This is the fourth version of "The Show-Off". I've seen the original 1926 version with Ford Sterling (it was excellent) and the 1934 version with Spencer Tracy (it was NOT). I was curious what Red Skelton could do with this same material. I have not seen the 1930 version and as far as I know, it's not available...which isn't at all unusual for early films as many of them no longer exist due to the decay of nitrate film stock. If I ever find a copy, I'll try to review that version as well.
Aubrey Piper (Skelton) is a dreamer. But he not only dreams of better things but is an inveterate liar--painting a glowing picture of himself and career that just isn't true. Unfortunately, Amy Fisher (Marilyn Maxwell) has fallen for him and believes his many, many lies. So, after she marries him she learns the truth. He is NOT the big-shot he pretended to be and is just a big jerk who constantly annoys everyone around him, except for his incredibly long-suffering wife.
Like the 1934 version, this film makes a fundamental mistake in making Skelton's character too unlikable to the point where you would like to see him killed...slowly and painfully. I think in hindsight that had they toned down his boorish behavior even more and made him less obnoxious it would have worked better. This is especially true because Skelton's film success usually was because he played such nice and likable guys...but not here. He is a bit more likable than the Spencer Tracy version...but still not enough. Better than 1934....not nearly as good as 1926.
Aubrey Piper (Skelton) is a dreamer. But he not only dreams of better things but is an inveterate liar--painting a glowing picture of himself and career that just isn't true. Unfortunately, Amy Fisher (Marilyn Maxwell) has fallen for him and believes his many, many lies. So, after she marries him she learns the truth. He is NOT the big-shot he pretended to be and is just a big jerk who constantly annoys everyone around him, except for his incredibly long-suffering wife.
Like the 1934 version, this film makes a fundamental mistake in making Skelton's character too unlikable to the point where you would like to see him killed...slowly and painfully. I think in hindsight that had they toned down his boorish behavior even more and made him less obnoxious it would have worked better. This is especially true because Skelton's film success usually was because he played such nice and likable guys...but not here. He is a bit more likable than the Spencer Tracy version...but still not enough. Better than 1934....not nearly as good as 1926.