The film's sets were designed by the art directors Max Seefelder, Hans Sohnle and Wilhelm Vorwerg.

He creates a neoclassical-style statue of Venus, which he then buries in a Bavarian field in order to protect the identity of Charlotte, the woman who modelled for it.

When it is dug up, experts believe that Venus vom Acker ('Venus of the Fields') is an ancient statue made by Praxiteles.

[2] The filmmakers used sculptures that had been seized by the government, including Ernst Kirchner's Das Paar ('The Couple'), Otto Freundlich's Kopf (Head), and Marg Moll's Tanzerin (Dancer), as props.

[3] Susan Felleman suggests that the film's attempt at propaganda were weak, finding that its portrayals of a 'decadent' Berlin nightlife and the character of Benjamin Hecht (a Jewish art dealer) significantly more interesting than those Brake and his circle.