There are few close-ups of Merle Oberon in this film - she was recovering from her second bout of cosmetic poisoning, which had left pits and sores in her face and could not be covered with makeup.

Despite the indifferent reception the film received, the cast treasured its experience with director Ernst Lubitsch and the atmosphere he created on set. Burgess Meredith enjoyed working on the production and years later recalled, "I don't know when I had a better time in my whole career than during that period." Of Lubitsch, Meredith said, "He was very psychic. I'd fall down laughing because right away he'd improvise, in the middle of a scene he was doing for me, some very personal thing about my life, with his big cigar in his mouth, and he knew I'd come over and say, 'How did you know about that?' and he'd say, 'I have ways of knowing.' "

Thirty-year-old Merle Oberon first claims to be 22, then raises it to 24; then later admits to being married at the age of 19, six years previously.

A loose remake of director Ernst Lubitsch's Kiss Me Again (1925).

In the waiting room of the office of Dr. Vengard, Jill Baker is reading the November 4, 1940 issue of Time magazine. On the cover is King George II of Greece.

The failure of the original copyright holder to renew the film's copyright resulted in it falling into public domain, meaning that virtually anyone could duplicate and sell a VHS/DVD copy of the film. Therefore, many of the versions of this film available on the market are either severely (and usually badly) edited and/or of extremely poor quality, having been duped from second- or third-generation (or more) copies of the film.

Ernst Lubitsch and Sol Lesser had formed a partnership, Ernst Lubitsch Productions, Inc., but it was dissolved when this movie did poorly at the box office.

Werner R. Heymann's score was nominated for an Academy Award.

Merle Oberon's jewels were designed and provided by Paul Flato, for years a jeweler to many Hollywood stars.

The original play, "Divorçons," opened in Paris on 6 December 1880.

This film received its earliest documented telecast Saturday 15 July 1944 on New York City's pioneer television station WNBT (Channel 1); in Baltimore it first aired Sunday 25 January 1948 on WMAR (Channel 2), in Los Angeles Sunday 30 May 1948 on KTLA (Channel 5), in Detroit Tuesday 2 November 1948 on WJBK (Channel 2), in Chicago Monday 27 December 1948 on WGN (Channel 9), in Boston Friday 31 December 1948 on WNAC (Channel 7), in Atlanta Sunday 31 July 1949 on WSB (Channel 8), in Salt Lake City Sunday 16 October 1949 on KDYL (Channel 2), and in Cincinnati Thursday 29 December 1949 on WKRC (Channel 11).

Epilogue: "And the hiccups never came back."

The painting of the woman to the left of the gallery entrance is by Fernand Leger.