After David O. Selznick became RKO's head of production in late 1931, he put the melodrama L'âme du ghetto (1932) (originally titled "Night Bell" after the Fannie Hurst story it is based on) into production, overseen by Pandro S. Berman. Selznick insisted that the original screenplay be rewritten to reclaim the ethnic touches from Hurst's story. Selznick likely wanted the film to serve as a mirror on to Jewish life, both of immigrants and their assimilated children. He himself changed the name of the film (a reference to New York City's population) as it was "more dramatic and dignified" than Night Bell. He also directed RKO music department chief Max Steiner to use symphonic music for the score and to have music throughout the picture. This was innovative as "talkies" rarely had an extensive score.
The title refers to the population of New York City at the time. It was only after the Holocaust that "six million" automatically brought up thoughts of the Holocaust, and made the title either confusing or ironic.
Ricardo Cortez and Noel Madison did not have to exert themselves to play Jewish characters. The former's real name was Jacob Krantz and the latter's Nat Moscovitch.
The father twice asks his daughter to play "Oyfen Pripitschek" (Yiddish transliteration) on the piano. This is an old song praising the peace and devotion of a traditional Jewish home. The lyrics describe the candles burning while, in calmness and quiet, small children learn the alphabet.
One of the first films David O. Selznick put into work after becoming head of production at RKO in late 1931.
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