Exhibitors Herald and Moving Picture World (Apr-Jun 1930)

April 5, 1930 EXHIBITORS HERALD-WORLD 33 JACK COHN JACK COHN met Joe Brandt in 1902 while working at the next desk to him in the Hampton Advertising Agency. Six years later he left Hampton to join Carl Laemmle’s old IMP company, working in laboratory. In 1911 he brought Joe Brandt over to Universal. Became editor and producer of Universal Weekly, the first independent newsreel, and conceived the idea of having staff photographers located in key cities, an innovation then. For six years he was in charge of the IMP studio. In 1919 he conceived the idea of producing a fan magazine on the screen. Interested Harry Cohn and Joe Brandt and induced them to leave Universal to form C. B. C. JOSEPH BRANDT BORN in Troy, forty-eight years ago. Was graduated from New York University Law School and admitted to bar but practiced only a short while. Was reporter on Evening World, New York representative of Billboard, and Advertising Manager of the Dramatic Mirror. Became secretary to Carl Laemmle, then president of the IMP Film Company. Promoted to head of publicity department of Universal, 1912. Originated and arranged for distribution of Universal serials. Established London, Paris and Berlin offices of Universal. Made assistant treasurer of Universal in 1919. Left in 1920 to join with Cohns in incorporating C. B. C. HARRY COHN 'T''HE chance taker of the Cohn family is Harry. As a boy he was attracted to the stage and did remarkably well. An excellent voice earned him the now obsolete position of audience-singer for Watterson, Berlin & Snyder, song publishers, where he met and cultivated the friendship of Irving Berlin. He toured in vaudeville. Next he blossomed out as a singer of illustrated songs and conceived the idea of using motion pictures with them instead of slides. Has made films of all of Berlin’s songs. Left stage to join the cavalry, but turned up in Universal City under Carl Laemmle’s supervision in 1918. In 1920 he left Universal to join Joe Brandt and Jack Cohn in C. B. C. Columbia Celebrates Its Tenth Birthday Only a decade ago the company, now Columbia, was born. But what a decade ! Supertheatres— Sound — Color — Wide Film! AndColumbia itself has supplied achievements ivorthy of the period. In this recital of them is also told a story typical of the history of the entire motion picture industry. THIS month Columbia celebrates the tenth anniversary of existence as a film corporation. Ten checkered years, sad ones and good, a recital of which reflects the very growth of the film industry itself. To the old-timers in the trade, this story of Columbia’s history will be a flashback to the most romantic and aimless years of their experience, years poignant in the memories of pioneers in the fallowest of fields, heartbreaking once to many who now are millionaires many times over. To those who entered the industry when its momentum was already carrying it along to certain success, this record should prove just as interesting, for as the history of a country shapes its future, so do past events point out the destiny of an industry. How many of these names do you remember? How many of these personalities influenced you in days gone past, and how many are still identified with the show business? In 1920 Joe Brandt and Jack and Harry By DOUGLAS FOX Cohn left Universal to form the C. B. C. Film Sales Company — the letters representing the surnames of each. Their first product was “Screen Snapshots,” a short feature they are still finding profitable, and about the same time they had “The Hallroom Boys,” two-reel comedies. “The Hallroom Boys” was one of the most popular two-reelers of its time. In November, 1920, C. B. C. handled the distribution of “A Good Bad Man,” a Western released under the title of “Dangerous Love.” (Notice throughout the progress of the company the change in the type of titles — a characteristic of the entire industry.) First Notable Financial Deal In 1921 the Federated Film Exchange contracted for the distribution of “Screen Snapshots.” This was C. B. C.’s first notable financial arrangement. “Heart of the North,” a super-special directed by Harry Revier and released as a Harry Revier Production, had its premiere at the famous Tivoli in San Francisco and it made an in stantaneous hit, being booked over the Loew circuit and state-righted with great success. It was produced by Joe Brandt and George H. Davis. They also put out, in the same year, “Life’s Greatest Question”— a title for the ages — featuring the then popular Roy Stewart, Louise Lovely and Dorothy Valegra. Even in 1921 Columbia had sales drives, for the records show that one commenced December 17. Next came its first serial, “The Blue Fox,” distributed by Arrow in fifteen episodes and starring Ann Little. In December of the same year, the Art Brand Productions was organized, with Joe Brandt as president and Bert Adler as treasurer. The company handled the reissue — an old trick even then — of the Charles Ray two-reelers, distributed through C. B. C. The first four Ray pictures were “African Love,” “Saved from the Depths,” “After the Storm” and “The Mystery of the Mission.” D. W. Griffith figured next in the company’s history, producing “Fatal Marriage”