The scenario was based on the 1910 novel, Potash and Perlmutter by Montague Glass, and the hit 1913 play of the same name by Montague Glass and Charles Klein. Producer Samuel Goldwyn’s purchase of screen rights for the play was reported in the 25 January 1923 Variety and the 27 January 1923 Motion Picture News. Although Francis Marion was already working on the adaptation, it was noted that Goldwyn contracted with director George Fitzmaurice and his wife, writer Ouida Bergere, for a series of productions, one of which was to be based on a popular play. Goldwyn, who had recently resigned from his company, Goldwyn Pictures Corp., later told the 16 June 1923 Motion Picture News that filming Potash and Perlmutter was the fulfillment of a four-year ambition. It was one of his first independent productions.
       The 17 April 1923 Los Angeles Times indicated that Fitzmaurice had been replaced by Clarence Badger, who was on loan from Sawyer-Lubin Productions. Badger was scheduled to begin production on 1 May 1923 in New York City, accompanied by his assistant cameraman and “script clerk.” Alexander Carr and Barney Bernard, who starred in the 1913 production, reprised their roles for the screen, with subtitles by Montague Glass. Director of photography Rudolph Bergquist and business manager Charles Hunt were expected in New York City within the next few days, to be followed immediately by Badger and his remaining staff members. Meanwhile, the 19 April 1923 Variety noted that Glass was expected in the city later that month to begin work on his latest “Potash and Perlmutter” play.
       On 28 April 1923, Moving Picture World announced that Associated First National Pictures had completed a distribution deal with Goldwyn following three months of negotiations. It was also stated that the release of Potash and Perlmutter would be accompanied by related articles in 700 English-language newspapers, and a reprint of “Behind the Scenes,” Goldwyn’s series for The Pictorial Review, in 1,300 newspapers in the United Press syndicate. Richard Rowland was identified as general manager of Associated First National.
       Principal photography in Fort Lee, NJ, was postponed until 15 May 1923, according to the 19 May 1923 Exhibitors Trade Review. The next day, however, the New York Times claimed that it was to begin the following week. Items in the 24 May 1923 Variety and 16 June 1923 Motion Picture News noted that A. H. Woods, who produced the 1913 play, had a financial interest in the film. The latter publication also reported that four New York City modistes, Madame Frances, Madame Faulconer, Anna Tappe, and Harry Collins, loaned fifty models to the production, each of whom appeared in two creations from their employers’ autumn 1923 collections. Adolph Miller and Elsie Lawson were listed as additional cast members. The 30 June 1923 Motion Picture News revealed that filming had begun at Paragon Studio before relocating to the Universal Fort Lee facility, where the modiste shop set had been constructed.
       The close of production was announced in the 21 July 1923 Motion Picture News. Editing and titling were currently in progress, assisted by Montague Glass. Also appearing in the film were dancers Evelyn Law and Mlle. Allen from the Ziegfeld Follies, eight members of the Michel Fokine dance troupe, and 700 “superbly dressed” background actors. Co-stars Hope Sutherland and Leo Donnelly reprised their roles from the 1913 play. Two weeks earlier, the 7 July 1923 edition reported that Badger had been presented with a “silver loving cup” on behalf of the producer, cast, and crew. The 30 August 1923 Motion Picture News stated that the feature had been previewed earlier that month at three Long Island, NY, theatres to a reportedly enthusiastic audience response.
       Articles in the 22 September 1923 editions of Exhibitors Herald and Motion Picture News revealed that Goldwyn Pictures was seeking an injunction against Samuel Goldwyn to prevent him from releasing the film under his surname. Goldwyn, formerly known as Samuel Goldfish, had legally changed his name in 1918, and promised his business partners, Edgar and Archibald Selwyn, that he would not use his new name in connection with any other motion picture enterprise.
       Potash and Perlmutter was released in September 1923. Openings occurred on 10 September 1923 at the Rivoli Theatre in Baltimore, MD, and on 23 September 1923 at the Strand and Chicago Theatres in New York City and Chicago, IL, respectively.
       As stated in the 29 September 1923 Moving Picture World, a newspaper pressmen’s strike occurred days before the New York City opening. On 18 September 1923, Goldwyn publicist Harry Reichenbach promoted the film’s debut by dispatching at least twenty bell-ringing “town criers” in medieval dress throughout midtown Manhattan Island. Reichenbach planned to keep his men on duty for as long as necessary. He also issued a statement concerning the upcoming championship boxing match between Jack Dempsey and Luis Firpo, claiming that one of the combatants would be physically weakened by laughing at the film.
       Articles in the 25 October 1923 Variety and the 3 November 1923 Moving Picture World stated that Irwin Franklin, another Goldwyn associate, placed an advertisement for the film’s 13 October 1923 Youngstown, OH, opening in the Fiery Cross, a weekly publication of the local Ku Klux Klan chapter. Despite their policy against promoting “films of a distinctly Jewish nature,” the publishers ran the advertisement, which reportedly increased theatre attendance. Youngstown was described as a “hotbed of Ku Kluxism.”
       Goldwyn produced a 1924 sequel, In Hollywood with Potash and Perlmutter (see entry). George Sidney replaced Barney Bernard, who died earlier that year.
       The National Film Preservation Board (NFPB) included this film on its list of Lost U.S. Silent Feature Films as of February 2021.