James Garner is a globe-trotting photographer for a slick magazine who's rarely home for wife Debbie Reynolds or son Donald Losby. When Losby says he wants to go on a summer tour for Europe, Garner agrees, but Miss Reynolds objects, with the result that all three go: Garner on a working assignment covering the tour with Losby as his assistant, and Miss Reynolds in a rented house on the Riviera; through he usual misunderstandings, with its owner, Maurice Ronet, in residence and trying to seduce her.
There's a lot of talent on display, including Dalio, Vito Scotti, and Elena Verdugo, but much of it is wasted for a series of sitcom plots; director Jerry Paris and writer-producers Garry Marshall and Jerry Belson seem most comfortable with small sets, even though their movie budget allows them to populate the sequences realistically. DP Lucien Ballard only gets to shoot one interesting sequence, and that's a montage of still images of girls posing by the Mona Lisa and trying to replicate her style.
Although the movie has some bright moments, and lots of pretty girls, it suffers from the late 1960s problem of a declining movie audience and a desperate attempt to appeal to the kids with a faux-groovy music score grafted onto one of those early 1960s plots about middle-aged, suburban lust. Everyone is so darned nice, it strains for some real conflict, and the montage points out how visually barren the rest of the movie is.
There's a lot of talent on display, including Dalio, Vito Scotti, and Elena Verdugo, but much of it is wasted for a series of sitcom plots; director Jerry Paris and writer-producers Garry Marshall and Jerry Belson seem most comfortable with small sets, even though their movie budget allows them to populate the sequences realistically. DP Lucien Ballard only gets to shoot one interesting sequence, and that's a montage of still images of girls posing by the Mona Lisa and trying to replicate her style.
Although the movie has some bright moments, and lots of pretty girls, it suffers from the late 1960s problem of a declining movie audience and a desperate attempt to appeal to the kids with a faux-groovy music score grafted onto one of those early 1960s plots about middle-aged, suburban lust. Everyone is so darned nice, it strains for some real conflict, and the montage points out how visually barren the rest of the movie is.