What began in January 1974 as a Bob Merrill-scripted oddball about a Puerto Rican prostitute and a Bowery wino turned into a textbook studio tug-of-war that reshaped the picture. By January 1975 the property had been announced as a joint venture between Raquel Welch Productions, Columbia Pictures and Monroe Sachson Productions with Raquel Welch signed to star and Ron Talsky — then dating Welch — slated to produce. Columbia, however, grew openly nervous about Talsky’s involvement and formally began ‘‘re-evaluating’’ the project. That hesitation triggered a cascade: Columbia ultimately pulled out, and with the studio retreating Raquel Welch, Monroe Sachson and even Merrill abandoned the mounting production. The unusual outcome left Ron Talsky as the sole carryover from the Welch era — but not as a producer; he was retained on the final film only as a costume designer. The episode is a small but telling example of studio-era risk aversion and how a studio’s anxiety about a single personnel choice could strip a creative team of its original leaders.
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