Actor Paul Leyssac's name was misspelled in the credits as "Leysaac." This was the first film made in America by noted European stage and screen actress Elisabeth Bergner, whose name is spelled "Elizabeth" in the onscreen credits. HR reported in Jun 1941 that actor Broderick Crawford was to star in this film, but he did not appear in the released film. An Aug 1941 HR news item reported that the music score was to be composed by Frank Skinner, but it has not been determined if any of his work was used in the released film.
       The Charles K. Feldman papers at the AFI Louis B. Mayer Library reveal the following information about the production: the film was put together under a four-way agreement between Bergner, producer-writer Benjamin Glazer, director Edwin L. Marin and the Feldman-Blum Corp, a talent agency. The Feldman-Blum Corp. owned the screenplay, having purchased its rights from Glazer as well as from writers John S. Toldy, John Collier and Lou Sarecky. Neither Collier nor Sarecky received any screen credit for their work on the screenplay, however, and it has not been determined if any of their work was used in the released film. Feldman's initial efforts to set up the project at Universal were unsuccessful, as noted in a Universal memo, which stated that, as of Jun 1941, the studio was unable to secure bank loans to produce a film starring Bergner. In a related correspondence, Joe Seidelman, foreign sales manager of Universal's London office, warned the studio of the inability to sell Bergner films in England, because, in part, she walked off the set of the British film 49th Parallel. Seidelman then referred to Bergner as "box-office poison...as bad as (Katharine) Hepburn was in your country once." Feldman then tried to move the project to Columbia, but that studio rejected the script outright. The project then returned to Universal, where it was put into production in Jul 1941.
       Under a 30 Jul 1941 agreement between the partners, Universal was to pay the film's negative costs. The partnership would then receive fifty per cent of the film's net profits. The agreement also explained how these profits were to be divided among the partners: Marin would receive the first $5,000 (which he had been advanced prior to production); Bergner would receive the next $50,000; the following $45,000 would be split evenly between Glazer, Marin and Feldman-Blum; the next $10,000 would be split between Glazer and Marin; Glazer would receive the next $30,000; and all profits beyond this would be split as follows: 25% for Bergner, 25% for Feldman-Blum, 10% for Marin and 40% for Glazer. In addition, Feldman-Blum was to receive a 10% agent's commission on all payments to Bergner, Marin and Glazer.
       The Feldman papers note that, as of 14 Sep 1942, the film had amassed a worldwide gross of $409,127. Universal accounting, however, claimed that the film had generated only slightly more than $90,000 in net profits, this despite earlier memos which estimated the film's negative costs at $140,000 (including Marin's $5,000 advance). By 1942, the partnership and Universal had reached a settlement on the profits to that point, and the partnership was paid $105,000, which was split $40,000 for Bergner, $35,000 for Glazer, $15,000 for Marin and $15,000 for Feldman-Blum. As of 17 Jan 1949, the film had generated a worldwide gross of $895,652, with the partnership receiving approximately $159,000. This led to yet another dispute, as partners Bergner, Glazer and Feldman-Blum had hired public relations expert Henry C. Rogers to promote the film during its initial exhibition in the United States. In 1953, Rogers complained to Feldman that he too was entitled to a percentage of the partnership's profits under his agreement with them, yet he had received no such money despite the fact that he had learned that Feldman-Blum had received over $51,000 from Universal for its participation in the film. The Feldman papers do not, however, show any evidence of a settlement between the partners and Rogers in this dispute.
       Randolph Scott, who was not a part of the partnership, was paid $4,375 per week, with an eight-week guarantee. The Feldman papers also state that writer John S. Toldy was paid $4,000 for his work on this film, and that the partnership of Bergner, Glazer and Feldman-Blum agreed to give writer Lou Sarecky a $1,000 bonus for his work on the screenplay. According to an AMPAS inter-office memo, Glazer also wrote the original story for this film; "however, due to legal, contractual and extra-mural obligations as well as much hair-pulling, name-calling and pouting, it was decided that Glazer had his name on the screen enough times as associate producer and as screenplay writer..." This was in direct contradiction to Glazer's contract of 29 Jul 1941 with Feldman.