The producers held a contest for artists to create a painting about the temptation of Saint Anthony for use in this movie. The artists were paid five hundred dollars each and got to keep their paintings after the pictures toured the U.S. and Britain during 1946 and 1947. Although Max Ernst won the contest (receiving an extra two thousand five hundred dollars) and got his painting on-screen, Salvador Dalí's contribution (featuring a parade of spider-legged elephants tormenting the saint) became better known. The other artists who submitted paintings are Leonora Carrington, Ivan Le Lorraine Albright, Stanley Spencer, Eugene Berman, Paul Delvaux, Louis Guglielmi, Horace Pippin and Abraham Rattner. Artist Leonor Fini was also invited to contribute, but she didn't produce a painting.
The movie is in black-and-white except for the one shot of Max Ernst's "Temptation of St. Antony", which is in color.
The appearance of, and set dressing for, the barmaid at the Folies Bergeres, was closely based on Édouard Manet's painting of that name.
During the 1953 re-release titled "Women of Paris", tenth-billed Marie Wilson was given first billing in order to capitalize on her television success in My Friend Irma (1952).