This film was based on the 1926 play of the same name by John V. A. Weaver and George Abbott. According to an article in the 10 January 1926 Los Angeles Times, the play was inspired by the refrain of “love ‘em and leave ‘em” in a poem by Weaver, published in Vanity Fair. It drew the attention of theatrical producer Morris Gest, who enlisted Weaver to write a play called Love ‘Em and Leave ‘Em, about anything he wanted, with a guarantee that Gest would produce. However, by the time Weaver finished the play, Gest had lost interest. Another producer staged the play in a small venue, and it was a flop. Weaver decided to write an entirely new play with the same title, co-written by George Abbott, which made its Broadway debut on 3 February 1926 at the Sam H. Harris Theatre.
       Famous Players-Lasky Corp. acquired screen rights to the play and cast Esther Ralston in the leading role, as announced in the 2 April 1926 Los Angeles Times. Shortly after, the 8 April 1926 Film Daily reported that Luther Reed was slated to direct. The following month, an item in the 14 May 1926 Film Mercury stated that Esther Ralston had left the project in order to film Old Ironsides (1926, see entry). By early July 1926, Frank Tuttle had replaced Luther Reed as director, and Lois Wilson was cast in Ralston’s place, as announced in the 2 July 1926 Film Daily and 16 July 1926 Los Angeles Times.
Filming took place at Famous Player-Lasky's Long Island City, NY, studios. Principal photography was scheduled to begin on 13 September 1926, according to the previous day’s Film Daily. Esther Ralston had since rejoined the cast; an item in the 15 September 1926 Film Daily stated that Ralston would not be replaced by Evelyn Brent as previously indicated. A follow-up in the 19 September 1926 issue reported that Brent was, in fact, set to take over the role of “Mame Walsh.” The same day’s Los Angeles Times noted that Evelyn Brent had traveled to New York City “weeks ago” in preparation to play the role, only to find out upon arrival that Ralston had won it. Ralston’s ultimate departure was addressed in a 17 October 1926 Los Angeles Times article, which suggested that she “lost” the role but, in retrospect, did not believe she was right to play the “gum-chewing, sleek-haired, slangy older sister.”
       Screenwriter Doris Anderson listed Love ‘Em and Leave ‘Em among her recent films in an advertisement published in the 11 January 1928 Variety.
       Fred Fleck was identified as the casting director in a 2 October 1926 Exhibitors Herald item, which announced the casting of Gregory Blackton in the role of a husband and father, and Joan Purvis in the role of a two-year-old daughter. Ford Sterling was listed as a cast member in the 22 August 1926 Film Daily, and the 6 November 1926 Motion Picture News stated that Blanche Le Clair served as a dancer in the film’s costume ball scenes. According to her 2008 LAT obituary, Anita Page appeared in an uncredited role.
       The film opened to mixed reviews on 6 December 1926. While the 8 December 1926 New York Times stated that Evelyn Brent was the “shining light of the cast,” the 19 December 1926 Film Daily review praised newcomer Louise Brooks as “easily the biggest attraction in the cast.” A brief item in the December 1926 issue of Motion Picture claimed that this feature film was the first to depict the “Black Bottom” dance popularized by Ann Pennington onstage in George White’s Scandals revue.
       According to the Library of Congress American Silent Feature Film Survival Database, Love ‘Em and Leave ‘Em is extant.
       In 1929, Paramount Famous Lasky Corp. released another screen adaptation of Weaver and Abbott’s play, titled The Saturday Night Kid (see entry).