Producer Arthur Freed gambled his reputation and the resources of MGM's fabled Freed Unit to bring Colette's 1944 novella — a story about grooming a young woman to be a kept mistress — to the screen in the late 1950s. The effort began in earnest when Freed first proposed the project to lyricist-librettist Alan Jay Lerner during the Philadelphia tryout of My Fair Lady in 1956; by the time Lerner arrived in Hollywood in 1958 Freed was locked in a moral and bureaucratic fight with the Motion Picture Production Code (the Hays Office) over whether a mainstream musical could portray the demi-monde of turn‑of‑the‑century Paris without running afoul of the Code's prohibitions. Freed also had to untangle a messy rights situation: Colette's widower had sold dramatic rights to Gilbert Miller and Anita Loos, and Freed paid more than $87,000 to buy those rights back — a sizable, risky outlay for a project many in Hollywood viewed as touchy and borderline indecent.
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