Doris Day's billing in this film is indicative of her meteoric rise from top-selling recording artist to top box-office movie star. This was only Day's second screen role, yet she's billed second only to established Warner star Jack Carson. By her fifth film, No, No, Nanette (1950), Day had top billing (over Gordon MacRae) and soon found herself among the 10 most popular movie stars in America. Only Fox contract player Marilyn Monroe, who came to public notice half a decade later, had a faster rise from supporting player to superstar than Day did.
Certain elements of Doris Day character's back story were lifted from Day's off-screen life at the time. Before being discovered by Warner stalwart Michael Curtiz and cast in her screen debut Romance à Rio (1948), Day had been a popular radio singer and recording artist. The subplot of her heartbreak at being separated from her young son in this film also reflected Day's true-life experience; while pursuing her career as a Big Band singer, Day had to leave her son Terry Melcher with his grandmother and rarely saw her child face-to-face. One of her first decisions after signing a 7-year contract with Warner was to move her son and mother to Burbank and establish a real home for her family.
Final film for Edgar Kennedy, who had already passed away in 1948 by the time the film was released in 1949.
The set for Gary Mitchell's apartment uses sections of the apartment from "Rope" (1949)
Martin Scorsese has cited this film as a primary influence on his own downbeat musical, New York, New York (1977).