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“People used to say, ‘I’m going to beat Harry,’” Sidney recalls.“But no one could beat Harry—he was too smart, he was too sharp. Mayer, Harry Cohn, Jack Warner—these men with their blood and their money and their reputations, they smelled out who had star material.”Cohn took all the credit for creating Rita Hayworth—he was also obsessed with her.

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.Her marriage to Khan, a notorious playboy and womanizer, kept her out of pictures for more than two years, infuriating Cohn and further alienating her fans. Cohn wanted her in one of his pet projects, a biblical epic called until her then husband, Haymes, came into Cohn’s office with a marcelled beard and demanded to be cast as Joseph.“I’ll have that son of a bitch back in Argentina,” Cohn exploded.(Haymes, an Argentinean native, was always facing deportation.)Instead, Cohn decided to get back at Hayworth.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.

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