Years active 1924-1949 Height 6' 2" (1.88 m) | Name Arthur Hohl Role Character actor | |
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Born May 21, 1889 ( 1889-05-21 ) Pittsburgh, Pennsylvania, U.S. Died March 10, 1964, Los Angeles, California, United States Movies Island of Lost Souls, The Scarlet Claw, The Sign of the Cross, The Whole Town's Talking, Baby Face Similar People Roy William Neill, Erle C Kenton, Alfred E Green, George Zucco, Cecil B DeMille | ||
Arthur Hohl (May 21, 1889 – March 10, 1964) was an American stage and motion-picture character actor. He was born in Pittsburgh, Pennsylvania and began appearing in films in the early 1920s. He played a great number of villainous or mildly larcenous roles, although his screen roles usually were small, but he also played a few sympathetic characters.
Hohl's two performances seen most often today are as Pete, the nasty boat engineer who tells the local sheriff about Julie (Helen Morgan) and her husband's (Donald Cook) secret interracial marriage in Show Boat (1936), and as Mr. Montgomery, the man who helps Richard Arlen and Leila Hyams to make their final escape in Island of Lost Souls (1932). He also played Brutus opposite Warren William's Julius Caesar in Cecil B. DeMille's version of Cleopatra (1934), starring Claudette Colbert.
Among his other notable roles were as Olivier, King Louis XI's right-hand man, in The Hunchback of Notre Dame (1939), as the real estate agent in Charlie Chaplin's Monsieur Verdoux (1947), and as Journet, a bereaved innkeeper who seeks to avenge his daughter's murder in the Basil Rathbone Sherlock Holmes film The Scarlet Claw (1944). Hohl also played a Christian named Titus (no relation to Titus Andronicus) in Cecil B. DeMille's religious epic The Sign of the Cross (1932).
Many sources claim that Hohl played a monk in the 1943 film classic The Song of Bernadette, but he is nowhere to be seen in the finished film.
Hohl also appeared on the Broadway stage in plays by William Shakespeare, George Bernard Shaw, and Henrik Ibsen. Some of his stage roles, such as Sir Andrew Aguecheek in a 1930 Broadway revival of Twelfth Night, were considerably larger than his film roles.