We Have Our Moments (1937)

65 mins | Comedy | 29 March 1937

Director:

Alfred Werker

Cinematographer:

Milton Krasner

Editor:

Frank Gross

Production Designer:

Jack Otterson

Production Company:

Universal Pictures Co.
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HISTORY

According to a HR news item on 4 Feb 1937, when assistant director James Hartnett became ill during production, Harold Christie took ... More Less

According to a HR news item on 4 Feb 1937, when assistant director James Hartnett became ill during production, Harold Christie took over. More Less

SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
20 Mar 37
p. 3.
Film Daily
24 Mar 37
p. 6.
Hollywood Reporter
20 Mar 37
p. 4.
Hollywood Reporter
4 Feb 37
p. 4.
Motion Picture Daily
22 Mar 37
p. 4.
Motion Picture Herald
13 Feb 37
p. 50.
New York Times
3 Apr 37
p. 37.
Variety
5 May 37
p. 16.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
Fill-in asst dir
PRODUCERS
Exec prod
Assoc prod
WRITERS
Orig story
Orig story
PHOTOGRAPHY
ART DIRECTORS
Art dir
Art dir assoc
FILM EDITOR
Film ed
MUSIC
Mus dir
VISUAL EFFECTS
Spec eff
DETAILS
Release Date:
29 March 1937
Production Date:
began late December 1936
Copyright Claimant:
Universal Pictures Co.
Copyright Date:
24 March 1937
Copyright Number:
LP7004
Physical Properties:
Sound
Western Electric Mirrophonic Recording
Black and White
Duration(in mins):
65
Length(in reels):
7
Country:
United States
PCA No:
2991
Passed by NBR:
Yes
SYNOPSIS

Mary Smith, a schoolteacher in the small town of Battleburo, is planning to marry Clem Porter in September, but he insists on a honeymoon in nearby Sioux City so as not to conflict with his fall bowling schedule. Tired of small-town life, Mary books passage on a cruiser bound for Europe, promising Clem she will return in September once she has seen the world. On the ship, Mary poses as a sophisticate and meets Mr. and Mrs. Frank Rutherford and their accomplice, "Smacksey," who has just stolen $100,000 from a U.S. bank. Also on the boat are British "gentleman" Joe Gilling, and American detective John Wade, who says he is a schoolteacher. The two compete for Mary's attention, and she is amicable to both. When the Rutherfords see John on board and learn that Smacksey's stateroom was searched, they have Smacksey hide the money, which is in a cigar box, in Mary's trunk. The thieves then see Mary getting friendly with John, and Frank suggests retrieving the money, but Mary's trunk has been moved to the luggage compartment filled with hundreds of look-alike trunks. At a reception given by the ship's captain, Joe recognizes Frank as "Thousand Percent Rutherford" and, introducing himself as "English Joe Gilling," offers him $75,000 in "cool" English money in exchange for Frank's $100,000 in "hot" American money. That night, as Mary is kissing Joe on deck, John interrupts, hits Joe and kisses Mary, who then slaps him. All decide to go ashore at Monte Carlo, but before they dock, Captain Enrico Mussetti of the French secret police suggests to John that all the passengers' luggage be searched. ... +


Mary Smith, a schoolteacher in the small town of Battleburo, is planning to marry Clem Porter in September, but he insists on a honeymoon in nearby Sioux City so as not to conflict with his fall bowling schedule. Tired of small-town life, Mary books passage on a cruiser bound for Europe, promising Clem she will return in September once she has seen the world. On the ship, Mary poses as a sophisticate and meets Mr. and Mrs. Frank Rutherford and their accomplice, "Smacksey," who has just stolen $100,000 from a U.S. bank. Also on the boat are British "gentleman" Joe Gilling, and American detective John Wade, who says he is a schoolteacher. The two compete for Mary's attention, and she is amicable to both. When the Rutherfords see John on board and learn that Smacksey's stateroom was searched, they have Smacksey hide the money, which is in a cigar box, in Mary's trunk. The thieves then see Mary getting friendly with John, and Frank suggests retrieving the money, but Mary's trunk has been moved to the luggage compartment filled with hundreds of look-alike trunks. At a reception given by the ship's captain, Joe recognizes Frank as "Thousand Percent Rutherford" and, introducing himself as "English Joe Gilling," offers him $75,000 in "cool" English money in exchange for Frank's $100,000 in "hot" American money. That night, as Mary is kissing Joe on deck, John interrupts, hits Joe and kisses Mary, who then slaps him. All decide to go ashore at Monte Carlo, but before they dock, Captain Enrico Mussetti of the French secret police suggests to John that all the passengers' luggage be searched. In an attempt to make up with Mary, John calls off the search of her trunk at the last minute, and the cigar box makes it safely into Monte Carlo. At the Hotel Imperial, a maid discovers the cigars, and Mary finds the money before a note is slipped under her door by Smacksey warning her to keep quiet and promising her a cut in the take. Joe asks Mary for a date and she tells him about the money, which he hides in the phone cabinet so that Smacksey can retrieve it later. Mary, now suspicious of John for stopping the search at customs, hides the money in the chandelier in her room. Mussetti, identifying Joe as "English Joe" to John, is suspicious of Mary, but John assures him she is innocent. Clem, meanwhile, has arrived in Monte Carlo, and when Mary gives him her roulette winnings, John thinks Clem is one of the crooks. When Mary returns to her room, she is met by the Rutherfords, Smacksey, and Joe, who demand the money. John enters with Clem, claiming he has found the thief and the loot, just as Mussetti's men open fire in the room. Everyone hits the floor, and the money falls from the chandelier. Mussetti arrests the thieves, and John promises him he will take care of Mary by marrying her. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.