Okay Parigi!

This turned out to be a good movie. Fred MacMurray and Jane Wyman finally take the European trip they've always dreamed of, including taking their three children along. Tommy Kirk and Doborah Walley are their teen-aged children and bring along their romantic escapades. On location shooting make for a better than average Disney film. Saw this on the Disney channel.

Nice Disney family film in the tradition of Old Yeller, Swiss Family Robinson & LT. Robin Crusoe USN. Stars Fred Mac Murray & Jane Wyman as well as veteran Disney child actors Tommy Kirk & Kevin Cochoran, and the late Deborah Walley. Real star of this film is the old Ocean Liner SS United States. - 1962 was the twilight of the big Transatlantic Ocean Liners and " The Big U" shows herself in all her glory. Shot on location in Paris and the Riviera, it gives us a look back at Paris back in the 60's with all the fads and fashions. A bit dated for today's tots. This film is probably better suited for adults looking for a nostalgic look back.

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)

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.

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.