Tag Archives: Fred MacMurray

Bon Voyage!-1962

Bon Voyage! -1962

Director James Neilsen

Starring Fred MacMurray, Jane Wyman

Scott’s Film Review #1,508

Reviewed January 8, 2026

Grade: B

James Neilson, known for directing both film and television and well-versed in the Walt Disney vibe, having worked throughout the 1960s on the television series Walt Disney’s Wonderful World of Color, provides fans of European travel with a feast of locale riches.

He offers Bon Voyage! (1962), an entertaining family adventure that multi-generations can enjoy.

Paris is the primary setting with the Eeifel Tower, the Louvre Museum, and Notre Dame prominently featured. Still, London, the French Riviera, and snippets of New York City are also featured.

Watching the film decades after 1962 is a pure delight, seeing how outfits, people, and landmarks have changed over the years.

This is the obvious highlight for me, though the dynamic between the Willards is fun in a lighthearted way, seesawing between comedy and sentimentality.

At times, the comedy is more bafoonish than laugh-out-loud, and the sequences more plot-driven than believable.

Nonetheless, the chemistry between the actors is prominent, and the story is wholesome and predictable, culminating in a feel-good experience.

After twenty years of marriage, Terre Haute, Indiana, plumber Harry Willard (Fred MacMurray) finally makes good on his promise to take his wife, Katie, played by Jane Wyman (ex-wife of United States President Ronald Reagan), on a luxurious cruise to Europe.

Hardly a honeymoon; they are accompanied by their brood: nineteen-year-old son, Elliott (Tommy Kirk), eighteen-year-old daughter, Amy (Deborah Walley), and eleven-year-old son, Skipper (Kevin Corcoran).

From the moment the group arrives at the dock by taxi cab, the bumbling Harry nearly loses the passports, and an unending series of mishaps ensues, including Amy’s romantic entanglement with handsome, wealthy Nick (Michael Callan), a sewer adventure, and a passionate Hungarian man pursuing Katie.

The film experiences highs and lows throughout.

Is Nick meant to be a disliked character? He’s actually my favorite character, except maybe for Harry, and is written quite daringly for the early 1960s, with him fervently questioning marriage and other institutions.

He ultimately disregards his wealth and decides to relocate to New York to forge a career without his family’s wealth or expectations, much to his mother, the contessa’s (Jessie Royce Landis), chagrin.

However, I could have done with more than one scene from the fabulous Landis, best known for Hitchcock’s To Catch a Thief (1955) and North by Northwest (1959), in which she also plays interesting mothers.

Though she steals her lone scene as she drips with jewels, a gorgeous dress, and struts around her lavish party, exclaiming ‘dahling’ whenever she can, we never get enough of her fabulous antics.

Still, Nick seems to be the only character with a solid set of balls who stands against societal expectations. His tense scenes with Harry about life and love are the only times the film’s writing is daring.

The rest of the writing is relatively safe and tepid.

Amy comes across as a bit wishy-washy about sex and marriage, and after prancing along the beach in a tacky outfit, she seems more of a nitwit than a serious character.

Maybe she and Nick don’t belong together after all?

Elliott, while cute in his pursuit of young women and attempts to impress them with unfounded wealth, his act grows tiresome by the film’s conclusion.

The most palpable couple is Harry and Katie, whose tender love shines through as an inspiration to other characters. The chemistry between MacMurray and Wyman is strong, showcasing them as reliable and stalwarts of true love.

Bon Voyage! (1962) is a kindhearted film, marginally recommended mainly for the locales. It’s mostly a safe affair, save for one character, and pales in comparison to more weighty films to come during the 1960s.

Oscar Nominations: Best Costume Design (Color), Best Sound

Double Indemnity-1944

Double Indemnity-1944

Director Billy Wilder

Starring Fred MacMurray, Barbara Stanwyck

Scott’s Review #847

Reviewed December 26, 2018

Grade: A

Double Indemnity (1944) perfectly epitomizes the classic film noir genre. It contains all the necessary elements, from intrigue, suspense, and unpredictable thrills to schemes and dastardly deeds by the major players.

The on-screen chemistry between leads MacMurray and Stanwyck provides enough romantic flair and provocative moments to entertain all as developments progress when a smitten man meets a femme fatale and a devious plot is hatched.

Director Billy Wilder was one of the most influential directors of his day. This picture was his first effort, and it received fabulous critical acclaim.

The accolades put him firmly on the map for years to come, culminating in an Oscar win in 1960 for The Apartment. Wilder uses a clever insurance “double indemnity” clause as its title, making it one of the best and most influential crime dramas of the 1940s, staking ground for other similarly themed films.

The story is told via flashbacks as a wounded Walter Neff (Fred MacMurray) scrambles to record a confession to his colleague and best friend, Barton Keyes (Edward G. Robinson).

The action rewinds to an ordinary day when Neff makes a routine stop to sell insurance and meets flirtatious Phyllis Dietrichson (Barbara Stanwyck). She brazenly inquires how she ought to take out an insurance policy on her husband’s life without his knowledge.

When Neff deduces Phyllis’s intention to kill her husband, he declines any further help but cannot forget the ravishing beauty and her charms. He ultimately succumbs to her whims and aids her in a wicked crime.

The adventure the audience is taking on is the most fun aspect of the film. We already deduce that Neff is involved in shenanigans, but most of the fun occurs after the murder has been committed and Phyllis and Neff’s scheme begins to unravel.

The added component of Neff’s colleague and close friend, Keyes, being involved as he starts to suspect foul play is equally compelling.

Will he finally realize that Neff is involved in the plot? If discovered, will Keyes cover for Neff? Will Phyllis’s history catch up with her and twist events?

These questions make the film a great picture.

A debate among viewers can ensue whether Neff is sympathetic as this point continues to cross my mind with each viewing. One can safely say that he is seduced by the charms of an eager and aggressive woman, but if he is to blame for the crimes, is she not even more to blame?

As events unfold, sides can be drawn, and characters can be more focused, particularly after Double Indemnity’s startling conclusion.

Neff is not a strong, heroic character. She is relatively weak and easily manipulated by the cagey Phyllis. It is interesting how little time it takes for Neff to succumb to her plot and willingly commit the crime.

In the final act, Neff does show some muscle needed, but this is only because his “goose is cooked,” and he finally realizes the dire nature of Phyllis’s character. However, shouldn’t he have discovered this sooner?

MacMurray and Stanwyck have smoldering chemistry and are a significant film success, keeping the audience invested in the plot. The added measure of the murder victim being relatively unknown to the audience adds a macabre rooting value to the pair.

Wilder never presents the plot as a romantic triangle, and Neff and Phyllis have no other romantic entanglements. The only roadblock is the insurance company and its suspicions about Phyllis.

Wilder adapted the screenplay from James M. Cain’s novella of the same name and spins a potent film noir from these pages. Double Indemnity (1944) is intelligent, sexy, and mysterious, mixing in as much sultry poise as witty dialogue.

The film is a measured success and a highly influential cinematic story thanks to the allure of fine actors and a stunning train adventure.

Oscar Nominations: Best Motion Picture, Best Director-Billy Wilder, Best Actress-Barbara Stanwyck, Best Screenplay, Best Scoring of a Dramatic or Comedy Picture, Best Sound Recording, Best Cinematography, Black-and-White

The Apartment-1960

The Apartment-1960

Director Billy Wilder

Starring Jack Lemmon, Shirley MacLaine

Scott’s Review #7

60011007

Reviewed June 17, 2014

Grade: A-

The Apartment (1960) is another gem by Billy Wilder (Sunset Boulevard, The Lost Weekend). This one is set in 1959 New York City, a setting and period I adore.

The black-and-white images effectively portray the loneliness and bleakness of the characters, who are all friendless, sad, and starved for love.

It questions social morality and getting ahead in the corporate world but goes from drama to romantic comedy with no sappiness.

Quite the contrary, as the film has dark moments of despair and angst.

The film influenced the television series “Mad Men”. As with most Billy Wilder films, there is a darkness of humanity, which is fascinating to watch.

Jack Lemmon and Shirley MacLaine are terrific, but their chemistry is lacking. Despite this, the film is still excellent.

The Apartment (1960) won the Best Picture Oscar.

Oscar Nominations: 5 wins-Best Motion Picture (won), Best Director-Billy Wilder (won), Best Actor-Jack Lemmon, Best Actress-Shirley MacLaine, Best Supporting Actor-Jack Kruschen, Best Story and Screenplay Written Directly for the Screen (won), Best Sound, Best Art Direction, Black-and-White (won), Best Cinematography, Black-and-White, Best Film Editing (won)