With Six You Get Eggroll

The cast includes several actors in small parts (some uncredited) who are much better known for other performances, such as Jamie Farr, William Christopher, Ken Osmond, Allan Melvin, Jackie Joseph, Milton Frome, Vic Tayback, George Carlin, Peter Leeds, Howard Morris, Maudie Prickett and Creed Bratton (part of the singing group The Grass Roots). Many of them (as well as Day herself, in The Doris Day Show) later turned up in TV sitcoms: Farr and Christopher in M*A*S*H, Tayback and Melvin in Alice, Carlin in The George Carlin Show and Bratton in The Office. (Keith was starring in Family Affair at the time, while Osmond had played the iconic Eddie Haskell in Leave It to Beaver.)

The film was released only four months after United Artists' Yours, Mine and Ours. While both films have the same premise—that of a widow and a widower marrying each other and creating a blended family—the United Artists film was based on a true story and was a huge commercial success (if not critical) becoming the 11th highest-grossing film of the year.

Although there are similarities between this film, Yours, Mine and Ours and the later ABC television show The Brady Bunch that premiered in 1969, the original pilot script for The Brady Bunch predated the scripts for both of these films.[3]

The location used for Herbie Fleck's "Ye Olde Drive Inn" was a drive-in on Ventura Place, near CBS Studio Center around the intersection of Ventura Boulevard and Laurel Canyon Boulevard. The site is now a sporting goods store.

School scenes were filmed at Ulysses S. Grant High School in Valley Village (at the time Van Nuys), California.

Both of the houses seen in the film are within a block of each other in the suburb of Toluca Lake, which straddles the borders of Los Angeles and Burbank in the San Fernando Valley. The neighborhood that Abby drives the camper truck through is the northern part of Toluca Lake, specifically Kling Street between Arcola Avenue and Cahuenga Avenue.

The exterior shots for Abby McClure's late-1930s Tudor Revival home were filmed at 4248 Clybourn Avenue; the same house number is also used in the film. The interiors are soundstage sets that bear no resemblance to the house's actual interior. A studio replica of the street-facing façade was also used for some night shots—discernible by the differences in the tree in the front yard—specifically for the scene with rain. A still photograph of the house across the street (4245 Clybourn Avenue) can be seen earlier in the same sequence where Jake arrives on the porch of the McClure house. The homes to the right have all had major remodelings, as well as the McClure house, which is almost unrecognizable as the same house today. However, the fire hydrant at the sidewalk, the covered driveway and the front yard tree all remain as of October 2013.

The exterior shots for Jake Iverson's 1929 Mission Revival home were shot at 10011 Tikita Place. All of the exterior night shots were filmed at this location. The interiors—as well as the backyard—are also soundstage sets that bear no resemblance to the house's actual interior and backyard. The house to the left of the Iverson house has undergone major remodeling, whereas the Iverson house still looked very similar to its appearance in this film until about 2014. As of September 2015, the Iverson house was completely demolished and replaced with a faux-traditional home.

The film's final punchline—a large two-story early-1950s Colonial house shown briefly at the end with a "Sold" sign on it and a front pathway flanked by the McClures' sheepdog and the Iversons' poodle—is also in Toluca Lake, at 10463 Kling Street.

The late 1930s two-story Colonial house with the circle driveway that the police chase drives through is at 10501 Kling Street (to the immediate left of the above-mentioned Iverson-McClure house at 10463 Kling).

After its release, the film went on to gross $10,095,200 at the box office according to Variety and the box office website The Numbers, making it one of the top ten moneymaking films of Day's 39-film career.

Variety said it earned $4.5 million in theatrical rentals in the US and Canada.[6]

Upon its theatrical release, Vincent Canby of The New York Times wrote: "The latest chapter in the continuing adventures of the Widow Day… was produced by Cinema Center Films, a subsidiary of the Columbia Broadcasting System… I kept wondering how the characters played by Miss Day lose their husbands. Cancer? Suicide? Auto accident? There's never any hint. There are, however, some hints of the very real comic talent that has, over the years, become hermetically sealed inside a lacquered personality."[7]