Men Are Like That

About the production

The film was an early 'talkie' adaptation of George Kelly's Pulitzer-controversial play 'The Show-Off.' It was produced during the transitional period of cinema where studios were rapidly converting successful stage properties into sound films to satisfy the public's hunger for 'all-talking' pictures. The adaptation was handled by Herman J. Mankiewicz, who would later gain immortality for co-writing 'Citizen Kane.' Unlike other versions of the story, this 1930 iteration changed the title to 'Men Are Like That,' likely to distinguish it from the 1926 silent version and to appeal to a broader audience with a more cynical, gender-focused title.

Themes

Themes & topics

Historical background

Exhibitors around 1930 slotted Men Are Like That into mixed bills where shorts, newsreels, and features shared the same program.

Why this film matters

Reference works on 1930 cinema cite Men Are Like That when tracing genre and regional production patterns.

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.

What critics said

Audience data from 1930 is sparse; reception for Men Are Like That is inferred from reissue and archival interest.

Did you know?

• The film is based on the 1924 play 'The Show-Off' by George Kelly, who was the uncle of future Princess of Monaco, Grace Kelly.
• This is the only film version of the play that does not use the original title 'The Show-Off.'
• Screenwriter Herman J. Mankiewicz, famous for 'Citizen Kane,' provided the adaptation and dialogue.
• Hal Skelly, who plays the lead, was a major Broadway star known for his role in 'Burlesque' (1927).
• Clara Blandick, who plays Ma Fisher, is best remembered today as Aunt Em in 'The Wizard of Oz' (1939).
• The story was previously filmed as a silent movie in 1926 starring Ford Sterling and Louise Brooks.
• Eugene Pallette, a prolific character actor of the era, appears in an uncredited role as a traffic cop.
• The play 'The Show-Off' was recommended for the Pulitzer Prize in 1924, but the advisory board overruled the jury to give it to 'Hell-Bent for Heaven' instead.
• The film was registered for copyright on March 22, 1930, under the number L 1168.
• The character of J. Aubrey Piper became a cultural archetype for the 'blowhard' or 'windbag' in American comedy.

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.

Famous quotes

Ma Fisher: 'He's as crazy as a bass singer.'

J. Aubrey Piper: 'There's nothing like good old home cooking... your faith in me is going to make me come through some of these days.'

Ma Fisher: 'Amy thinks he's the president and the whole board of directors of the Pennsylvania Railroad rolled into one.'

Joe Fisher: 'You can never change a man like Piper.'

J. Aubrey Piper: 'I saw that the whole affair was kept strictly in the family.'

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 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.

Film connections

Influenced by

• The Show-Off (1924 play by George Kelly)
• Vaudeville comedy traditions
• The Show-Off (1926 silent film)

This film influenced

• The Show-Off (1934)
• The Show-Off (1946)
• The Honeymooners (TV series - the character of Ralph Kramden shares traits with Aubrey Piper)

Film restoration

The film is preserved in the Library of Congress collection. It is not considered a lost film, though it is rarely screened compared to other Paramount films of the era.

Where to watch

• Library of Congress (Archival viewing)
• Specialized vintage film retailers (DVD)
• Occasional airings on Turner Classic Movies (TCM)