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Bon Voyage - Full Cast & Crew

• 0 hr 13 mins
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A young couple is running a business to answer to the demand of desperate people. After examining a new case, Natalie finds herself conflicted in her intentions and is having second thoughts of what is right and crossing the blurred line of what is wrong. When she finds herself on the side of the road with a flat tire; and an older man stops to help her out, Natalie decides to pursue her mission.

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Bon Voyage!

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Rent Bon Voyage! on Prime Video, or buy it on Prime Video.

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The Nazi occupation of France may seem like a strange backdrop for an adventure comedy, but consider how " Casablanca " found humor, irony and courage in a related situation. Not that "Bon Voyage" is "Casablanca," but it proceeds from the same cynicism, and unites the worlds of politics, science and the movies. It also provides Isabelle Adjani with one of the best roles of her career, as a movie star who will do anything, say anything, and sleep with anybody, first to further her career and then to save her life.

The movie is a lavish, expensive period production by Jean-Paul Rappeneau , who also made Gerard Depardieu's rabble-rousing " Cyrano de Bergerac " in 1990 and the exhilarating " The Horseman on the Roof " (1995). Depardieu returns in "Bon Voyage," and he is an unmade bed no longer; he is astonishingly slimmed down, his hair trimmed and slicked back, wearing the tailored suits of a cabinet minister.

The movie opens in Paris, as the Nazis are moving into the city and many prudent citizens with the means or clout are moving to Bordeaux, which they think might be Nazi-free, at least for a while. Adjani plays Viviane Denvers, a great movie star and apparently an even greater lover. To say that she looks much younger than her 48 years is not flattery but the simple truth; Adjani was able to play a convincing teenager in " Camille Claudel " (1990). Here her character functions instinctively as a woman who is attracted to men who offer her money and safety. Her fatal flaw is that she is also attracted to men she loves. These tastes become thoroughly confused during the film, as she seeks money, safety and love simultaneously, which means that no one man is going to be able to fill the bill.

Jean-Etienne Beaufort (Depardieu) is the harassed cabinet minister she's attached to as the movie opens. As some ministers urge collaboration with the Nazis, he commands a car and Viviane joins him on the exodus. But then she is astonished to see a childhood friend named Frederic ( Gregori Derangere ) on the streets -- astonished, because she thought he was in jail, charged with murder. Such is her power over men that, some days earlier, after she murdered a blackmailer in her apartment, she called him up and because he had always been in love with her, he allowed the police to arrest him. He's free because his jailers helpfully released their prisoners ahead of the Nazi advance.

So now there is a man to care for her, and a man for her to care for. And not to forget Alex Winckler ( Peter Coyote ), a journalist who seems to have a lot of influence and is mesmerized by her. Can he be trusted? He speaks with an accent, and movie fans will know he has the same last name as one of the Nazi creeps in " The Third Man ." Viviane's strategy is to accept protection from the man of the moment, convince him she loves only him, and jump ship when necessary. How does Adjani create the character? Not by vamping, not by flaunting sexuality, but by creating a kind of vacuum of need that draws men so close they cannot resist the lure of her large, liquid eyes -- pools to drown in.

The film introduces a tributary that will eventually join with the main stream, although at first we can't see how. This involves an emigre Jewish professor named Kopolski ( Jean-Marc Stehle ), an intellectual temperamentally unsuited to survive in an evil world. He is in possession of several very large bottles of heavy water, needed for nuclear experiments, and he wants to keep them away from the Nazis and somehow get them to England. (The heavy water bottles here, like the wine bottles filled with heavy earth in Hitchcock's "Notorious," (1946) function essentially as a MacGuffin.) Prof. Kopolski's only hope is a young assistant named Camille ( Virginie Ledoyen ), who rises to the occasion, saving both the professor and the heavy water from Nazi capture; she transports the bottles in the back of a station wagon, where we constantly expect them to break.

There are other characters, a lot of them, including a set of rich aristocrats and tourists who keep turning up in all of the hotels, demanding what cannot be had. But the underlying structure of the movie is farce crossed with action and oiled by romance, and Rappeneau and his four co-writers are virtuosos at keeping all of their balls in the air. The lives and fates of the characters criss-cross, their motives are subject to sudden adjustments, and Viviane is like Eliza on the ice floes, leaping from one man to another.

The movie is funny not in a ho-ho way but in the way it surprises us with delights and blindsides us with hazards. There's a lot of contrivance involved -- it is after all improbable that these characters would not only constantly cross paths, but always at moments of crisis. But once we accept the movie's method, it implicates us; the sudden separations and reunions are devices for testing Viviane's powers of romantic invention and Camille's desperate improvisations. There is also the amusement that men, especially powerful men, are powerless in the hands of a woman like Viviane. Their mistake is to love someone who loves only herself; their excuse is that she loves herself so much she loves them, too, or is able to make them believe she does, which comes to the same thing.

I haven't even mentioned the costumes, the sets or the ambience of "Bon Voyage." If Rappeneau's "Horseman on the Roof" was the most expensive French film to date, "Bon Voyage" must be in the same league. He uses the money not to manufacture a big, clunky entertainment, but to facilitate a world that seems real even into the farthest corners of Paris, Bordeaux, hotels, cabinet meetings, boudoirs, dark roads and desperate rendezvous. This is a grand, confident entertainment, sure of the power of Adjani, Depardieu and the others, and sure of itself.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Film credits.

BON VOYAGE (2004)

Rated PG-13 for some violence

114 minutes

Isabelle Adjani as Viviane Denvers

Gerard Depardieu as Jean-Etienne Beaufort

Gregori Derangere as Frederic

Peter Coyote as Alex Winckler

Jean-Marc Stehle as Kopolski

Virginie Ledoyen as Camille

Yvan Attal as Raoul

• Jean-Paul Rappeneau
• Gilles Marhand
• Patrick Modiano
• Julien Rappeneau
• Jerome Tonnerre

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Bon Voyage!

May 17, 1962

Classics, Comedy, Family, Live Action

Comic adventure awaits the Willard family when Harry (Fred MacMurray) packs up the wife and kids and sets sail on a long-awaited "dream" vacation to romantic France. However, their trip includes some unforeseen adventures.

Rated: NR Release Date: May 17, 1962

Directed By

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Grateful Dead Members Laud Bill Walton as Band’s Biggest Fan and ‘The Best Friend I Ever Had’

By Chris Willman

Chris Willman

Senior Music Writer and Chief Music Critic

• Mickey Hart on Dead & Company’s Staggering Sphere Run and His Vegas Art Exhibition: ‘The Stars Are Aligned for Us’ 18 hours ago
• Grateful Dead Members Laud Bill Walton as Band’s Biggest Fan and ‘The Best Friend I Ever Had’ 21 hours ago
• Dead & Company Extends Las Vegas Residency at Sphere Into August 23 hours ago

Members of the Grateful Dead and its currently playing spin-off group, Dead & Company, have taken to social media after the death of basketball legend Bill Walton to share their grief and love for the man who was considered the Dead’s biggest celebrity superfan.

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View this post on Instagram A post shared by Dead & Company (@deadandcompany)

Bob Weir, Mickey Hart and Bill Kreutzmann and Dead & Company’s John Mayer all shared their thoughts individually as well.

Wrote Hart, the drummer for the Grateful Dead and Dead & Company: “Bill was my best friend, the best friend I ever had. He was an amazing person, singular, irreplaceable, giving, loving. His love for our music was beyond description. He called himself the luckiest man in the world but it was us who were lucky—to know him, to share the adventure with him. He was the biggest Deadhead in the world and used our music as the soundtrack to his life. After our shows, he would regularly send messages that said, “thank you for my life.” Over 1000 shows, he just couldn’t get enough. Bill had an incredible passion for drums. After any meal at his house, we would play. There was nothing like a Bill Walton… nothing. There are things you can replace. And others you cannot. Bon voyage, old friend, I love you.”

View this post on Instagram A post shared by Mickey Hart (@mickeyhart)

View this post on Instagram A post shared by Bobby Weir (@bobweir)

Bill Kreutzmann, a veteran Grateful Dead drummer and a member of Dead & Company until last year, wrote: “There are incredible stories about Bill Walton that I promised him I would only tell after he passed away, and it’s not nearly that time yet because before we laugh, first we must allow ourselves to cry. Darn it. This is a mournful day. This is a period of mourning. Sure, Bill Walton was an NBA legend. But in the Grateful Dead orbit, he was just a fan – and that made him a legend here, too. In many ways, he was our number one fan… but Bill would’ve taken issue with that ranking because, while he won many awards in his storied basketball career — including MVP — Bill insisted that the Grateful Dead was not a competition — and that all Deadheads were equal.”

He continued, “Similarly, when he walked into a room, you knew it – but it wasn’t because of his size. It was because of that laugh of his that broadcasted joy, and it was his easygoing smile that beamed sunshine across any space he ever entered. So, yeah, losing Bill is an irreplaceable loss and, in simple terms, I am heartbroken. When somebody means that much to you, when their friendship is that important – that’s called love. I loved Bill Walton. As we say in the land of the Dead: May the four winds blow him safely home.”

View this post on Instagram A post shared by Bill Kreutzmann (@billkreutzmann)

John Mayer wrote: “Bill Walton lived a life that the rest of us could only hope to achieve on our second (or third) go-round. He had an eye toward the truly important stuff, the stuff we already know better than to lose sight of, but often do. One of Bill’s great talents was to reorient you so as to stand bedside him and see the light in life that he refused to break eye contact with.”

Continued Mayer, “The climb to acceptance is steep in the Grateful Dead universe, and Bill gave me a huge lift up those stairs with his kindness, his encouragement, and his friendship. He will be so deeply missed, but his approach to life will never be forgotten. I think it’s pretty good advice that when times get tough, everything will be okay if you just pretend to be Bill Walton. Thank you Bill.”

View this post on Instagram A post shared by John Mayer (@johnmayer)

In a post joining his father in sympathy, Kreutzmann’s son Justin called Walton “the nicest guy you could ever meet” and noted that it “feels like the world got a little darker today.”

At Red Rock in 1978: (left to right) Dad aka @BKreutzmann , Adam Walton, Me, Bill Walton. Bill Walton was the nicest guy you ever could meet. Feels like the world got a little darker today. pic.twitter.com/z2Q9EVzFaF — Justin Kreutzmann (@JustKreutzmann) May 27, 2024

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Bon voyage (2011 TV Movie)

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