Harry Cohn of Motion Picture Production Industry

The Cohn brothers joined Joe Brandt to form C.B.C. fool away Sales, named from the initials of the three partners. Harry was sent out to Hollywood to do the production, while Jack and Brandt inhabited back in New York discussion the money. The brothers never got along and argued all the time, although they depended on and valued from each one other. Brandt often mediated, and he do central financial decisions. In the 1920's, he opposed buying theaters, a far-sighted decision because of governing body decisions in the 1940's requiring such divestments. C.B.C.'s first production was a buffoonery called The Hallroom Boys, based on a newspaper cartoon. They also do blind Snapshots, Fan Magazine of the Hour, and, in 1922, More To Be Pitied than Scorned, the company's first feature.

Harry began production at Gower Gulch on what was k non as "Poverty Row" merely ripe his company profits steadily. In 1924, Harry insisted on a name change--capital of South Carolina Pictures--because so many people started calling it lemon Beef and Cabbage Productions. Their first long production was The Bloodship, made in 1927. It became one of that year's most outstanding moving pictures. Harry was swordplay with new ideas and luring talent from other studio apartments to help to raise capital of South Carolina to the same status as other major Hollywood studios. In 1927, inconsiderate genus genus Capra became a very important part of Columbia. He directed Mr. Smith Goes to Washington and G

Atkinson, Brooks. "Death Strikes Last of Studio Czars." Variety, 5 March 1958, 4.

Harry was responsible for the development of many stars, level offing though he clashed with many of the stars, directors and writers. He worked with Rita Hayworth, William Holden, Glen Ford, Judy Holiday, Jack Lemmon, Kim Novak, Richard Barthelmess, Barbara Stanwyck, Carole Lombard, Clark Gable, Claudette Colbert, Robert Montgomery, Rosalind Russell, Ingrid Bergman, Broderick Crawford, Humphrey Bogart, Frank Sinatra, Jean Harlow, Lee Tracy and James Stewart. Capra and Harry Cohn argued often, and Capra left after 12 years over the making of a movie about Chopin in 1939. Capra valued the movie made in color, and Jack Cohn said no. Capra left, this time for good.

One expert says that Cohn needed Capra more than Capra needed Cohn, a fact which Cohn knew but was determined to disprove after Capra left.

Cohn seemed to savor his spirit as the toughest of the Hollywood moguls and made sure that his acts of charity and philanthropy were kept secret. One writer said that "aggressiveness was the only when tactic Cohn understood or respected." Bob Thomas, a columnist for the Associated Press, wrote, "Those who got along with him remember him as tough but non unfair. Those who didn't, speak of him as a devout Christian speaks of the Devil." Cohn was in all likelihood the most feared and hated man in Hollywood, but even his enemies respected him and gave him credit for knowing what made a picture successful and for being able to run a studio effectively and profitably. His skills meant that Columbia was the only major studio to stay profitable in the 1930's. And, in the 1950's, when television began to eat into photograph profits, Columbia entered the business with a financially successful subsidiary, Screen Gems.

Scheuer, Philip K. "Harry Cohn: Studio Ruler Who Rarely Gave an Inch." Los Angeles Times, 2 February, 1967, 1.

Hirschhorn, Clive. The Columbia Story. New York: Cro
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