"Lux Radio Theater" broadcast a 60 minute radio adaptation of the movie onOctober 31, 1949 with Joseph Cotten reprising his film role.
"Screen Director's Playhouse" broadcast a 30 minute radio adaptation of the movie on March 10, 1950 with Joseph Cotten reprising his film role.
David Wayne and Albert Sharpe, who both have supporting roles in this film, were the stars of the original stage production of "Finian's Rainbow". That play opened on Broadway the year before this film was released and was playing there at the same time this film was being made.
Bernard Herrmann was hired to write an original background score and did compose several themes but due to various production delays as well as the fact that Herrmann was tiring of David O. Selznick's demands, he dropped out and was replaced by Dimitri Tiomkin who, at the insistence of Selznick, ended up using themes by Claude Debussy. At the time Tiomkin was condemned by his colleagues for his adaptations. All that remains of Herrmann's contribution is the haunting song sung by Jennie entitled "Where I Come From, Nobody Knows".
Special effects: Although almost the entire film is in black and white, the tidal wave sequence towards the end is shown in green tint, and the final shot of the completed portrait of Jennie is in full Technicolor. The original theatrical releases in Los Angeles (Carthay Circle Theatre), New York (Rivoli Theatre) and Boston (Esquire & Mayflower Theatres) presented the tidal wave sequence in Magnascope on the Cycloramic screen with Multi-Sound. The Cycloramic screen was claimed to be more reflective than regular screens with no distortion visible from any seat in the theatre, Multi-Sound was an early version of a Surround Sound-type speaker installation. Bosley Crowther, film critic for the New York Times, described it as "a howling hurricane that will blast you out of your seat."
The portrait of Jennie supposedly painted by Joseph Cotten's character, Eben Adams, was in reality created by artist Robert Brackman. Jennifer Jones came in for more than a dozen sittings in Brackman's Connecticut studio.
This was cinematographer Joseph H. August's last film. He died in late 1947 before the long and tumultuous production was completed, and was posthumously nominated for an Academy Award for Best Black & White Cinematography in 1949. Lee Garmes finished shooting the film, uncredited.