This is Italy's first color film.
Director Steno stated in an interview that he had practically "transferred" the direction of this movie to Totò, due to his experience on stage with the same scenes.
The movie reunites many of Totò's sketches used on stage comedies: the scene of the vagon-lit from C'era una volta il mondo (1947), the scene of Pinocchio from Volumineide (1942) and so on.
The colour film used in the movie was the Ferraniacolor, manufactured by Ferrania of Cairo Montenotte near Savona who sponsored the movie. The film had a light sensitivity of only 6 ASA, compared to the 100 ASA of a black and white film, so it needed a lot of light and this caused some problems to the cast, in particular to Totò who already had problems with his left eye. It was said that his wig almost caught fire due to the heat of reflectors (which they nicknamed "the monster") and that he even collapsed during the filming of a scene. After the first shooting day he stayed in bed with headache, then he used to quickly leave the set after each shooting. They even put some ice under his wig for next shootings, but this didn't help much. Director of photography Tonino Delli Colli stated in an interview that years later, when Totò's sight dramaticly worsened, he feared that this experience could have been a cause for his worsening. Delli Colli told that the production and the crew were so tense for this innovation, with which no one had experience, that they asked him not to take part to the filming of La tratta delle bianche (1952) by Luigi Comencini to focus on Totò a colori. Comencini was very offended for this. The crew often forgot that they were filming in color, they only received some instructions by the technicians of Ferrania, but often choosed to reduce the use of light to make the cast more comfortable. The final result was very particular, similar to the color of a comic and giving to the movie the atmosphere more of a stage revue than of a movie. Anyway the production had agreed that, if the final result wouldn't have been satisfying, the movie would have been refilmed in black and white and released with another title.
An episode of the movie set in a hotel where half-naked guests are visible was removed by censorship, who also changed the final of the scene of the vagon-lit: indeed, in the original stage sketch the politician Trombetta is thrown out of the window and Totò's character spends the night with the girl.