7.4/10
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One Hour with You (1932)

Passed | | Comedy, Musical, Romance | 23 March 1932 (USA)
An unhappily married couple try to come between a happy one.

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, (uncredited)
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Nominated for 1 Oscar. See more awards »
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Cast

Complete credited cast:
...
...
Colette Bertier
...
Mitzi Olivier
...
...
Professor Olivier
...
Mademoiselle Martel
...
Henri Dornier - Private Detective
Barbara Leonard ...
Mitzi's Maid
...
Police Commissioner
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Storyline

Andre and Colette Bertier are happily married. When Colette introduces her husband to her flirtatious best friend, Mitzi, he does his best to resist her advances. But she is persistent, and very cute, and he succumbs. Mitzi's husband wants to divorce her, and has been having her tailed. Andre gets caught, and must confess to his wife. But Colette has had problems resisting the attentions of another man herself, and they forgive each other. Written by John Oswalt <jao@jao.com>

Plot Summary | Add Synopsis

Taglines:

Chevalier! Captivating all the world with laughter and love! See more »


Certificate:

Passed
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Details

Country:

Language:

Release Date:

23 March 1932 (USA)  »

Also Known As:

Eine Stunde mit Dir  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

(Western Electric Noiseless Recording)

Color:

(tinted)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

A French-language version Une heure près de toi (1932), ("One More Hour With You") was filmed simultaneously. Maurice Chevalier and Jeanette MacDonald (who spoke French fluently) played the same parts as in the English version, and Lili Damita replaced Genevieve Tobin. See more »

Quotes

Henri Dornier - Private Detective: [to Professor Olivier] Professor, speaking detectively, you're as good as divorced right now.
See more »

Connections

Version of The Marriage Circle (1924) See more »

Soundtracks

Oh That Mitzi
Music by Oscar Straus
Lyrics by Leo Robin
Sung by Maurice Chevalier
See more »

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User Reviews

 
But Oh That Mitzi....
8 September 2005 | by (United States) – See all my reviews

In the second of the four Chevalier - MacDonald films the leads are a married couple (Chevalier is a upper class doctor, of all things) who are happy together. In fact they are first seen preparing for their anniversary party. Both have friends who can spoil this. Chevalier's closest friend is Charlie Ruggles, who secretly loves MacDonald (but who is usually too nervous or intense to get anywhere with her - if she were interested). MacDonald is close to an old school friend, Genevieve Tobin, who is a continuous flirt (one can even consider her a nymphomaniac). She is married to Roland Young, but their marriage is on the rocks because of her affairs (his too - he wants to marry their maid). So MacDonald invites her friend into her home, and Tobin soon is being coquettish towards Chevalier. When she returns home, she asks him to see her on a professional (i.e. medical) problem, and proceeds to try to seduce him. This upsets Chevalier, who tries to remain faithful to MacDonald, but she (blind as she is to what Tobin is doing) insists he help her friend. Young is delighted. He is closing in on a divorce with Tobin. Finally, being weak, Chevalier gives in. MacDonald learns of this, and turns to Ruggles (!). And the film is set for some kind of resolution of these problems in sexual politics.

The music is best recalled for the title tune, "One Hour With You". It would pop up for years in Paramount film musicals (in DUCK SOUP, it is played in the sequence when Harpo Marx is doing a "Paul Revere" ride to rally the countryside, only to stop at his girlfriend's for "one hour with her."). It also appeared as the national love song of Klopstokia in MILLION DOLLAR LEGS, with Jack Oakie singing the words, "Woof bootle gik..." instead of the original words to it. However, the number that gets me is the one mentioned in the "Summary" line, which Chevalier sings to explain to the audience his dilemma regarding his loyalties to his wife versus the fascination of the beguiling Tobin. In all of his films in the 1930s he would sing some tune that dealt with the heroine or another woman: "Mimi" in LOVE ME TONIGHT is an example, as is "Louise". "MITZI" is another example of this.

The Lubitsch touch is shown throughout. One of the best moments is when Ruggles is talking to MacDonald about attending a party at their home, and learns it is a dinner party, not the costume party he is dressed for. He turns to his butler, and demands to know why he told Ruggles it was a costume party. "Oh sir," says the giggling butler, "I so wanted to see you in tights!" With bits like that sprinkled about, this film is a small treasure.


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