Back Pay

Plot

Hester Bevins, a restless young woman stifled by the monotony of her small-town life and her humble grocery clerk boyfriend Gerald Smith, decides to abandon her roots for the allure of New York City. In the metropolis, she becomes the kept mistress of Charles Wheeler, a wealthy and ruthless businessman who provides her with a life of decadent luxury but little moral fulfillment. Her world is upended when she discovers that Gerald, who enlisted in the army after her departure, has returned from World War I blinded and suffering from severe lung damage due to a gas attack. Overcome by guilt and a rekindled love, Hester leaves her life of sin to nurse the dying Gerald, eventually marrying him on his deathbed to provide him a final moment of peace. Following his death, she experiences a spiritual awakening, choosing to abandon Wheeler's riches to seek redemption through honest work and a simple life.

Historical Background

Released in 1930, 'Back Pay' arrived at a pivotal moment in American history. The transition from silent films to 'talkies' was nearly complete, but many stars of the previous decade were finding themselves obsolete. Simultaneously, the United States was descending into the Great Depression, and the film's themes of financial desperation versus moral integrity resonated with an increasingly anxious public. The story also reflects the lingering trauma of World War I, particularly through the character of Gerald, whose mustard gas injuries were a grim reality for many veterans of the era.

Making Of

The production of 'Back Pay' was overshadowed by the industry-wide panic over sound. Corinne Griffith, who had reached the pinnacle of stardom in the late 1920s, found herself at odds with the new technical requirements. While she was a shrewd businesswoman who had previously controlled her own productions, the advent of sound gave studios more leverage to dictate terms. Director William A. Seiter, primarily known for comedies, was tasked with navigating this heavy melodrama. The set was reportedly tense as Griffith struggled with the microphone placement and the loss of the 'emotive movement' style that had defined her silent career. The film's short runtime of under an hour suggests significant editing, likely to tighten the pacing of the early, often clunky, dialogue scenes.

Visual Style

The cinematography by John F. Seitz is one of the film's stronger elements. Despite the limitations of early sound cameras—which were often housed in bulky, soundproof 'iceboxes' that restricted movement—Seitz managed to maintain some of the visual elegance Griffith was known for. He utilized soft-focus techniques and high-key lighting to emphasize her 'Orchid' persona, contrasting the gritty reality of the small town with the shimmering, artificial glamour of the New York apartment.

Innovations

The film utilized the Western Electric sound-on-disc system (Vitaphone), which was the standard for Warner Bros./First National at the time. While not innovative in its own right, the film represents the industry's attempt to integrate musical numbers seamlessly into a dramatic narrative, a technique that was still being refined in 1930.

Music

The soundtrack features a mix of dramatic underscoring and several songs intended to showcase the new audio technology. Notable songs include 'Looking at You' and 'The Whole World is Waiting for Dreams to Come True.' The music was composed and arranged by Cecil Copping and Alois Reiser, following the early sound era's trend of 'all-talking, all-singing' features, even in serious dramas.

Memorable Scenes

• The Deathbed Wedding: A highly emotional sequence where Hester marries the blind and dying Gerald in a dingy room, symbolizing her complete rejection of her former materialistic life.
• The Departure: Hester's cold farewell to her small town, where she boards a train with a traveling salesman, marking her transition from innocence to experience.
• The Confrontation with Wheeler: Hester tells the wealthy Charles Wheeler that she is leaving him, choosing the 'honest' path of suffering over his 'sordid' riches.

What Critics Said

At the time of its release, 'Back Pay' received largely negative reviews. Critics found the plot thin and the dialogue uninspired, with many noting that Griffith's Southern-inflected voice did not match her sophisticated screen persona. The New York Times and other major publications of the day felt the film was a step backward for the actress. Modern critics view it as a 'creaky' but fascinating artifact of early sound cinema, notable more for its historical place in the career of its star and its Pre-Code sensibilities than for its narrative strength.

What Audiences Thought

Audiences were generally disappointed with the film. While Griffith still possessed a loyal fan base, the novelty of sound had begun to wear off, and moviegoers were becoming more discerning. The film failed to recoup its costs, contributing to the studio's decision to buy out Griffith's contract. However, in recent years, screenings on Turner Classic Movies (TCM) have found a niche audience among enthusiasts of early 1930s melodrama.

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