Ruth Etting's name is billed over 'Ziegfeld Follies' on a theater marquee. The Ziegfeld Follies never allowed any performer's name to be placed over the title of the show.
In the film, Ruth Etting marries her "manager" Moe Snyder during her run with the Ziegfeld Follies of 1927. They actually married in 1922.
The lengthy scenes of Ruth Etting recording songs for playback, for her first film to allow her (presumably) to mime to the recordings during filming were a plot device that bears no relation to what was possible in the early days of sound film where songs were performed 'live.' Pre-recording musical numbers for playback was not technically possible until late 1932. Etting made numerous short subjects from 1929 until 1932 for Vitaphone in New York (not Hollywood) in which she performed live on camera, but did go to Hollywood to make a feature film until 1933. In the film, she is portrayed as going to Hollywood in 1927 after leaving the Ziegfeld Follies.
When Ruth sees Marty in the visitors room at the jail, there is a guard leaning up against the wall waiting for Marty to finish, so that he can take him back to his cell. Ruth tells Marty that she loves Johnny. Marty gets mad and tells Ruth that he is through with her. He then gets up but continues to tell Ruth off. Even though it must have appeared to the guard that Marty was finished and could be returned to his cell, he makes no move toward the door to the cell wing. He then moves toward the guard and door, but turns back to Ruth to continue telling her off. And again, even though Marty started toward him, the guard makes no move. He then backs half a step toward the door and guard as if he was leaving again, then continues to tell Ruth off. Again, the guard makes no move toward the door. Then Marty says "Tell him I like it, it makes me feel like a kid again." This must have been the guard's cue in the script, because even though Marty does NOT make a move toward him and the door, the guard now does move toward the door. It is only after the guard starts toward the door that Marty now turns toward him and walks toward the door.
In the "Shaking The Blues Away" number, Doris Day sings the lyric "Do as Voodoos do/ Listenin' to/ A voodoo melody." The lyric that Ruth Etting performed in the 1920s was "Do as the darkies do/ Listenin' to/ A preacher way down south." The other lyric is from the revised version performed by Ann Miller in Easter Parade (1948), in which the original was censored for obvious reasons.
The line from Ruth Etting's song "Ten Cents a Dance" originally had the lyrics "ten cents a dance, pansies and rough guys, tough guys who tear my gown," but the word "pansies," which was a derogatory term for gay men at the time, was changed to "dandies" for the Doris Day version of the song.
There are post-war vehicles shown in rear projection near the end of the movie.
When Marty hits Georgie, the sound of the impact occurs before the actual impact.
During one scene late in the film where Martin Snyder is speaking, the audio/visuals are off by more than a second.