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Eager to make amends, Lerner wrote Rosalind at the end of October
1967, indicating that he would be in Los Angeles for the premiere of the
movie version of Camelot and hoped to clear up the terrible misunder-
standing. Misunderstanding was the wrong word. Frederick expected
Lerner and Previn to come up with a Rosalind Russell musical. Instead, they
came up with a Katharine Hepburn one. Even if Previn and Lerner had
emulated Leonard Bernstein, Betty Comden, and Adolph Green and fash-
ioned a musical geared to Rosalind s talents, it is hard to imagine its being a
hit. Rosalind may have worn Chanels, but she was not Chanel.
Rosalind s response to a setback was always a return to work. That had
been her survival scenario since her first nervous breakdown in 1944, which
was followed by She Wouldn t Say Yes and Roughly Speaking (both 1945). It was
a brief convalescence. She knew that nervous exhaustion was no excuse for
shirking one s obligations; hospitalization was followed by a short recovery
period and a return to the sound stage. Nor did Rosalind have any qualms
about her breakdowns appearing in the trades or in the columns. After
Rosalind finished making Sister Kenny (1946), she was hospitalized for a sec-
ond time, as Louella Parsons reported in the Los Angeles Examiner. Again,
recovery was rapid; in March 1947, two of her films were in release: The
Guilt of Janet Ames and Mourning Becomes Electra.
244 TRUSTING HIM
Even in 1965, she had no intention of remaining idle until Coco was
ready. After the location filming of The Trouble with Angels was completed in
March 1965, Rosalind headed over to Paramount for Oh, Dad, Poor Dad,
which was finished in late July. She then returned to Columbia to complete
Angels, which finished shooting the following October and opened in March
1966. Oh, Dad was released in February 1967; Rosie! in November 1967; and
Where Angels Go . . . Trouble Follows, in April 1968. Thus, between 1966 and
1968, four Rosalind Russell films were in theaters.
While Rosalind was making Where Angels Go in 1967, she was still
expecting to star in Coco, which was scheduled for a late 1969 opening.
When Alan J. Lerner ruled otherwise, Frederick felt obliged to come up with
a film for Rosalind to compensate, if possible, for losing Coco. In 1966
Frederick purchased the rights to a novel that he envisioned as a future vehi-
cle for Rosalind. However, he realized he could not wait until he launched
Coco to put it in production. Rosalind needed a film now, and Frederick
intended to provide her with one, even if he had to produce it himself
which he did. The result was Mrs. Pollifax Spy (1971), which turned out to
be her final film (but not her last performance).
Inspired by Auntie Mame, author Dorothy Gilman created her own
madcap, Emily Pollifax, a New Jersey widow who fulfills a long-cherished
dream of becoming a CIA operative. The first of the Pollifax series, which
eventually numbered thirteen, was The Unexpected Mrs. Pollifax (1966), the
novel that Frederick had optioned and that became the basis of Mrs. Pollifax
Spy. Among the Frederick Brisson Papers in the New York Public Library of
the Performing Arts is a first-draft screenplay of Mrs. Pollifax Spy, written in
the traditional format, with changes of setting clearly indicated and action
sequences vividly described. However, one important detail is missing: the
author s name on the title page. The final screenplay, to which the first draft
bears some resemblance, is credited to C. A. McKnight, Rosalind s nom
de plume. Rosalind s involvement in the first draft may have consisted of
establishing the plot points and crafting the dialogue, but the structure
TRUSTING HIM 245
points to a professional screenwriter capable of creating both dialogue-driven
sequences and purely visual ones, the latter requiring imaginative writing
to bring them to life on the printed page, which is certainly the case here.
Although Rosalind was a member of the Authors League of America, the
New York Dramatists Guild, and the Screenwriters Guild of America and,
by 1969, had written more articles than most movie stars of her generation,
her writing never revealed the sense of place and the feeling for language
evident in the first-draft screenplay.
The draft opens with a prologue in a Costa Rica village. The dialogue is [ Pobierz całość w formacie PDF ]
