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Playwright Aladar Laszlo's was credited onscreen as Lszl Aladr. The original working title for this film, The Honest Finder, was changed to Thieves and Lovers in early July 1932; however, on September 24, 1932, Film Daily reported that The Honest Finder would be released as The Golden Widow and listed Trouble in Paradise as a tentative title. In an early script found in the Paramount Script Collection at the AMPAS Library, Kay Francis' character was called "Marianne," which several reviews call her. According to the file on the film in the MPAA/PCA Collection at the AMPAS Library, the Hays Office was concerned about the film's portrayal of Venice and of the police, the Italian Carabinieri, especially in lieu of the controversy surrounding the characterization of the Italian Carabinieri in This Is the Night. An inter-office memo from late July 1932 from Hays Office representative John V. Wilson to Lamar Trotti, Assistant Director of the Studio Relations Office of the AMPP, states: "...it might be worth while to suggest that some more colorful and romantic scenes of Venice be added to soothe offense that might be taken because of a feeling that a rather deliberate slur [is intended] by keeping the camera and the audience mind focused so much on the garbage that it takes on almost symbolistic significance. This May sound far-fetched, but Venice has always been the symbol of romance and this is a radical departure. The scenes surrounding the discovery of the robbery of Francis [i.e., Franois] indicate a possibility that the police May be portrayed in the so-called musical comedy manner [excitable, arm-waving and jabbering], thus repeating the offense created in This Is the Night. It would help a lot if they would be sure to use the uniform of the Venice municipal police and not of the Italian Carabineer [sic]." On July 21, 1932, Jason S. Joy, Director of Studio Relations, AMPP, expressed his concerns to Paramount executive Harold Hurley: "Venice is a symbol of romance to the Italians and its attractiveness in that regard is part of the thrifty tourist-entertaining spirit of the people. Of course, it is a very amusing touch but have in mind the Italian point of view which is far from being a silent one....Of course we realize the light Lubitsch touch is rather the all-governing factor insofar as domestic censorship is concerned." An inter-office memo dated October 10, 1932 points out that foreign censorship problems were particularly dangerous for this film because of the wide foreign distribution that was usually given to Lubitsch films. The memo described the film as "perhaps the most sparkling and entertaining of Lubitsch's comedies since the advent of talkies." A handful of lines were called objectionable in July 1932 Office memos, including: "Oh to hell with it" and "I like to take my fun and leave it," spoken by the Major. When the film was viewed on October 8, 1932, the Hays Office also objected to a silent shot of C. Aubrey Smith seeming to mouth [the words] "son of a bitch." The film was not approved for re-issue in September 1935, by which time the official Production Code was in full-swing. In July 1943, Paramount re-submitted the script to Trouble in Paradise to the MPPDA for recommended changes, planning to make a new musical version of the film, but was denied permission. Modern sources credit Hans Dreier with set design.