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Writer/producer Darrell Ware died during the course of this film's production. One of Paulette Goddard's Cockney dialect coaches, Constance Emerald, was the mother of actress Ida Lupino. According to studio press information, director Mitchell Leisen was unable to photograph Sir Thomas Gainsborough's famous "Blue Boy" painting owned by the Huntington Museum in Pasadena, CA, because it was still in war-storage in Arizona, to which most of the Huntington's masterpieces had been shipped after the attack on Pearl Harbor. Studio copyist Charles Gemora, of the makeup department, did a full-size reproduction of the oil painting from color prints. Geza Kende did the portraits of Paulette Goddard. In total, sixty reproductions of Gainsborough pictures were made for the film by ten well-known Southern California artists. Dr. Maurice Black, curator of the Huntington, acted as a technical advisor on the film.
Press information details the film's elaborate sets: Thirty-five antique fans from the 19th century were purchased by Paramount for the film. The film's set included an entire living room of hand-rubbed natural pine that had been taken by William Randolph Hearst from an English castle built for the Earl of Scarsdale at Sutton-Scarsdate in 1723. The living room was purchased by Leisen from the Hearst estate three years prior to the making of the film. The $15,000 diamond necklace worn by Paulette Goddard in the last scene was her own. The $25,000 vanity set on "Kitty's" dressing table as she prepares to wed the duke was made out of kingfisher green jade and was lent to the studio by the Dorothy Gray cosmetics company. Hans Dreier and Walter Tyler were nominated for an Academy Award for Art Direction (Black-and-White) for Kitty, and Sam Comer and Ray Moyer were nominated for Interior Decoration (Black-and-White). Goddard reprised her role in a Lux Radio Theatre broadcast on February 24, 1947, co-starring Patric Knowles.