In the vein of Lubitsch and Ophuls, Ludwig Berger's operetta utilizes its cinematic flexibility to expand on the stage version by Oskar Straus. Featuring the popular husband-wife team of Yvonne Printemps and Pierre Fresnay, Trois Valses was an enormous success in its original release. Richard Traubner writes: “Trois Valses is a film that literally waltzes from beginning to end, with only a few rest periods. The camera seems to outdo Ophuls in its ‘Viennese' wanderings, but one expects this in a film with three waltzes in its title!.... The speed and grace of the action create a marvelous sense of exhilaration that all too few musical films of this type exhibit; part of the film's effectiveness lies in having three stories...the film is so constructed that Printemps in fact rarely has a chance to sing a song from beginning to end.... Printemps had indisputably the most distinctive and charming voice ever heard in French operetta.... Trois Valses further proves that...she had a comic verve and a touching wistfulness.... Her floating legato inspired critic Emile Vuillermoz's comment that ‘Printemps sings like others breathe,' and she was quite famous for holding her final notes a very long time.... Her sense of merriment, her sveltness, and her voice conjure up her U.S. counterpart, Jeanette Macdonald....”