Paid

"Paid" is a well done early talkie starring Joan Crawford, Douglass Montgomery, Marie Provost, and Robert Armstrong. It was remade as a programmer in 1939, "Within the Law." Crawford is Mary Turner, sent to the Big Doll House by her store owner boss for a crime she didn't commit. She threatens to get even with him. During her time in stir, she studies the law and realizes that you can use the law to make money. Once out, she joins a gang that prison buddy Aggie (Marie Provost) belongs to, and the group starts legally separating people from their money. Mary, still set on revenge, seduces the son of her boss (Montgomery).

This is a good movie, but the beginning is better than the end, which descends into the world of melodrama. It is superior to the remake.

Crawford, with her hypnotic eyes, does a great job - she replaced Norma Shearer, who was on maternity leave -- and she has excellent support from the tragic Provost, Montgomery, and Armstrong. Apparently a fight in the women's shower was cut, despite the precode status.

Gotta love the young, vibrant Crawford.

"Paid" is the story of Mary Turner (Joan Crawford), who spent three years in the pen for stealing from her boss (Gilder's Department Store)--a crime which she didn't commit. She vows revenge as she's dragged away. We see the sentencing phase of her trial with an inept defense lawyer and a vicious, contemptuous DA who keeps interrupting her. Indeed, one recurring theme of this film is its criticism of the justice system--the DA and the cops care only about pleasing the rich by harassing the poor.

According to Vieira, Sin in Soft Focus: Pre-Code Hollywood p. 19 (1999), Crawford got the role when Norma Shearer went on maternity leave. Vieira also says that a five-minute fight scene in the women's shower in prison was cut from the film by the studio. There are stills of Crawford and the fight scene at pp. 24-25.

Mary learns some law while in the joint and she and her prison friend Aggie find some clever ways to make money and frustrate the cops by staying just "within the law" (the title of the play from which the film is drawn as well as the 1939 remake). Mary hangs out with Aggie's gang of petty criminals led by Joe Garson. Joe is, in fact, a kind and decent person who just can't say no to the big payoff. Meanwhile, Mary seduces and marries Gilder's son--just to take revenge on the man who falsely accused her of stealing.

While the final portions of "Paid" get rather contrived (there's a major heist which goes badly wrong) and the ending is melodramatic, I think "Paid" was pretty good and Crawford was excellent. The low ratings assigned by IMDb users to this film are not justified. The film is involving and it has some important things to say about class and justice.

As MGMs Depression era every-woman Joan Crawford plays another hard luck story against an unsympathetic system but in this one she is out for revenge.

Mary Turner is sent up the river for three years for a crime she did not commit. Her boss, Mr. Gilder has it within his power to reduce sentence but he smugly declines. In the big house Mary hardens and makes connections. She hooks up with former inmate Agnes Lynch ( scene stealer Marie Prevost) and a small time crook Joe Garson (Robert Armstrong) and together they begin to make a lucrative business out of bilking wealthy old fools. Mary snags a young one though; the son of Mr. Gilder, making her revenge complete. When Joe gets duped into an art heist the cushy racket begins to come unglued.

Paid opens fast with Mary at her sentencing followed by a montage of degrading prison life. A broken woman she seeks out Agnes (already working a scam)and rises like a Phoenix with a hard as nails attitude and her self taught education in prison. In addition to the vivid prison scenes there are also some strong moments between Crawford and Armstrong as he feels her out. Once in the groove though Mary clearly takes charge especially the moment she announces to Gilder the elder she's hitched to her son.

When Mary goes soft so does the picture unfortunately and scenes go limp when the tough talk gets mawkish. There is a well edited and suspenseful heist scene and a superb in your face death scene where a mug takes his omerta oath to the grave as well as some lines of raw bias that contribute to the film's pre-code hard edge but when Crawford abandons her cynical self assured side and returns to the tremulous voice of the first reel Paid ends up shortchanging you.

1930's film "Paid" is worth every penny and a collector's item for film buffs primarily because of Joan Crawford! This was one of her first "talkies" and Joan determined to show the movie studio execs she was more than a flapper, proved she had the acting chops in her first compelling dramatic performance. She is mesmerizing! Supported by a strong cast like Marie Prevost as endearing wise cracking Agnes Lynch, Robert Armstrong as con artist Joe Garson and Purnell Pratt as the hateful Edward Gilder, her former boss, the film is well written and an entertaining story! Based on "Within the Law" by Bayard Veiller which ran successfully on Broadway in 1912 and three silent films later, this film version (and a talkie) is a must see. Although director Sam Wood does a decent job, it is evident that several scenes were shot like a stage play. The look of the film is interesting however, and set lighting captures the mood, especially with shots of Joan in the women's penitentiary. 30's Films of the day were somewhat stylized and the acting often exaggerated and over the top. But Joan Crawford is a natural and gives an unforgettable performance. She is a knockout in every sense of the word!

The premise is still a good one and this movie buff would love to see the film remade today in a modern version with excellent direction. But it would be hard to top Joan Crawford's performance. "Paid" opens up with a court scene that sentences wrongfully accused Mary Turner to three years in the pen for stealing from the Gilder store where she's worked as a clerk. The department store owner Edward Gilder and his high priced lawyer decisive in sending Mary to jail, represent the unfair establishment.

The film made shortly after the famous stock market crash, is a perfect film for the times. The viewer is immediately on board and Mary Turner represents the oppressed innocent trying to get ahead. It is no wonder that the film did so well in the box office. The first time the camera gives you a close up of Joan Crawford, it is a powerful and unforgettable experience. Joan shows her enormous talent in her hurt, indignant,scared and angry expressions as she receives her sentence. Her big eyes and convincing performance reels the audience in and the viewer becomes an ally with her promise to avenge herself. I was glued to the screen wondering how she was going to get her revenge. The twists and turns in the story line were not always predictable. Joan Crawford gives the most enigmatic and interesting character transformation. In the beginning of the film she is a framed innocent person, but when Mary Turner comes out after doing her time, she is jaded by the system though wiser, stronger and with knowledge of the law. She is going to get even and no one is going to stand in her way even when she starts to fall in love. Mary Turner helps her con artist friends but only if they stay "within the law." Her associations lead to conflict and a major turning point in the story. I recommend this gem of a film. "Paid" has a good pay off for the viewer!

Joan Crawford plays a woman wrongfully convicted of theft and sentenced to prison. She vows revenge on her former boss who accused her and the prosecutor who was so harsh. Total misfire that could have been a great film. The first few scenes, where Crawford is sentenced and enters prison, are powerful. But instead of spending any time with the prison, the movie skips ahead to after she's released. Worse yet, she seems exactly the same as when she went in. Devoting more time to Joan in prison and showing her become hardened would have worked better. As it is, she gets out of prison, hangs out with some disreputable characters for a short while and suddenly she's Ma Barker. It made no sense and the only thing I can figure is that the studio was afraid of having her character be too hardened. After all, they tacked on a terrible love story to "redeem" her character. Absolutely terrible ending. Too bad, this could have been a classic.