Within the Law

There's quite a bit to like in this movie in its first half. Ruth Hussey's portrayal of the downward spiral into a life of crime after being wrongly convicted is well done and believable. The plans she concocts for legally extorting large sums from her former employer are clever and add quite a few nail biting moments. Despite the film's pedigree I found myself expecting more and more clever twists. But in its windup the film becomes melodramatic and predictable. Love wins all, love sacrifices all, blah, blah, blah. Boring, boring, boring. The producers opted for a safe and bland conclusion when a more original ending would have raised this film to a much higher standing. Oh well, Ruth Hussey, Paul Kelly and Rita Johnson are all very good in their roles so I guess they make it worth a look.

Early in his film career, Neal briefly worked at MGM. His first role was in "Out West with the Hardys" from Mickey Rooney's "Andy Hardy" series. This one came next and is from the studio's B-movie unit, starring Ruth Hussey as a clerk wrongfully convicted of theft. After serving 3 years in prison, she seeks revenge on the department store tycoon who sent her upriver. It's not bad and it's certainly a cut above the cheap PRC and Republic movies in Neal's later career.

The film itself is a remake of a 1911 play about a saleswoman who becomes a criminal mastermind using legal means ("Within the Law") to screw with the system she blames for her downfall. It spawned 5 film versions, including a silent one with Norma Talmadge and the most famous being "Paid" in 1930 with Joan Crawford. This is the final version.

Hussey was actually a major lead in MGM's B-unit, but is best known today for her supporting roles ("The Philadelphia Story," "Susan and God") and her time on Broadway. She's a little too sophisticated for a saleswoman, but she still pulls it off. A few MGM regulars, including Paul Kelly performing his standard gangster role, are involved. Neal isn't especially good as the rich department store son Hussey marries and (surprise, surprise) falls in love with. The film again highlights that he was much better at playing crooks and crooks than a jovial protagonist.

The story is highly improbable. But I enjoyed the working class versus the rich tones, as well as a smart woman being the leader of a group of crooks and crooks. Finally, I'm always amused by some of the weird women's fashions of the time (costumes here from Dolly Tree). In the final scene, Hussy is wearing an outfit that seems more suited to a carnival or magic act.

Allow me to preface this review by stating that I've read the original source of this story (a play produced in 1912) as well as the 1930 Joan Crawford version, Paid. With this context, my review is equal parts a commentary on this movie alone and a commentary on an adaptation and remake.

I've grown to appreciate the talents of Ruth Hussey after tracking down her available films, and while I do see her as MGM originally saw her (a potential replacement for Rosalind Russell who was a potential replacement for Myrna Loy should either one get on Louis B. Mayer's bad side {as Myrna did when she went on strike after the success of The Thin Man for more money}), she more than proves herself capable of dependable acting and even great drama in the vein of Susan Hayward (too bad Hussey hadn't been born ten or fifteen years later) in Within the Law.

The plot is simple: shop-girl Mary Turner is falsely accused of theft from her place of employment and sentenced to three years in prison, vowing revenge on the man who sent her there--her employer. This version is much more brisk than Crawford's Pre-Code melodrama, which, as a Crawford vehicle, paid more attention to its star than the actual story. This is the result of the script for Hussey's version pulling the plot out of its stage-roots and casting an attractive and charismatic actor (Tom Neal) as Richard Gilder. Also, as amusing as Marie Prevost was, Rita Johnson's "Aggie Lynch" was suitably brazen and funny as the "Aggie Lynch" from the play. However, like Paid, Within the Law cannot escape its source material and I can see why the up-and-down drama of the last act can come across as stupid. The plot twists are very plausible and characteristic of 1912, but in 1930 or 1939, they are simply over the top.

But the acting is superb, even though I must admit that given a bit more of the MGM polish and a higher tier of actors and actresses, Within the Law could have been a perfect Myrna Loy vehicle (and I did see shades of Myrna in Ruth Hussey's performance). Though this is obviously a programmer and most likely a vehicle for testing audience reaction of Hussey, it is just as entertaining as MGM's "A" pictures of this period.

When live theatre was popular, talented, young writers aspired to see their work on stage. In this adaptation, the tools of the dramatist are put to good use: reversals, rising and falling action, minor and major crises. Ruth Hussey plays a young woman working in a department store, accused of theft when stolen goods are found in her locker. Despite her protestations of innocence, the stern store owner insists on prosecution. During her three years in prison, where she is befriended by beautiful Rita Johnson, she makes full use of the library, where she studies and learns how to steal "within the law." There's never a dull moment in this compact 65 minute drama, with good actors and snappy dialogue. With newsreels, trailers, and a cartoon, it makes for a satisfying evening.

This programmer, starring Ruth Hussey, concerns a woman, Mary, who, unjustly accused of stealing, vows revenge on her employer. While in prison, she studies law books and realizes that one can use the law to commit crimes and stay out of jail. She joins a team of con artists, of whom a prison friend, Agnes, is a member.

Mary's knowledge of legal cons is a boon to her friends, as it would be today if she had worked at Enron. It's the most interesting part of the movie. Life becomes a little more complicated for her when she sets out to use her boss' son as revenge.

This is an ordinary B movie. What's fun is that it was made in the 1938-1939 era when Gone with the Wind was all the rage. When Mary asks the prison librarian for a book, Gone with the Wind is suggested. Her friend Agnes refers to herself as Scarlett O'Hara. Guess everybody had it on the brain.