Harry Cohn

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For the British politician, see Harry Cohen.
Harry Cohn
Cohn2.jpg
Harry Cohn, circa 1934
Born (1891-07-23)July 23, 1891
New York City, New York, U.S.
Died February 27, 1958(1958-02-27) (aged 66)
Phoenix, Arizona, U.S.
Occupation Film producer and production director of Columbia Pictures
Years active 1919 to 1958
Religion Judaism
Spouse(s) Rose Barker (1923–1941)
Joan Perry (1941–1958)

Harry Cohn (July 23, 1891 – February 27, 1958) was the American president and production director of Columbia Pictures.[1]

Life and career[edit]

Cohn was born to a working-class Jewish family in New York City.[2] His mother, Bella Joseph, was from Russia, and his father, Joseph Cohen, was a tailor from Germany.[3][4] In later years, he appears to have disparaged his heritage.[citation needed] After working for a time as a streetcar conductor, and then as a promoter for a sheet music printer, he got a job with Universal Pictures, where his brother, Jack Cohn, was already employed. In 1919, Cohn joined with his brother and Joe Brandt to found CBC Film Sales Corporation. The initials officially stood for Cohn, Brandt, and Cohn, but Hollywood wags noted the company's low-budget, low-class efforts and nicknamed CBC "Corned Beef and Cabbage." Harry Cohn managed the company's film production in Hollywood, while his brother managed its finances from New York. The relationship between the two brothers was not always good, and Brandt, finding the partnership stressful, eventually sold his third of the company to Harry Cohn, who took over as president, by which time the firm had been renamed Columbia Pictures Corporation.

Most of Columbia's early work was action fare starring rock-jawed leading man Jack Holt. Columbia was unable to shake off its stigma as a Poverty Row studio until 1934, when director Frank Capra's Columbia comedy It Happened One Night swept the Academy Awards. Exhibitors who formerly wouldn't touch Columbia product became steady customers. As a horizontally integrated company that only controlled production and distribution, Columbia had previously been at the mercy of theater owners. Columbia expanded its scope to offer moviegoers a regular program of economically made features, short subjects, serials, travelogues, sports reels, and cartoons. Columbia would release a few "class" productions each year (Lost Horizon, Holiday, Mr. Smith Goes to Washington,The Jolson Story, Gilda, All the King's Men, etc.), but depended on its popular "budget" productions to keep the company solvent. During Cohn's tenure, the studio always turned a profit.

Cohn did not build a stable of movie stars like other studios. Instead, he generally signed actors who usually worked for more expensive studios (Wheeler & Woolsey, Cary Grant, Katharine Hepburn, Mae West, Humphrey Bogart, Dorothy Lamour, Mickey Rooney, Chester Morris, Warren William, Warner Baxter, Sabu, Gloria Jean, Margaret O'Brien, etc.) to attract a pre-sold audience. Columbia's own stars generally rose from the ranks of small-part actors and featured players (Jean Arthur, Rita Hayworth, Larry Parks, Julie Bishop, Lloyd Bridges, Bruce Bennett, Jock Mahoney, etc.). Some of Columbia's producers and directors also graduated from lesser positions as actors, writers, musicians, and assistant directors.

Cohn was known for his autocratic and intimidating management style. When he took over as Columbia's president, he remained production chief as well, thus concentrating enormous power in his hands. He respected talent above any personal attribute, but he made sure his employees knew who was boss. Writer Ben Hecht referred to him as "White Fang." An employee of Columbia called him "as absolute a monarch as Hollywood ever knew," and described him as running his studio "like a private police state." It was said "he had listening devices on all sound stages and could tune in any conversation on the set, then boom in over a loudspeaker if he heard anything that displeased him." Throughout his tenure, his most popular moniker was "King Cohn."

Moe Howard of the Three Stooges recalled that Cohn was "a real Jekyll-and-Hyde-type guy... socially, he could be very charming." Cohn was known to scream and curse at actors and directors in his office all afternoon, and greet them cordially at a dinner party that evening. There is some suggestion that Cohn deliberately cultivated his reputation as a tyrant, either to motivate his employees or simply because it increased his control of the studio. Cohn is said to have kept a signed photograph of Benito Mussolini, whom he met in Italy in 1933, on his desk until the beginning of World War II. (Columbia produced the documentary Mussolini Speaks in 1933, narrated by Lowell Thomas.) Cohn also had a number of ties to organized crime. He had a long-standing friendship with Chicago mobster John Roselli, and New Jersey mob boss Abner Zwillman was the source of the loan that allowed Cohn to buy out his partner Brandt. Cohn's brash, loud, intimidating style has become Hollywood legend and was reportedly portrayed in various movies. The characters played by Broderick Crawford in All The King's Men (1949) and Born Yesterday (1950), both Columbia pictures, are allegedly based on Cohn, as is Jack Woltz, a movie mogul who appears in The Godfather (1972).

In his own way, Harry Cohn was sentimental about certain professional matters. He remembered the valuable contributions of Jack Holt during Columbia's struggling years, and kept him under contract until 1941. Cohn hired the Three Stooges in 1934 and, according to Stooge Larry Fine, "he thought we brought him luck." Cohn kept the Stooges on his payroll until the end of 1957.

However, business was business to Cohn: there is a popular myth that he forced Curly Howard of the Stooges to keep working after suffering a series of minor strokes, which led to a further deterioration of Howard's health and his eventual retirement. [5] That is untrue. Production records for 1945 and 1946 clearly show that the amount of time Curly spent filming was minimal, and it was a grueling east coast personal appearance tour at the end of 1945, plus a traumatic, unhappy and brief 3rd marriage, that were the primary causes of aggravating Curly's declining health in early 1946. Cohn was always fond of what he termed "those lousy little 'B' pictures," and kept making them, along with two-reel comedies and serials, after other studios had abandoned them.

Personal life[edit]

Cohn was rumored to have demanded sex from female stars in exchange for employment (although similar stories were connected to many producers in Hollywood at the time). Harry Cohn's relationship with Rita Hayworth was fraught with aggravation. In Hayworth's biography If This Was Happiness, she described how she refused to sleep with Cohn and how this angered him. However, because Hayworth was such a valuable property Cohn kept her under contract because she made him money. During the years they worked together, each did their best to irritate the other despite their lengthy work relationship which produced good results. Cohn wanted to groom Mary Castle as Hayworth's successor. Kim Novak, another Columbia star, reportedly endured similar treatment from Cohn. When Joan Crawford was subjected to Cohn's advances after signing a three-picture contract with Columbia, she quickly stopped him by saying, "Keep it in your pants, Harry. I'm having lunch with Joan and the boys [Cohn's wife and children] tomorrow."

Cohn was married to Rose Barker from 1923 to 1941, and to actress Joan Perry (1911–1996) from July 1941 until his death in 1958. Perry later married actor Laurence Harvey. His niece was Leonore "Lee" Cohn Annenberg, the wife of billionaire publishing magnate Walter Annenberg of Philadelphia. Her father was Maxwell Cohn, brother of Harry and Jack Cohn.

Death[edit]

Cohn was the last Hollywood movie mogul of the studio system era, retaining power after the departures of rivals such as Darryl F. Zanuck and Louis B. Mayer.[6] He suffered a sudden heart attack in February 1958 at the Arizona Biltmore Hotel in Phoenix, Arizona, shortly after having finished dinner, and died in an ambulance en route to St. Joseph's Hospital.

Cohn and his funeral were the subject of the famous quote from Red Skelton, who remarked of Cohn's well-attended funeral, "It proves what Harry always said: give the public what they want and they'll come out for it."[7] The majority of those who attended the funeral were said to have done so because they wanted confirmable proof that Harry Cohn was indeed dead.[citation needed] He was interred in the Hollywood Forever Cemetery in Hollywood.

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