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In an interview published in a modern source, director Edgar G. Ulmer claimed that Eugen Schufftan, who was credited onscreen as production designer, actually served as director of photography on this film. According to Ulmer, Schufftan could not be credited as cinematographer because he was not a member of the union, and consequently, Jockey Feindel, who worked as camera operator, was credited onscreen as director of photography. Ulmer's claim is substantiated by Schufftan's biography. During the 1920's and 1930's, Schufftan was an acclaimed cinematographer in Germany and France and developed a special optical shot, the "Schufftan Process." When he emigrated to the United States in 1940, however, he was credited as technical director or technical supervisor until the 1948 film Women in the Night (see below). According to a Hollywood Reporter news item, Ulmer worked as production designer on Bluebeard .
Although a December 1943 news item noted that Ray Schrock and Martin Mooney were to produce this picture as their first team effort for PRC, the extent of Schrock's contribution to the released film has not been determined. Another Hollywood Reporter news item claimed that Mooney was considering Marie McDonald for a role in the film. Other Hollywood Reporter news items add George Irving, Maxwell Hayes and Mabel Forrest to the cast, but their participation in the released film has not been confirmed. According to an April 1944 Hollywood Reporter news item, Mooney had to win title clearance from Charles Chaplin, who owned the rights to the title Bluebeard. In 1946, Chapin made Monsieur Verdoux (see below), a film inspired by Henri-Desire Landru, the real-life French Bluebeard. Unlike Chaplin's film, however, this picture was not based on the life of Landru.