Men Are Like That

Plot

J. Aubrey Piper is a relentless braggart and chronic liar who maintains a facade of immense wealth and social standing despite being a lowly clerk. He marries the devoted Amy Fisher, much to the chagrin of her skeptical family, particularly her sharp-tongued mother, Ma Fisher, who sees through his grandiose delusions. Aubrey's antics reach a breaking point when he borrows a car he doesn't own, causes a traffic accident that injures a policeman, and ends up in legal trouble that threatens the family's meager savings. Despite being exposed as a fraud and a public nuisance, Aubrey's irrepressible ego and gift of gab somehow manage to turn a potential disaster into a business opportunity. In the end, his unwavering self-confidence—though entirely unearned—secures a financial windfall for the family, leaving them both exasperated and begrudgingly relieved.

Historical Background

Released in March 1930, the film arrived just as the Great Depression was beginning to take hold of the American consciousness. The character of Aubrey Piper—a man who bluffs about his financial success and 'grandiose transactions'—would have resonated strongly with an audience that had just witnessed the 1929 Stock Market Crash. The film captures the Pre-Code era's interest in domestic realism and flawed, often unlikable protagonists. It also represents the 'Talkie Revolution,' where Hollywood looked toward established Broadway hits to provide the dialogue-heavy content required for the new medium.

Making Of

Directed by Frank Tuttle, a reliable Paramount craftsman, the production focused on capturing the rapid-fire dialogue of the original stage play. The transition to sound was still relatively fresh, and the film reflects the 'proscenium' style common in early talkies, where scenes are often staged in a way that mimics a theatrical set. Hal Skelly was cast to bring his high-energy vaudeville background to the role of Aubrey, though some contemporary critics found his performance almost too abrasive for the screen. The production utilized the expertise of cinematographer Archie Stout, who would later become a frequent collaborator with John Wayne and John Ford.

Visual Style

The cinematography by Archie Stout is typical of early sound films, featuring relatively static camera placements to accommodate the bulky sound-recording equipment of the time. However, Stout manages to create a sense of domestic intimacy within the Fisher household. The use of lighting is standard for Paramount's high-contrast black-and-white style of the early 1930s, emphasizing the facial expressions of the actors during the film's many dialogue-heavy sequences.

Innovations

The film is a competent example of early sound synchronization, successfully capturing the complex, fast-paced verbal exchanges of a Broadway play. It utilized Paramount's state-of-the-art sound stages in Hollywood, which were among the best-equipped in the industry during the 1929-1930 transition period.

Music

The film features a minimal score by W. Franke Harling, as was common in early talkies where music was often restricted to opening/closing titles or diegetic sources. The 'soundtrack' is primarily composed of the rhythmic, overlapping dialogue characteristic of George Kelly's writing. Hal Skelly reportedly performs a few brief song-and-dance moments, a nod to his vaudeville roots, though the film is not a musical.

Memorable Scenes

• The opening scene introducing J. Aubrey Piper's loud-mouthed antics and his immediate friction with the Fisher family.
• The sequence where Aubrey describes his 'automobile experience' with exaggerated pantomime, a scene famously burlesqued in the 1926 version by Louise Brooks.
• The courtroom scene where Aubrey's bravado is tested before a judge following his traffic accident.
• The climax where Aubrey bluffs his way into a lucrative deal for Joe's rust-preventing paint invention.

What Critics Said

At the time of its release, reviews were mixed. While some critics praised the witty script and the faithful adaptation of George Kelly's dialogue, others felt that Hal Skelly's performance was too 'calculatedly obnoxious' and lacked the charm necessary to make the character sympathetic. Modern assessments often view it as a fascinating 'time capsule' of early sound technique, though it is frequently overshadowed by the 1934 Spencer Tracy version. It is often cited for its sharp characterizations of middle-class family life in the early 20th century.

What Audiences Thought

Audiences of the early 1930s generally enjoyed the film's comedic take on domestic friction, a relatable subject during the economic hardships of the era. The character of Aubrey Piper was a recognizable type, and the film's resolution—where the 'loud-mouth' actually succeeds—provided a form of escapist wish-fulfillment. However, it did not achieve the 'blockbuster' status of some of Paramount's more lavish musicals or dramas of the same year.

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