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He ran Columbia Pictures as if it were a family business, and in a way it was, because he had wrangled control from his brother Jack, who was back on the East Coast in New York.By the mid-1930s, Cohn had nurtured Columbia from a low-rent, B-movie studio on Hollywood’s “Poverty Row,” a block off Sunset, into a major Hollywood film studio.“We started with Mae West, Jean Harlow, Marilyn, then Kim. It’s a terrible comparison, but it’s like betting on the Kentucky Derby.That fourth horse, I think can do it.”The next girl to walk through Cohn’s door was Marilyn Novak, a shy, plump, large-boned 20-year-old from Chicago with no acting experience but a breathtaking face. Since there was already a Marilyn, the first thing that had to go was her name.He was in the dark and suddenly the spotlight picked him up—he was electric, he was hot, it was almost a sexual thing.

Cohn decided he was going to take the next girl who walked into his office and manufacture a new star for Columbia Pictures, one who would do exactly what he wanted, who wouldn’t walk away until he and the public were finished with her.“We always had a blonde,” George Sidney remembers.

He kept a framed photograph of his hero, Benito Mussolini, on his massive desk and had his office decorated to look like Il Duce’s.

The reporter James Bacon, fresh out of Chicago, was assigned to cover Hollywood for the Associated Press back in 1948. He used to fire people all the time—usually on Christmas Eve.”Henri Soulé, the owner of Le Pavillon and La Côte Basque in New York, detested Cohn and considered him a déclassé Hollywood hood.

Unfortunately for Soulé, Columbia owned the building, and Cohn retaliated by raising Le Pavilion’s rent.

The director George Sidney, who made all with Novak at Columbia Pictures, became one of Cohn’s most trusted intimates.

Cohn decided he was going to take the next girl who walked into his office and manufacture a new star for Columbia Pictures, one who would do exactly what he wanted, who wouldn’t walk away until he and the public were finished with her.“We always had a blonde,” George Sidney remembers.He kept a framed photograph of his hero, Benito Mussolini, on his massive desk and had his office decorated to look like Il Duce’s.The reporter James Bacon, fresh out of Chicago, was assigned to cover Hollywood for the Associated Press back in 1948. He used to fire people all the time—usually on Christmas Eve.”Henri Soulé, the owner of Le Pavillon and La Côte Basque in New York, detested Cohn and considered him a déclassé Hollywood hood.Unfortunately for Soulé, Columbia owned the building, and Cohn retaliated by raising Le Pavilion’s rent.The director George Sidney, who made all with Novak at Columbia Pictures, became one of Cohn’s most trusted intimates.That night would be the first and virtually the last time that Kim Novak and Sammy Davis Jr. At the heart of their star-crossed affair was one of Hollywood’s sacred monsters: the notorious Harry Cohn.