For Sure Paola died in a car crash; I've heard an alternate story that it was a few days before she was due to meet Oja.
Harvey: I was getting a "Yoko" and "Linda McCartney" vibe thinking about this. And they all happened at the same time: the early 70's, just when women's lib had exploded in to the society. Lennon and McCartney ended the greatest pop writing team since Gilbert and Sullivan to work with their wives; it was the end of both artistically. Neither could see that Yoko and Linda had no musical talent at all, just as Welles was unable to see that Oja had no acting ability (anyone see 'F For Fake", "The Dreamers" outakes, or "Jaded"?). Perhaps Welles even had trouble with financing because he usually insisted on including Oja, and nobody had the heart to tell him she was not an actor (I remember George C. Scott insisted on his wife being included on any pictures he made for a number of years, and this hurt his work offers severely).
As a friend of mine said: "Love is blind- and deaf too!".
Glenn: What you say about true love taking away Welles's drive to finish art: this feels right to me; look at what happened to Dylan when he was happy with Sarah from 1967-1973: artistic death. Domestic bliss might well = artistic suicide. When Dylan ended his marriage, he produced Blood on the Tracks.
Hmmmm..... Maybe Chuck Higham was right, but for the wrong reasons: Welles didn't have a fear of completion; he has a loss of interest in completion, because he found the one thing Charlie Kane never found: true love.