[1][2] This was the last Cantinflas film whose art direction was made by long-time set designer Gunther Gerzso.
His excessive zeal at work causes the antipathy of successive directors who do not support his forays into their films.
After his run-ins into film sets, he dreams that he is the protagonist of each of the productions of which he has participated, such as him playing a sans-culotte and saving Marie Antoinette in a film about the French Revolution, being the lover of Marguerite Gautier in a retelling of La Dame aux Camélias in which she survives, and saving a maiden from an Aztec sacrifice by fighting a warrior (defeating him by fighting him as if it were a bullfight) in an Aztec film.
Professor Jeffrey M. Pilcher, on Cantinflas and the Chaos of Mexican Modernity, argued that in the film, Cantinflas "continued to perpetuate" a theme from his previous films of "helping beautiful young women live fairy tales,"[2] and that during his character's dream sequence about the French Revolution, Cantinflas "preached a conservative view of national history" by "inserting referentes to Pancho Villa and the Mexican Revolution within a monarchist speech in defense of Marie Antoinette and respect for a traditional, hierarchical society.
"[4] The film is referenced in the Colombian novel Érase una vez en Colombia (Comedia romántica y El espantapájaros) by Ricardo Silva Romero.