#arthur hohl

[gatutor]

Alice White-Allen Jenkins-James Cagney-Arthur Hohl "Jimmy the gent" 1934, de Michael Curtiz.

[lobbycards]

Island of Lost Souls, US lobby card. 1932

[letterboxd-loggd]

The Silk Express (1933) Ray Enright

October 13th 2024

[clemsfilmdiary]

Island of Lost Souls (1932, Erle C. Kenton)

3/6/24

[mariocki]

The Frozen Ghost (1945)

"I've got a confession to make to you. I never did believe in your so-called hypnotic powers."

"That's a strange statement, coming from you."

"Oh, now wait, don't misunderstand me, I think you're terrific. That is, you put on a wonderful act. I just never asked you how you did it."

"But I was born with that power."

"Sure. And I was born in Missouri."

[erstwhile-punk-guerito]

[cladriteradio]

Here are 10 things you should know about Arthur Hohl, born 134 years ago today. The busy character actor was much in demand throughout the 1930s and '40s.

[thewarmestplacetohide]

Dread by the Decade: The Scarlet Claw

👻 You can support me on Ko-fi! ❤️

★★½

Plot: Sherlock Holmes and Dr. John Watson must solve a small town murder that locals believe was committed by a monster.

Review: While certainly entertaining, this film devolves as a Holmes story due to its predictability and increasingly ludicrous final act.

Source Material: The Hound of the Baskervilles by Arthur Conan Doyle Year: 1944 Genre: Psychological Horror, Mystery Country: United States Language: English Runtime: 1 hour 14 minutes

Director: Roy William Neill Writer: Paul Gangelin Cinematographer: George Robinson Editor: Paul Landres Composer: Paul Sawtell Cast: Basil Rathbone, Nigel Bruce, Gerald Hamer, Paul Cavanagh, Arthur Hohl

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Story: 2.5/5 - Lacks the cleverness one expects from a Holmes mystery and becomes far too silly to build tension.

Performances: 3/5 - Rathbone is great as Holmes, but Bruce is too oafish and comedic for Watson. Some of the supporting cast is quite bad.

Cinematography: 3/5 - A few striking, shadowy shots, but mostly by-the-numbers.

Editing: 2.5/5 - A bit choppy.

Music: 2.5/5 - Derivative of better mystery scores.

Choreography & Stunts: 4/5

Effects & Props: 3/5 - The swamp fog and glowing monster look fairly decent.

Sets: 3.5/5

Costumes, Hair, & Make-Up: 3.5/5 - Holmes' trademark hat is absent, but it's all serviceable.

Trigger Warnings:

Mild violence

Domestic abuse

[fragwuerdiger-episodenguide]

(022) Die drei ??? und der verschwundene Schatz

Klappentext

Eine alte Dame wird angeblich Tag und Nacht von kleinen "Gnomen" belästigt. Versteht sich, daß die drei ??? nicht an Gnomen glauben – aber was sind es dann für merkwürdige kleine Gestalten, die sie mit eigenen Augen beobachten?

Veröffentlichungshistorie

Buch (Random House): 005, 1966, Robert Arthur, The Mystery of the Vanishing Treasure Buch (Kosmos): 010, 1973, Leonore Puschert (aus dem Amerikanischen übertragen) Hörspiel (Europa): 022, 1981

⁉️ Allgemein

Handlungsort

Rocky Beach

Kategorie

Spuk, Diebstahl

Figuren

Justus Jonas

Peter Shaw

Bob Andrews

Mr. Frank

Mr. Saito Togati, Sicherheitsbeauftragter der Nagasami-Juwelen-Vertriebsgesellschaft

Alfred Hitchcock

Mrs. Agatha Agawam

Patrick

Mr. Frank Jordan

Rawley, Nachtwächter / Bankräuber (😈)

Taro Togati, gehorsamer Sohn von Mr. Togati

Roger Agawam, Neffe von Mrs. Agawam

Chuck, kleinwüchsige Verbrecher (😈)

Driller, kleinwüchsige Verbrecher (😈)



🏖 Rocky Beach Universum

Orte

Innenstadt von Los Angeles

Einrichtungen

Petersen Museum

Sonstiges

Peter kann gut pfeifen.



🛼 Sonstiges

Lustige Dialoge

Mr. Frank: "Aber ein Pummelchen bist du jetzt aber nicht mehr." Peter: "Finden Sie?" Bob: "Sei doch nicht so gehässig, Peter."

Bob: "Ja und da war ein alter Mann mit einem Stock. Vielleicht war der hohl!" Justus: "Wer, der alte Mann?"

Justus: "Nun, der Mutigste und Schnellste von uns müsste eine Nacht hier verbringen, um dem Gnom aufzulauern. Ich dachte da an dich, Peter." *Teetasse wird laut abgesetzt* Peter: "An mich?! Ausgrechnet an mich? Warum bleiben wir nicht alle hier? Sechs Augen sehen mehr als zwei." Bob: "Ich, ich kann wirklich nicht, ähm, ich muss zu äh, meiner Tante."

Peter: "Warum haben wir uns bloß an diesen Fall gewagt?" Justus: "Weil es so aufregend war. Damit wir geistig fit bleiben." Peter: "Ach, mir reicht die Aufregung für die nächsten tausend Jahre. Geistig bin ich völlig durchgedreht!"

Justus: "Alarmstufe Rot! Liliputaner!"

Phrasenschwein

Fat shaming Justus wird beleidigt

Mitgehört! Verstärker wird eingeschaltet



🏳️‍🌈 Queer/diversity read

Shippy moments

-

Diversity, Political Correctness and Feminism

"Der ist ein Japaner, glaube ich."

Peter sag "Bist du wirklich ein Gnom?" zu einem verkleidetem "Liliputaner" ...

"Mr. Rawley verkauft euch als Sklaven nach Asien!"

[twittercomfrnklin2001-blog]

The Whole Town's Talking

John Ford’s THE WHOLE TOWN’S TALKING (1935, TCM, Criterion Channel, YouTube) has been called the director’s only screwball comedy. That depends on how serious you like your screwballs. The film manages to poke fun at romantic comedy, gangster films and the notion of celebrity, but it lacks the consistently pixilated charm of the best comedies of Frank Capra, Howard Hawks and Preston Sturges.

Edward G. Robinson stars as Jonesy, a clerk with a crush on tough-talking colleague Bill (Jean Arthur). When a lookalike gangster, Killer Mannion, escapes from the pen, the police mistakenly take Jonesy and Bill into custody. Realizing their mistake, they give him a letter explaining that he’s not the gangland chief, which brings the real crook to Jonesy’s apartment and sets up a string of mistaken identity gags at the same time Jonesy becomes a local hero simply because of his face.

The film’s main screwball element is the liberation of Jonesy. His boss (Paul Harvey), who wants to use the publicity to promote his advertising firm, gets him drunk, leading Jonesy to confess his love for Bill. Later he finds an outlet for his own repressed anger by impersonating the crook. Robinson has the wisdom to play this almost totally straight. He doesn’t reach for comic effect, which makes him both very real and very funny. Some of his reactions, as when Harvey asks him to sign his son’s autograph book right under Mae West’s signature, are priceless. When Jonesy meets Mannion, Robinson differentiates the two so simply and clearly you can easily tell which is which, even when they start impersonating each other. When the focus isn’t on Jonesy, however, the film often gets too serious for its own good. There are a pair of comic policemen (Arthur Hohl and James Donlan), but the authority figures aren’t very funny, so their scenes start making the film look more like a real gangster picture. Ford needed to throw a Billy Gilbert or an Edgar Kennedy into the mix to keep things buoyant. And there are also two murders played relatively straight that seem to have wandered in from another film.

That didn’t bother contemporary audiences, and the picture was a big hit that revitalized Robinson’s career by letting him poke fun at the gangster roles in which he had become typed. It also marked Arthur’s rise to stardom, and she’s quite wonderful, particularly when Bill spins fanciful yarns about her exploits when the police think she’s Mannion’s moll. There’s also funny work from Etienne Giradot as Jonesy’s fussy supervisor and Donald Meek as the man who first turns Jonesy in and keeps trying to collect the reward. When the two bump into each other at police headquarters, it’s thirty seconds of character actor heaven.

[lifewithaview]

Jean Muir in "As The Earth Turns" (1934)

As the Earth Turns is a 1934 American pre-Code drama film directed by Alfred E. Green and starring Jean Muir and Donald Woods, based on a Pulitzer Prize-nominated best-selling novel by Gladys Hasty Carroll.

The episodic plot, involving three farm families and marked by the seasons within a little over one year, takes place in rural southern Maine. The main character, Jen Shaw (Jean Muir), is a young woman who has primary responsibility for her family while her father Mark (David Landau) deals with the hardships of farming. Despite such hardships and the complaints of her step-sister Margaret (Emily Lowry) and step-mother Cora (Clara Blandick), who dream of returning to city life, Jen seems largely satisfied with her life. In contrast, Mill, the wife of Jen's unambitious uncle George (Arthur Hohl), is increasingly embittered by her unhappy marriage.

In the winter, a Polish immigrant family, the Jankowskis, arrive to take possession of a nearby farm, making a home in the barn. Stan (Donald Woods), the family's eldest son, has given up a promising future as a musician to live in the country. When the Jankowskis have a chance to move back to a city, Stan stays behind to continue farming. He and Jen are attracted to each other, but she is reluctant to accept love and winds up rejecting his offer of marriage.

After a fire destroys Stan's barn, he returns to the city to make a living as a musician and agrees to take Doris with him. Resigned to a life of loneliness, Jen continues to care for her family, but at last Stan returns and the two embrace.

[lobbycards]

Island of Lost Souls, US lobby card. 1932

[letterboxd-loggd]

Footlight Parade (1933) Lloyd Bacon

December 4th 2023

[gatutor]

Barbara Stanwyck-Arthur Hohl "Carita de ángel" (Baby face) 1933, de Alfred E. Green.

[ozu-teapot]

The Devil-Doll | Tod Browning | 1936

Rafaela Ottiano, Arthur Hohl