Columbia Pictures

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Columbia Pictures
The Torch Lady in the Columbia Pictures logo, used from 1993 to the present, with the byline added in 1996.
Type	{{{company_type}}}
Founded	1919
Location	{{{location}}}
Key people	Howard Stringer, Chairman and CEO of Sony Corporation; Michael Lynton, Chairman and CEO; Amy Pascal, Co-Chairman; Jeff Blake, Vice Chairman; Yair Landau, Vice Chairman
Industry	Motion pictures, television
Products	1982 : acheté par The Coca-Cola Company 1989 : acheté par Sony
Revenue	{{{revenue}}}
Website	http://www.sonypictures.com/

Columbia Pictures Industries, Inc. is an American film and television production company, part of the Columbia TriStar Motion Picture Group owned by Columbia Pictures Entertainment, which is a part of Japanese electronics giant Sony.

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History

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The early years

Image:CBCfilm.jpg The predecessor of Columbia Pictures, CBC Film Sales Corporation, was founded in 1919 by Harry Cohn, his brother Jack Cohn, and Joe Brandt. The company's reputation was so low that some joked that "CBC" stood for "Corned Beef and Cabbage." 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. Brandt was company president and handled sales, marketing and distribution from New York along with Jack Cohn, while Harry Cohn ran production in Hollywood.

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The new name for the studio

Following a reorganization, partner Brandt was bought out, and for the next thirty years the Cohn brothers would take on the world (and sometimes each other) in running their company. Harry Cohn took over as president; until Jack Warner bought full control of Warner Bros. in 1956, Cohn was the only studio chief that did not have to look to corporate overseers in the east for budgeting or policy decisions. 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 built a reputation by attempting higher-budget fare.

Helping Columbia's climb was the arrival of an ambitious director named Frank Capra. Between 1927 and 1939, Capra became Columbia's biggest asset, gaining in confidence and constantly pushing Cohn for better material and bigger budgets. Following a string of hits in the early 1930s, the success of Capra's 1934 picture It Happened One Night (the first film to win all five major Oscars, including Best Picture, Director, Actor, Actress, and Screenplay) solidified Columbia's status as a major studio. Capra's other films at Columbia included Lady for a Day. Broadway Bill, You Can't Take It With You, Mr. Smith Goes to Washington, and the original 1937 Lost Horizon. Harry Cohn also had popular stars Jean Arthur and Grace Moore under contract, and was able to attract visiting stars such as Carole Lombard, Cary Grant, Irene Dunne, Katharine Hepburn, Clark Gable, Jean Harlow, Claudette Colbert, Loretta Young, and James Stewart to his studio's for major productions.

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Rejection by one studio

Harry Cohn never lost a taste for low comedy, 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), the Howard brothers and Larry Fine made more than 180 shorts for Columbia between 1934 and 1958. Also that year Columbia began producing a series of cartoons under the Screen Gems name. The Screen Gems name would be used often; in the late forties it was revived 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,The Monkees, Columbia Pictures Television and Columbia Pictures Television Distribution. In the late 1990s, the Screen Gems name was revived again as a label for low-budget horror and suspense films.

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The maturity begins

By the time of World War II, Columbia had reached maturity. Propelled in part by the attendance surge during the war, the studio also benefited from the popularity of its discovery and 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.

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. While he was widely disliked, even feared, few would argue that Harry Cohn had not done a superb job in building Columbia Pictures. Following his death in 1958, Columbia went through a period of drifting; though there were still important films, the momentum, as well as the mass audience, was gone.

By the late 1960s, Columbia was a schizophrenic place, offering old-fashioned fare like A Man for All Seasons and Oliver! while also backing the more contemporary Easy Rider and The Monkees. Columbia Pictures Corporation was renamed to Columbia Pictures Industries, Inc. in 1968. Nearly bankrupt by the early 1970s, the studio was saved only by the direst methods; the Gower Street studios were sold, and a new management team brought in. While fiscal health was restored through a careful choice of star-driven vehicles, the studio's image was badly marred by the David Begelman check-forging scandal. Begelman eventually resigned (later ending up at Metro-Goldwyn-Mayer), and the studio's fortunes gradually recovered.

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The Coca-Cola Years and TriStar

With a healthier balance-sheet, Columbia was bought by Coca-Cola in 1982. Prudish Coca-Cola management announced there would be no 'R' or 'X'- rated films from Columbia, yet 'R' rated films Blue Thunder and Christine appeared under Columbia in 1983, the year following this announcement. Studio-head Frank Price mixed big hits like Tootsie and Ghostbusters with many, many costly flops. Under Coke, Columbia acquired Norman Lear and Jerry Perenchio's Embassy Pictures, mostly for its library of highly successful television series. Expanding its television franchise, Columbia also bought Merv Griffin's game-show empire, which included rights to Wheel of Fortune and Jeopardy!.

Image:TriStar1990s.jpg 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 re-named 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. In December 1987, Columbia Pictures bought their venture shares and merged Columbia and Tri-Star into Columbia Pictures Entertainment. Other small-scale, "boutique" entities were created: Nelson Entertainment as a joint venture with British and Canadian partners; Triumph Films jointly owned with French studio Gaumont; and Castle Rock Entertainment. Recognizing the importance of the overseas market, 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 and the light-weight. With few friends and fewer hits, his stay at Columbia was Hobbesian: nasty, brutish and short. 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.

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The Sony years to present

Puttnam was succeeded by his aesthetic opposite, Dawn Steel. The first woman to run a motion picture studio, she knew the audience's tastes, and 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 which surprised many, hiring two producers, Peter Guber and Jon Peters to serve as co-heads of production. To some observers Guber and Peters appeared to be unlikely choices; further, they had just signed a long-term contract with Warner Bros. Pictures. To extricate them from this contract, Sony finally paid hundreds of millions in cash, gave up a half-interest in its Columbia House Records Club mail-order business, and bought from Warner the decrepit Culver City studio (once home of studio MGM) which Warner had acquired in its takeover of Lorimar (Sony spent $100 million to refurbish what they had re-christened Sony Pictures Studios). Putting on a brave face, 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, 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. Tri-Star was consolidated into the main studio; the entire operation was re-organized under Howard Stringer, and re-named 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 art-house fare, and by backing Revolution Studios, a production company headed by Joe Roth.

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Logo

Columbia's logo originally appeared in 1924. The first model for the logo is unknown, although Bette Davis claimed that Claudia Dell was used [1].

From 1936 to 1976, Columbia Torch Lady appeared with shimmering light behind her. Taxi Driver was the last film 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 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. The television counterpart used only the latter part of the logo, and the semi-circle was either orange or red.

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 Michael Jackson of KABC-AM joked that the Torch Lady should be holding a Coke bottle instead.

In 1993, the logo was repainted digitally by New Orleans artist Michael Deas. It has been rumoured that Annette Bening was the model, but in fact Deas used a model named Jenny Joseph. [2].

Some Columbia movies have had customized logos:

The Mouse That Roared (1959): The torch lady is live-action, and as a mouse crawls up the pedestal, she shrieks and runs away.
Bye Bye Birdie (1963)
Strait-Jacket (1964): At the end of the film, a decapitated Torch Lady appears with her head at the bottom of the pedestal.
The Man Called Flintstone (1966): Wilma Flintstone is drawn as the Torch Lady The torch blows up into the opening credits.
Head (1968) At the end of the movie the Torch Lady stands there which flutters, travels erratically on the sprockets, and finally burns.
Thank God It's Friday (1978): in the original theatrical release, the Torch Lady does a brief dance as disco music plays.
What Planet Are You From? (2000): The Torch Lady's face is replaced with star Annette Bening's, playing on the above resemblance
Eight Crazy Nights (2002): an animated boy holds the torch, but a few seconds later, the boy melts into the original torch lady.
Columbia Torch Lady's Travel Time Adventure (2006) In the original 3D release, the Torch Lady finds a Time Machine from a Time Traveler.
Men in Black II (2002): At the end of the logo, the torch flashes like a neuralizer.
The Age Of Innocence (1993): The sunburst animation is cut and just the Torch Lady animation plays. After the logo is complete, the entire logo turns gold and it changes a little bit.
The Cable Guy (1996): After the logo is completed, the logo gets messed up by a set of static waves.