Paid
"She was 'Within the Law'—but she wanted REVENGE!"
Plot
Mary Turner is a hardworking department store employee who is unjustly sentenced to three years in prison after being framed for a theft she did not commit. Embittered by the legal system and the refusal of her employer, Edward Gilder, to show mercy, she spends her incarceration studying the law to find ways to exploit it. Upon her release, Mary joins a gang of swindlers and masterminds a series of 'heart balm' rackets—legal but unethical breach-of-promise scams—to amass a fortune while staying strictly within the letter of the law. Her ultimate revenge involves seducing and marrying Gilder's naive son, Bob, but her plans are complicated when she genuinely falls in love with him and is drawn back into a criminal web involving a real murder. The film concludes with a dramatic confrontation where the true culprits are revealed, allowing Mary to finally clear her name and find redemption.
About the Production
The film was shot in just 31 days. Originally intended to be titled 'Within the Law' like the play it was based on, MGM changed the title to 'Paid' at the last minute to sound more provocative for the early Depression-era audience. Joan Crawford campaigned heavily for the role, which was originally slated for her rival Norma Shearer, who had to withdraw due to pregnancy. Crawford saw this as her opportunity to move away from 'flapper' roles and prove herself as a serious dramatic actress.
Historical Background
Released just as the Great Depression was beginning to take a firm hold on America, 'Paid' resonated with audiences who were increasingly skeptical of authority figures and the legal system. The film belongs to the 'Pre-Code' era of Hollywood, a brief window between 1929 and 1934 where films could explore more mature themes like systemic corruption, female agency, and the nuances of criminal behavior without heavy censorship. Its focus on a working-class woman fighting back against a wealthy, uncaring employer mirrored the growing class tensions of the 1930s.
Why This Film Matters
The film is credited with saving Joan Crawford's career by successfully transitioning her from a silent-era 'jazz baby' flapper to a dramatic powerhouse capable of carrying serious social dramas. It also popularized the 'woman-in-prison' subgenre and the 'revenge melodrama' that would become staples of 1930s cinema. Furthermore, it highlighted the 'Heart Balm' legal issues of the day, contributing to the eventual public and legal pushback against such breach-of-promise lawsuits.
Making Of
Director Sam Wood, known for his efficiency, pushed the production to meet a tight schedule while maintaining a gritty, atmospheric tone that was unusual for MGM's typically 'glossy' style. The transition from silent to sound was still relatively fresh, and Wood utilized more camera movement than was common in 1930, particularly in the rooftop chase and the interrogation scenes. Joan Crawford's performance was a turning point in her career; she worked closely with costume designer Adrian to transition her look from a plain shopgirl to a hardened convict and finally to a sophisticated, high-fashion 'lady' of the underworld. The production faced minor scrutiny from early Hays Office censors regarding the 'legal' nature of the crimes, leading to the inclusion of a more traditional moral ending where the criminals are caught.
Visual Style
Charles Rosher, a legendary cinematographer, used low-key lighting and high-contrast shadows to create a proto-noir aesthetic, especially in the prison and interrogation scenes. The use of the 'third degree' interrogation scene, featuring blinding lights directed at the camera, was considered quite intense for the period.
Innovations
The film is noted for its early use of more fluid camera movements during dialogue scenes, breaking away from the static 'booth' filming common in the first two years of sound. The rooftop sequence utilized innovative set extensions and lighting to simulate a nighttime city environment on a soundstage.
Music
The film features a minimal score by Yellen & Ager, typical of early talkies which relied more on diegetic sound and dialogue. The sound design by Douglas Shearer was noted for its clarity, a significant achievement given the technical limitations of 1930 recording equipment.
Famous Quotes
Four years ago, you took my name and replaced it with a number; now I've taken that number and replaced it with your name.
I'm going to give you a lesson in law. I'm going to do everything you did to me, but I'm going to do it within the law!
You can't send a woman to prison for three years and expect her to come out the same person she was when she went in.
Memorable Scenes
- The courtroom scene where Mary Turner is sentenced and delivers a defiant speech vowing revenge against Gilder.
- The prison shower scene where Mary's hardening character is first established through her interactions with other inmates.
- The 'Heart Balm' scam sequence where Marie Prevost's character poses as a 'little girl' to trap a wealthy man.
- The climactic interrogation scene where the police use 'third degree' tactics under harsh, blinding lights.
Did You Know?
- This was the fourth film adaptation of Bayard Veiller's 1912 stage play 'Within the Law'.
- Joan Crawford insisted on appearing without makeup and in a drab, untailored uniform for the prison sequences to enhance the realism.
- The film was a massive hit, making Crawford the number one female box office star in the U.S. for 1930.
- In the United Kingdom, the film was released under its original title 'Within the Law' because censors feared 'Paid' implied a story about prostitution.
- Louis B. Mayer was so impressed with the film's financial success that he gave Joan Crawford a $10,000 bonus.
- The film features a very early, uncredited appearance by Louise Beavers as a fellow convict in a prison shower scene.
- Actor Kent Douglass, who played Bob Gilder, later changed his professional name to Douglass Montgomery.
- The 'Heart Balm Racket' depicted in the film was a real-life legal loophole of the era where women sued wealthy men for breaking marriage proposals.
What Critics Said
At the time of release, critics were overwhelmingly positive, particularly regarding Crawford's performance. The New York Times praised her for her 'sincerity and force,' while Photoplay called her 'simply grand.' Modern critics view the film as a quintessential Pre-Code drama, noting that while some of the dialogue is 'stagey,' the film's grit and Crawford's intensity remain effective today.
What Audiences Thought
Audiences flocked to the film, making it one of MGM's most profitable releases of the year. Crawford's fans, who had previously seen her in lighthearted musicals, were captivated by her transformation into a vengeful ex-con, solidifying her status as a relatable icon for the 'common woman' during the Depression.
Awards & Recognition
- National Board of Review - Top Ten Films (1931)
Film Connections
Influenced By
- The original 1912 play 'Within the Law' by Bayard Veiller
- Earlier silent versions of the story (1917, 1923)
This Film Influenced
- Within the Law (1939 remake)
- Intaqam (1969 Bollywood remake)
- Caged (1950)
- The Women (1939) - in terms of Crawford's dramatic evolution
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Film Restoration
The film is well-preserved and exists in the MGM/Turner Entertainment library. It has been digitally restored and released on DVD as part of the Warner Archive Collection.