By Bernard F. Dick
The new $3.4 billion buy of Columbia photos through Sony company centred cognizance on a studio that had survived considered one of Hollywood's worst scandals lower than David Begelman, in addition to possession by way of Coca-Cola and David Puttnam's inaccurate try to deliver again the studio's glory days. Columbia images lines Columbia's historical past from its beginnings because the CBC movie revenues corporation (nicknamed "Corned pork and Cabbage") throughout the regimes of Harry Cohn and his successors, and concludes with a shiny portrait of contemporary company Hollywood, with its funding bankers, leisure legal professionals, brokers, and financiers.
Bernard F. Dick's hugely readable studio chronicle is through 13 unique essays via major movie students, writing concerning the stars, motion pictures, genres, writers, manufacturers, and administrators accountable for Columbia's emergence from Poverty Row prestige to international type. this can be the 1st try to combine movie historical past with movie feedback of a unmarried studio. either the old advent and the essays draw on formerly untapped archival material―budgets that stored Columbia within the black throughout the Thirties and Forties, letters that display the rapport among melancholy audiences and director Frank Capra, and an interview with Oscar-winning screenwriter Daniel Taradash.
The booklet additionally deals new views at the careers of Rita Hayworth and Judy Holliday, a dialogue of Columbia's distinctive manufacturers of screwball comedy and movie noir, and analyses of such classics as The lousy fact, Born the day prior to this, From right here to Eternity, at the Waterfront, Anatomy of a homicide, effortless Rider, Taxi motive force, the massive relax, Lawrence of Arabia, and The final Emperor. Amply illustrated with movie stills and pictures of stars and studio heads, Columbia photos features a short chronology and a whole 1920-1991 filmography. Designed for either the movie lover and the movie student, the ebook is perfect for movie historical past classes.
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Additional resources for Columbia Pictures: Portrait of a Studio
14 Under Columbia's new policy, independents would pay only for what they used instead of paying an overhead charge of 20 percent of the budget. The change was intended to make Columbia even more attractive to independents. At Paramount, for example, there were overhead charges for films financed by the studio but flat rental deals for others. Fox rented only to independents releasing through the studio, charging them a percentage of the budget; MGM charged a flat daily rate except for studio-financed productions, for which there was an overhead charge.
While Coke promised not to infringe on Columbia's authority (a promise impossible to keep), it issued a clear mandate: more, not less. Movies, then, were no different from soft drinks bottled in mass quantities for mass consumption. What distressed Price even more than the formation of Tri-Star was the recruitment of Columbia personnel for Tri-Star positions, particularly for the position of chairman and CEO, which went to his protege Victor Kaufman. In fact, Kaufman waited until Coca-Cola had bought Columbia to sell the company on the idea ofTriStar, thereby making Coca-Cola the parent of two offspring-one too many as far as Price was concerned.
Poker. Having acquired his degrees in the usual way, Hirschfield must have found it irritating to hear about Begelman's "Yale degree," which was nonexistent; Begelman's only association with Yale was a few months in a training program. In the Cohn era, academic credentials were meaningless; a high school diploma was the norm, and many (including the Cohn brothers) never had even that. The degree-holders were usually writers. With the advent of sound, the industry wooed writers shamelessly, and many who trekked west realized their importance and were contemptuous of the new medium.