Barbara Stanwyck voiced her displeasure with working with director Archie Mayo. The director was notorious for slapping, groping, and pinching the rear ends of his leading ladies. When he tried for the first (and last) time to pinch Barbara Stanwyck's bottom, she grabbed his arm and loudly told him to cut it out.
Barbara Stanwyck and Joel McCrea became close friends in set and established the start of a career-long working relationship with them. Stanwyck, however, gave McCrea a dressing down and lesson in professionalism when he failed to show for a photo-shoot of production stills (in McCrea's defense he was told it was not necessary). Stanwyck accused McCrea of taking his position as a Hollywood local and "golden boy" for granted and recounted to him the hard work and hard living on the vaudeville and burlesque stage that Stanwyck had experienced to get where she was. McCrea appreciated Stanwyck's frank speech and noted that he admired her professionalism.
This is the second picture in which Robert Barrat plays Stanwyck's father, after the previous year's Baby Face (1933). However, in this film their relationship is much more affectionate.
Barbara Stanwyck would go on to later star in the unrelated, but similarly titled, film: The Lady Gambles (1949).