Harry Cohn

For the British politician, see Harry Cohen.
Harry Cohn

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 Corporation
Years active 1919 to 1958
Spouse(s) Rose Barker (1923–1941)
Joan Perry (1941–1958)

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

Life and career

Cohn was born to a working-class Jewish family in New York City.[2] His mother, Bella Joseph, was from Russia (in what is today Poland),[3] and his father, Joseph Cohen, was a tailor from Germany.[4][5] 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 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 Jack Cohn managed its finances from New York alongside Brandt. In a bid to change its image, the company changed its name to Columbia Pictures Corporation in 1924. Columbia was the female personification of America, and Cohn believed that she would be an effective marketing symbol.[3]

The relationship between the two brothers was not always good. In 1932, Brandt, finding the partnership stressful, sold his third of the company to Harry Cohn, who took over as president while remaining based in Hollywood.

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 would not touch Columbia products 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." 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. Cohn was 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.

According to biographer Michael Fleming, Cohn forced Curly Howard of the Stooges to keep working after suffering a series of minor strokes, which coincided with a further deterioration of Howard's health and his eventual retirement.[6]

Personal life

Cohn expected, or at least asked for, sex from female stars in exchange for employment (although similar stories were connected to many producers in Hollywood at the time).[7] Harry Cohn's relationship with Rita Hayworth was fraught with aggravation. Hayworth's biography If This Was Happiness, describes how she refused to sleep with Cohn and how this angered him.[8] However, because Hayworth was such a valuable property Cohn kept her under contract because she made money for him. 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."[9]

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.


Cohn was the last Hollywood movie mogul of the studio system era, retaining power after the departures of such rivals as Darryl F. Zanuck and Louis B. Mayer.[10] He died in February 27, 1958 in Phoenix, Arizona.



  1. Obituary Variety, March 5, 1958.
  2. Actors Directors from Germany, Austria, Switzerland – German-Hollywood Connection
  3. 1 2 Baldwin, Ian. "Harry Cohn: Man, Mogul, and Myth." In Immigrant Entrepreneurship: German-American Business Biographies, 1720 to the Present, vol. 4, edited by Jeffrey Fear. German Historical Institute. Last modified March 24, 2014.h
  4. Fleming, Michael (2002) [1999]. The Three Stooges: An Illustrated History, From Amalgamated Morons to American Icons. New York: Broadway Publishing. p. 49. ISBN 0-7679-0556-3.
  5. Kashner, Sam. "The Forbidden Love of Kim Novak and Sammy Davis, Jr.". Vanity Fair (March 1999). Novak even managed to evade Cohn’s casting couch—considered the most notorious in Hollywood.
  6. Braudy, Susan (November 19, 1989). "What We Have Here is a Very Sad Story". The New York Times. Retrieved 8 April 2015. According to Ms. Leaming, Harry Cohn... 'developed an obsession' with the beautiful young woman. But in a rare, explicit show of strength, Hayworth refused her husband's order to sleep with 'the notoriously crude movie mogul.'
  7. Blottner, Gene (December 28, 2011). Columbia Pictures Movie Series, 1926-1955: The Harry Cohn Years. McFarland. p. 7.
  8. Hodgins, Eric (June 10, 1957). "Amid Ruins of an Empire a New Hollywood Arises". Life. p. 146. Retrieved April 22, 2012.

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