Jaglom's LAST SUMMER IN THE HAMPTONS is a terrific film, which had gone almost totally unoticed; I'm so glad you reminded me of that!
As for my "speculative premise", it's something me and a friend put together many years ago, and which I actually posted, perhaps on the previous site to this!
Anyways, here's the short version:
1962: Welles and Olga Palinkas meet in Zagreb while he is making the Trial; he writes a letter to her which he never gives her but which he keeps in his pocket for 4 years until he meets her again; he gives her the letter and their relationship begins. Thier first project together is The Deep which begins filming in 1967, and which continues until 1969; apparently Moreau and Palinkas do not get along and possibly argue on set ( Did Jeanne sense something?) and the project founders, possibly because Moreau refuses to do her looping, and perhaps due to money problems; it is not, of course, due to Harvey's death, which is often given as the reason, since he dies in 1973, long after the film has been abandoned. In 1970 Moreau declines to appear in TOSOTW, even though Welles has a part specially written for her; the rumour is that she refuses to work with Palinkas.
From this point on, OW and OK write countless scripts together and embark on several film projects over a period of almost 20 years, but manage to finish only one film: the documentary essay "F For Fake"; around 1969, Welles, in a Svengali mode not unlike Kane as regarding Susan Alexander and her opera "career", and with a similar blind spot as to her lack of talent, renames Olga Palinkas "Oja Kodar", and becomes determined to make her a star. Indeed, Welles seems to have presented "Oja" as his new star, and may NEVER have come clean on this issue with his wife; at the 1975 AFI award ceremony, it is Mrs. Welles who is sitting beside Welles, and OK is nowhwere to be seen. Welles never divorces his 3rd wife, and NEVER talks about Oja in public other than in a professional, collaborative sense.
In 1970, an Italian newspaper publishes an expose of the affair, with pictures of both Oja and Mrs. Welles; Welles himself has been editing Don Quixote for more than a year with editor Mauro Bonanini, but when the story hits the scandal papers, Welles angrily leaves Italy forever, and Quixote is never finished. Welles then rents his house to actor Robert Shaw, who promptly burns down the wing of the house where Welles has stored many mementos and unfinished/unrealized works, including the film of his play "Moby Dick".
The number of projects left incomplete/unrealized by the Welles/Kodar partnership is stunning in it's volume; here is just a partial list:
"The Heroine" (starring Olga Palinkas):part 2 of a projected anthology of Dinesen stories is halted after one day's shooting in Budapest when money dissappears; the other parts were to be "A Country tale" and "Deluge at Nordernay"
1968: -script based on Poe's "The Cask of Amontillado" and "The Masque of the Red Death" intended for the film anthology "Spirits of the Dead"
1969: -"Because of the Cat" based on a story by Nick Freeling
-" The Merchant of Venice": Olga Palinkas refuses to play the part of Portia; nevertheless, the film can never be shown as some of the sound elements are stolen
1970: -"The Other Side of the Wind": script by OW/Oja Kodar (formerly "Olga Palinkas), based on OW's 1966 script "The Sacred Beasts"; principal photography is completed in 1976, starring OK
1971: -"Surinam": adapted from Conrad's "Victory"
- untitled script about Dumas
1972: -"F For Fake": script by OW/OK (Picasso episode is based on a short story by OK written in 1962 called "Girl Watching")
-"Crazy Weather" by OW/OK, adapted from a short story by OK
- "Saint Jack": an adaptation of the book by Paul Theroux
1976: OW begins filming "The Magic Show": Ok helps as assisstant director and performer
- "F For Fake Trailor": Welles films a 9 minute trailor which is never processed by the producers of "F For Fake"
1977: -"The Other Man": adaptation of Graham Greene's "The Honorary Consul"
-"Dead Giveaway":adaptation of Jim Thompson's "A Hell of s Woman"
-"The Assassin: adaptation of donald freed's biography of Sirhan Sirhan
1978: "Da Capo" (later entitled "The Dreamers"): based on two stories by Dinesen: "The Dreamers" and "Echoes"; tests are filmed with OW and OK
1982: "The Big Brass Ring": script based in part on a short story written by OK in 1974 called "Ivanka"; part of the script comes from the letter from OW to OK that he carried around in his pocket for 4 years; the central character is based on an old idea of OW's.
1985: "Mercedes": script by OW based on a short story by OK
-OW plans "King Lear" with OK as Cordelia
I find it haunting that just as Welles found his one true love, he found that he could not sacrifice his 3rd marriage for this love, and never again finished a dramatic film; somehow, everything they touched together turned to ash. One would have to be able to read all their scripts together, and to see all the film they did, in order to come to the conclusion that either they were a great creative team who were continually stifled, or that Welles became blinded by love. But one thing is for sure: from the moment Welles and Kodar began their personal/creative relationship in 1966 and they began filming "Heroine" (which lasted just one day) theirs was a relationship seemingly star-crossed; or perhaps they had crossed the stars? Was there some kind of cosmic payback for Welles having an illicit affair? I'm sure that Mrs. Welles and Beatrice thought that OK was the worst thing that ever happened to him, and that he stopped being able to make films after getting involved with OK; furthermore, they might well have thought (and think) that the quality of his work went down during his years with OK, and that he, like Paul McCartney, John Lennon, and Charles Foster Kane, was blinded by love into believing that his sweetheart was as talented as he was.
If it was a cosmic price, then it was a heck of a price to pay; I've often wondered what Mrs. Welles and Beatrice were was thinking and feeling that evening when Welles was being celebrated by the AFI: what did they think when they saw the "Other Side of the Wind" footage starring Oja? Did they think "This garbage will never be finished?" Did they hope it never would be? Is Beatrice to this day doing all she can to stop TOSOTW from ever being finished as a tribute to the memory of her mother, and as a final payback to Oja?
And was Oja somewhere in the wings, wondering if she would ever become the 4th Mrs. Welles?
A few years after OW's death, Mrs. Welles and Oja finally agree on the settling of Welles''s will, but on the way to their meeting to sign the papers, Mrs. Welles is killed in a car accident.
It's a strange, haunting story; it might make a really good script.