Totò originally turned down the role of Nino as he didn't think dramatic scenes were his forte. Producers Rizzoli and director Amato had to literally plead and beg him to appear in the film. Totò eventually accepted with one condition: he would appear as a personal favour to both Rizzoli and Amato and refused to be paid. The matter was settled when both men presented him with a priceless gold and diamond piece of jewelry.
Italian censorship visa #6819 dated 19 November 1949.
Final film of Paola Veneroni.
Although Pasquale Frustaci receives sole credit for the music score, the Italian performing right society SIAE list eleven scenes for which Enzo Masetti composed the music, namely: Titoli nuit; Al Pincio; Attesa d'amore Ivonne; Desiderio di concilazione; Desolata partenza; Ivonne dall'avvocato; Lettere al padre; Maternità Ivonne; Parte il reggimento; Verso l'amore; and Finale il tempo nuit. (Masetti had previously worked with director Giuseppe Amato on Malìa (1946)).