bangs that calls me 'chum'?" Elliott, "Dad, if we can't discuss Ruth with the respect to which she is entitled, I'd rather we didn't discuss it at all."

Harry, to youngest son, Skipper, "Whaddaya think of that fella, O'Mara?" Skipper, "Search me! He's no different from the other creeps Amy goes with back home."

Harry, "There's just something about that Nick O'Mara that raises my hackles. He admits he went to Yale." Katie, "Now, Harry." Harry, "I know - some of the sweetest boys you know went to Yale."

Harry, "And I thought the only thing we had to worry about on this trip was to make sure everybody drank bottled water."

Harry, "Look, son, let's get something straight right here. We ARE tourists. We're not playboys, or business tycoons, or international spies, or anything like that. We're just plain tourists from Terre Haute, Indiana. Now, for a start, it might help if we stop showboating all over the place and pretending something we're note. Then, maybe tourist won't be such a dirty word anymore."

Katie, "Harry, you surprise me. You're more devious than I gave you credit for. " Harry, "Well., I have given the matter some thought." Katie, "All right, you Happy Machiavelli, where's your first move?"

Amy Willard, "Give yourself some credit, daddy. You raised a girl with some gumption."

Amy, "Oh, don't worry about me, Pop. I'm going out with my two brothers. You take care of your own problem."