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The working titles of the film were No Bed of Her Own and She Made Her Bed, which was later used for another Paramount film based on an entirely different source (see below). A news item in Film Daily noted that P. J. Wolfson and Allen Rivkin were assigned to write the adaptation of Lait's story, but they were not credited on the film. The MPAA/PCA files at the AMPAS Library include an April 1932 letter from Will H. Hays of the MPPDA to Adolph Zukor, Paramount executive, recommending that neither the working titles nor final title be registered as the original story was too suggestive. A September 1933 letter from the AMPP to Paramount noted that the film would be in violation of the Code "inasmuch as it seems to us to deal with a seduction treated in a comedy vein...." In November 1933, the AMPP recommended in a letter to Paramount that they "tone down comedy wrestling match...with particular reference to the latter part of it, where the girl loses her shirt, and also the various shots of her legs wrapped around Ruggles' neck." Scenes frequently deleted by state censors were Crock and Nada wrestling, the "muscle" dance and Joyzelle's dance in the nightclub. In 1935, the PCA labelled the film "Class I," indicating that the "release of the picture be halted now and that no additional contracts be taken on."
Pre-release Hollywood Reporter news items noted that Carole Lombard and Roland Young were slated for leading roles, and that Jean Malin was also cast. Additional news items in Hollywood Reporter noted that Ricardo Cortez and Wynne Gibson were slated for roles in this film. This was Broadway musical-comedy star Walter Woolf's film debut. The Call Bureau Cast Service lists Adrian Rosely's character as "Pierre," while the pressbook lists him as "Henri," and lists August Tollaire as "Pierre." Also according to the pressbook, Charles Farrell learned his Southern drawl from "Cracker" Henderson, Jack Oakie's valet. In addition, Joyzelle's costume in her exotic dance consists almost entirely of paint. The situation in which an artist's painting was judged while hanging upside-down was apparently based on a real-life occurrence: Edwin W. Dickinson's painting "The Fossil-Hunters" was given an award by the National Academy of Design in 1929 while hanging upside down. The painting also appeared this way for the 1928 Carnegie International Exposition. This fact was noted in the pressbook, although it did not claim this occurrence was the inspiration for the film. The opening and closing sequences of the film include a song-filled Paris street scene, similar to one in Rouben Mamoulian's 1932 film Love Me Tonight, starring Maurice Chevalier and Jeannette MacDonald (see below). Music copyright records note that a song from this film, "You and I," was copyrighted to Mary Frances Martin, however, this song was not heard in the film.