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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.
Judson; she then married director Orson Welles, Aly Khan, heir apparent to the Ismaili Muslim throne, and singer Dick Haymes.
Every time she got married, her box-office standing eroded.
She was Columbia’s resident sex goddess in the 1940s, but she had a bad habit of getting married.
Her first husband was a 40-year-old car salesman named Edward C.
Then they changed her hair, dyeing it three shades of blond at once.
Columbia Pictures’ house designer Jean Louis was brought in to remake her wardrobe.
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 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.
He had created the notorious second skin glittering with sequins that Marlene Dietrich wore for her nightclub premiere in Las Vegas in 1953; he would also sew Marilyn Monroe into the sequined formfitting gown she wore when she sang “Happy Birthday” to John F. Novak was installed at the Studio Club, a curfewed dormitory for young starlets where Cohn could have his expensive new possession watched around the clock—even tailed by studio detectives to make sure she didn’t follow the wayward path of Rita Hayworth. At some point in the transformation of Marilyn Novak, her studio-assigned publicist, Muriel Roberts, dreamed up an all-lavender scheme and insisted that they rinse her hair with a pale lavender tint.
The studio had wanted a gimmick to distinguish its blonde from the many other new platinum blondes on the block: Jayne Mansfield, Mamie Van Doren, Diana Dors, Joi Lansing—all outsize girls signed to compete with Marilyn Monroe and built like the decade’s big Chevys and Buicks.The man known as “the greatest entertainer in the world” was onstage, the smoke from his cigarette trellising the air.