A family takes a long delayed trip to Europe and finds an unending series of comedy adventures.A family takes a long delayed trip to Europe and finds an unending series of comedy adventures.A family takes a long delayed trip to Europe and finds an unending series of comedy adventures.
- Nominated for 2 Oscars
- 2 nominations total
Howard Smith
- Judge Henderson
- (as Howard I. Smith)
Max Showalter
- The Tight Suit
- (as Casey Adams)
George Boyce
- Ship Passenger
- (uncredited)
George Bruggeman
- Ship Passenger
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaThe Disney studio was aware of Tommy Kirk's homosexuality by this time. Kirk did not get along with Jane Wyman during filming, and his relationship with Fred MacMurray deteriorated as well. He recalled, "I thought Jane Wyman was a hard, cold woman and I got to hate her by the time I was through with Bon Voyage!. Of course, she didn't like me either, so I guess it came natural. I think she had some suspicion that I was gay and all I can say is that, if she didn't like me for that, she doesn't like a lot of people."
- GoofsThe SS United States was famously advertised as being totally fireproof, with wood furnishings banned from her construction and decor. In sound stage version of the ship's library, the space is decorated with wooden tables and chairs.
- Quotes
[on the beach at Cannes, Harry and Skipper are watching Elliott chat up a pretty French girl, as the girl's mother looks on disapprovingly]
Skipper Willard: How do you like Elliott's new moustache, Dad?
Harry Willard: I think I like the one on the girl's mother better.
- ConnectionsFeatured in L'ami public numéro un: L'usine à rêves (1962)
Featured review
One Of Disney's Few Complete Fails
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.
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.
helpful•50
- aimless-46
- May 30, 2019
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Details
- Release date
- Country of origin
- Official site
- Language
- Also known as
- Champagner in Paris
- Filming locations
- Production company
- See more company credits at IMDbPro
Box office
- Gross US & Canada
- $11,990,000
- Runtime2 hours 10 minutes
- Aspect ratio
- 1.75 : 1
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