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Columbia Pictures Industries, Inc. is an American film and television production company. It is part of the Columbia TriStar Motion Picture Group, which is owned by Sony Pictures Entertainment, a subsidiary of the multinational conglomerate Sony. Established in 1924, Columbia is tied with MGM for the fifth-oldest American movie studio still in operation. Contents 1 History 1.1 The early years 1.2 Reorganization and new name 1.3 Rejection by one studio 1.4 1940s 1.5 1950s 1.6 After Harry Cohn's death 1.7 1982-87: Coca-Cola and Tri-Star 1.8 The Sony years to present 2 The Columbia logo 3 Selected filmography 4 References 5 See also 6 External links

Logo used since 1993.

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The predecessor of Columbia Pictures, Cohn-Brandt-Cohn Film Sales, was founded in 1919 by Harry Cohn, his brother Jack Cohn, and Joe Brandt.^[1]

Brandt was president of CBC Film Sales, handling sales, marketing and distribution from New York along with Jack Cohn, while Harry Cohn ran production in Hollywood.

Many of the studio's early productions were low-budget affairs; the start-up CBC leased space in a poverty row studio on Hollywood's Gower Street. Among Hollywood's elite, CBC's reputation led some to joke that "CBC" stood for "Corned Beef and Cabbage."^[1]

Following a reorganization, partner Brandt was bought out^{[citation needed]}, and Harry Cohn took over as president. In an effort to improve its image, the studio renamed itself Columbia Pictures Corporation in 1924. Though the product was mostly low-cost westerns, serials and action pictures, Columbia gradually moved into the production of higher-budget fare, building a reputation^{[citation needed]} as one of Hollywood's more important studios.

Helping Columbia's climb was the arrival of an ambitious director named Frank Capra. Between 1927 and 1939, Capra became Columbia's biggest asset^{[citation needed]}; as Capra gained in confidence, he constantly pushed Cohn for better material and bigger budgets. A string of hits in the early 1930s, particularly Capra's Lady for a Day and the Oscar-winning It Happened One Night, solidified Columbia's status as a major studio.

Harry Cohn never lost a taste for low comedy^{[citation needed]}, and at his insistence the studio signed The Three Stooges in 1934. Rejected by MGM (which kept straight-man Ted Healy but let the Stooges go ^[2], the Howard brothers and Larry Fine made more than 180 shorts for Columbia between 1934 and 1958.

1934 also saw Columbia begin producing a series of cartoons under the Screen Gems brand, a brand also used in the late 1940s for a television-commercial production unit. This expanded over the next few years into a full-fledged television-series production house, offering Father Knows Best, The Donna Reed Show, Bewitched, I Dream of Jeannie and The Monkees.^[3]

By the time of World War II, Columbia had reached maturity.Template:FixPOVn Propelled in part by their film's surge in audiences during the war, the studio also benefited from the popularity of its biggest star, Rita Hayworth. Other Columbia contractees of this period included Glenn Ford, Penny Singleton, William Holden, Judy Holliday, The Three Stooges, Ann Miller, Evelyn Keyes, Jack Lemmon, Cleo Moore, Barbara Hale, Adele Jergens, Larry Parks, Arthur Lake, Lucille Ball, Kerwin Mathews, and Kim Novak.

Typical of Cohn's tendency to cut production costs^[1], Columbia was the last major studio to use three-strip Technicolor. Cohn finally agreed to use the costly, lavish color process for Cover Girl in 1944, starring the vibrant red-haired Rita Hayworth. Cohn quickly used Technicolor again for the fanciful biography of Frederic Chopin, A Song to Remember, with Cornel Wilde, released in 1945. Color was also used for another biopic, 1946's The Jolson Story with Larry Parks and Evelyn Keyes.

The United States v. Paramount Pictures, Inc. decision of 1948 that forced Hollywood motion picture companies to divest themselves of the theatre chains that they owned made a level playing ground for Columbia that soon joined the ranks of the "Big Five" studios.

As the larger studios declined in the 1950s, Columbia took the lead, continuing to produce forty-plus pictures a year, offering adult fare that often broke ground and kept audiences coming to theaters. A good example of a ground-breaking Columbia film was its adaptation of the controversial James Jones novel, From Here to Eternity, released in 1953, which won the Best Picture Oscar. Columbia also won the next year (1954) with another hard-hitting story, On the Waterfront. The studio won Best Picture again in 1957, when it released The Bridge on the River Kwai with William Holden and Alec Guiness.

Columbia also released the made-in-England Warwick Films by producers Irving Allen and Albert R. Broccoli as well as many films by producer Carl Foreman who resided in England.

Following Harry Cohn's death in 1958, Columbia closed down its short subject and serial units, the last to do so. The studio went through a subsequent period of drifting.^{[citation needed]}

But by the late 1960s, Columbia had an ambiguous identity, offering old-fashioned fare like A Man for All Seasons and Oliver! along with the more contemporary Easy Rider and The Monkees. After turning down releasing Albert R. Broccoli's Eon Productions James Bond films, Columbia hired Broccoli's former partner Irving Allen to produce the Matt Helm series with Dean Martin.

Columbia Pictures Corporation was renamed Columbia Pictures Industries Inc. in 1968. Nearly bankrupt by the early 1970s, the studio was saved via a radical overhaul: the Gower Street studios were sold and a new management team was brought in. While fiscal health was restored through a careful choice of star-driven vehicles^{[citation needed]}, the studio's image was badly marred^{[attribution needed]} by the David Begelman check-forging scandal. Begelman eventually resigned (later ending up at Metro-Goldwyn-Mayer), and the studio's fortunes gradually recovered.

From 1971 until the end of 1987, Columbia's international distribution operations were a joint venture with Warner Bros., and in some countries, this joint venture also distributed films from other companies (like EMI Films and Cannon Films in the UK). Warners pulled out of the venture in 1988 to join up with Walt Disney Pictures.

With a healthier balance-sheet, Columbia was bought by Coca-Cola in 1982, after having considered buying the struggling Walt Disney Productions.^{[citation needed]} Studio head Frank Price mixed big hits like Tootsie and Ghostbusters with many costly flops. In 1985, Columbia acquired Norman Lear and Jerry Perenchio's Embassy Pictures division Embassy Television (included Tandem Productions), mostly for its library of highly successful television series. Expanding its television franchise, Columbia also bought Merv Griffin's game show empire the following year, including the rights to Wheel of Fortune and Jeopardy!.

To share the increasing cost of film production, Coke brought in two outside investors whose earlier efforts in Hollywood had come to nothing. In 1982, Columbia, Time Inc.'s HBO and CBS announced, as a joint venture, "Nova Pictures"; this enterprise was to be renamed Tri-Star Pictures. CBS dropped out of the venture in 1984, and in 1987, HBO did as well. That same year, Tri-Star entered into the television business as Tri-Star Television.

Recognizing the importance of the overseas market^{[citation needed]}, in 1986, Columbia recruited British producer David Puttnam to head the studio. He alienated the film-production community upon his arrival by denouncing Hollywood's taste for froth.^{[Quotation from source requested on talk page to verify interpretation of source]} With few friends and fewer hits, his stay at Columbia was Hobbesian: nasty, brutish, and short.Template:FixPOVn

In December 1987, Columbia Pictures merged Columbia and Tri-Star into Columbia Pictures Entertainment. Other small-scale, "boutique" entities were created: Nelson Entertainment, a joint venture with British and Canadian partners; Triumph Films, jointly owned with French studio Gaumont; and Castle Rock Entertainment.

The volatile film business made Coke shareholders nervous, and following the box-office failure of Ishtar, Coke spun off its entertainment holdings in 1987, creating a stand-alone company called Columbia Pictures Entertainment Inc.

Puttnam was succeeded by his aesthetic opposite^{[attribution needed]}, Dawn Steel. The first woman to run a Hollywood motion picture studio, she pushed Columbia back into the forefront of popular films.

The Columbia Pictures empire was sold in 1989 to electronics giant Sony, one of several Japanese firms then buying American properties. Sony then made a management decision that surprised many^{[attribution needed]}, hiring two producers, Peter Guber and Jon Peters to serve as co-heads of production. Guber and Peters had just signed a long-term contract with Warner Bros; to extricate them from this contract, Sony ended up paying hundreds of millions of dollars, gave up a half-interest in its Columbia House Records Club mail-order business, and bought from Warner the decrepit Culver City studio which Warners had acquired in its takeover of Lorimar. Sony spent $100 million to refurbish the rechristened Sony Pictures Studios. Guber and Peters set out to prove they were worth this fortune, and though there were to be some successes, there were also many costly flops. Peters resigned^{[when? — see talk page]}, to be followed soon after by Guber.

Publicly humiliated, Sony took an enormous loss on its investment in Columbia, writing off its costs, and in effect starting over. TriStar was consolidated into the main studio; the entire operation was reorganized under Howard Stringer and renamed Sony Pictures Entertainment; with this came a new effort to focus on mainstream film-making. Sony has broadened its release schedule by creating Sony Pictures Classics for arthouse fare, and by backing Revolution Studios, a production company headed by Joe Roth.

As of 2007, Columbia has released fewer of their classic films to DVD, and most of the ones that have been issued have not had the same high standard of quality found in DVD releases from Warner Bros or 20th Century-Fox.Template:FixPOVn

Columbia's logo, a lady carrying a torch, originally appeared in 1924. The first model for the logo is unknown, although Bette Davis claimed that Claudia Dell was used.^[4]

In 1936, the logo was somewhat changed, with the Columbia "Torch Lady" appearing with shimmering light behind her. Actress Evelyn Venable was the original model for this logo,^[5] which was used for a total of 40 years. 1976's Taxi Driver was one of the last films to use the "Torch Lady" in her classic appearance.

In 1976, Columbia (like other studios) experimented with a new logo. It began with the familiar lady with a torch, but the camera zoomed in on the torch, and the torch-light rays then formed an abstract blue semi-circle depicting the top half of the rays of light, with the name of the studio appearing under it. (A variation on this was used in the 2007 film Superbad.) The television counterpart used only the latter part of the logo, and the semi-circle was orange.

This logo was replaced with a modernized version of the "Torch Lady" in 1981. After Columbia's purchase by Coca-Cola, radio talk-show host Mike Jackson of KABC-AM joked that the Torch Lady should be holding a Coke bottle instead.^{[citation needed]}

In 1993, the logo was repainted digitally by New Orleans artist Michael Deas. It has been rumored that Annette Bening was the model, but in fact Deas used a model named Jenny Joseph.^[6]

Main article: List of Columbia Pictures films

• Columbia Pictures Television
• Columbia TriStar Television
• Columbia TriStar International Television
• Sony Pictures Television
• Sony Pictures Television International
• List of film serials by studio lists the film serials made by Columbia
• Major film studios

• Official Sony Pictures website
• SonyPictures.net (list of worldwide sites)
• Columbia Pictures at the Internet Movie Database
• Columbia Pictures Corporation at the Internet Movie Database
• Columbia Pictures Cartoons from the Big Cartoon DataBase

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