This film was produced directly by Allied Artists (formerly Monogram Pictures). It was made in hopes of shedding Monogram's "poverty row" image. It was given a larger budget, shot in color and CinemaScope and ran a full reel longer than their usual 60- to 70-minute running time common to "B" pictures. Allied Artists was able to book it under percentage contracts rather than flat rates.
According to writer/director Edward Bernds, cost-conscious producer Richard V. Heermance wanted to do a science-fiction film in order to take advantage of some stock footage from Monogram's Flight to Mars (1951), which Bernds said could have been re-shot for a few thousand dollars and would have looked far more authentic than the stock footage.
Although the films had nothing in common except time travel, the H.G. Wells estate sued the producers for plagiarism, citing similarities to Wells' novel "The Time Machine". Ironically, the producers of the film made from that story, The Time Machine (1960), used Rod Taylor, who starred in this film.
The title is derived from the modern Anglican version of a Catholic devotional doxology: "Glory to the Father and to the Son and to the Holy Spirit; as it was in the beginning is now and ever shall be, world without end. Amen."