BR TO CONSTANCE MALLESON, 27 MAR. 1918
BRACERS 19299. ALS. McMaster
Edited by S. Turcon. Reviewed by K. Blackwell

<London>
Wed. night 27.3.181

My Heart’s Love

It was a joy to find your dear letter2 when I got back tonight. Thank you, my Beloved —

I am glad you had such a success with the film people.3 The question is very difficult about a year’s contract — I should have thought Maurice4 could judge it better then I can. Some points strike me:

(1). If you accept it, and it means country work,a it means definitely abandoning the stage for the films; you will never be able to return to the stage, however you may think it possible now.

(2). The films are just as good a sphere for work, provided one could get any firm to desire good things, but at present the prospect of that is not very rosy. I think the films far more important than the stage, but at present their importance is largely bad.

(3). £15 a week for a year is very attractive, and so is the prospect of being always busy for a year. It would get rid of your morbid moods, until the work began to disgust you; then despair might return.

(4). Writing for the films is wholly to the good, and most desirable. I am delighted about Gamblers All.5

I can’t say more till I have heard what you have to say. I feel you are right to try to get a contract that won’t interfere with the stage, but of course the problem is as to what to do if you can’t get that. If you could get a good position both as a film actress and as a writer of scenarios, you would have a position of some power, wouldn’t you?  Wouldn’t you be able to exert some influence as to the things they produced?

Dearest Love, I do hope you will come Monday. I could join you a little after 10, and be with you till about 10 next morning. We must talk over this, apart from the longing I have to be with you — I hate every moment away from you now —

My selfish feelings are of course against the films, because I shall see almost nothing of you if you are filming — it will mean a lot of misery, and in the end probably we shall drift apart — But that has no bearing on the question what you should do.

My dearest Life, you have been so wonderful with me all this time — I feel your love all about me, making everything warm and happy — The days at Ashford6 were beautiful beyond all words — I feel so near you, right in your life and you in mine. I have never felt so near you before, or so responsible towards you. I do love you most tenderly, not only for the happiness you bring me, but in yourself. And I believe in you: if you keep courage, you have it in you to do great things.

Let your ambition be great and wide, and choose by that. I don’t know what your choice ought to be, but I know how it ought to be made —

Goodnight my Beloved. I love you not only as a lover, but also as if you were my child. My spirit lives with you every moment.

B.

• 1

  [document] Document 200287.

• 2

  your dear letter Not extant.

• 3

  success with the film people Since Colette’s letters are not extant for the period, it is impossible to known which film people she was negotiating with. The film people possibly included G.B. Samuleson (1888–1947), who produced Gamblers All, or David Aylott (1885–1969), who directed the film. At this point, she had made two films, and never made any more, spending the rest of her acting life on the stage. Samuleson had directed her in The Admirable Crichton.

• 4

  Maurice Maurice Elvey (1887–1967), film director. For information on him, see BRACERS 19056, n.5.

• 5

  Gamblers All A film, written and directed by David Aylott; it was released in 1919. There is no mention of Colette’s name in the credits.

• 6

  days at Ashford Earlier in March 1918, after Colette had recovered from the measles, they had returned to Ashford Carbonel, Shrops. For further information, see BRACERS 19217, n.4.

Textual Notes

• a

  and it means country work, inserted