Billy Bletcher as Father Neptune, and Sarah Edwards are in studio records/casting call lists for this movie, but they did not appear or were not identifiable.
According to Laurel and Hardy biographer Randy Skretvedt, the film's finale, in which Laurel drops a bomb on a Japanese spy submarine, got cheers from wartime audiences.
One of the films included in "The Fifty Worst Films of All Time (and how they got that way)" by Harry Medved and Randy Lowell.
The train-berth scene is a reworking of Laurel & Hardy's short subject Berth Marks. Laurel requested that the setting be changed to a turbulent plane, but producer Sol Wurtzel refused to accommodate him. At the end of the scene, you can hear the camera crew laughing in the background.
Unlike their earlier work for Hal Roach, and because of the war, the duo decided not to include "destructive" scenes - like pies in the face, smashing props, and so forth. Where it was necessary, they actually enforced a policy of "one take" to minimizes the destruction.
Working title was "Good Neighbors."