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intriguing character analysis which appeared earlier this season in magazine form. It deals with the skyrocket like rise to fame of an ambitious dressmaker who rose to success through the vanity of her customers. ‘Wear Your Brains on Your Back’ is adapted early in her career as an enticement for girls of the chorus, and actresses, to pay more than they can afford for her fashionable creations. Lavish gowns and fragile, delicate negligees are the bait with which she lures them into her establishment. Credit extended freely is still further inducement for the girls to wear her expensive finery, although payment is invariably extracted for them. The dressmaker soon learns that many men are anxious to meet their customers. What better way than to have them meet casually over tea in her shop? This becomes her policy and she soon finds that men will quickly pay the bills if they are only informed their friends are in debt. But her mistake comes when she induces her son’s sweetheart to accept valuable dresses for which she cannot pay and then expects her to get the money from a wealthy man who also admires her. The outcome of this tangle in which ambition clashes with mother love is forcefully portrayed by an excellent cast.”
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the film was one in which I, Irene's victim, at last had a chance to tell her off. My speech, to which I gave all the power I was capable of, covered an entire page of script. In the final version, how was the scene presented? Throughout the speech I was shown with my back to camera in a long shot. At frequent intervals, during my outpouring, the camera cut from my back to a huge idealized close-up of Irene."
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Actress Marion
Shilling was frustrated when it became obvious that the studio was more interested in promoting Irene Rich than featuring an actress on loan. At a preview of the film, it was clear that Shilling was the standout, so cuts and re-shots were ordered. "For instance, the climactic scene of
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One contemporary review provided both a detailed synopsis and documentation of the screenplay's source: "Irene Rich is seen as a brilliant Fifth Avenue modiste who tells the lovely ladies she meets to wear their brains on their backs. The story is a Fox movietone production of Rita Weiman’s
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265:, is persuaded to supplement her income by providing loans to struggling showgirls. The plan backfires when her son Harvey falls for her business partner's lover Jeanne Burke, who blackmails Julianne.
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Ankerich, Michael G. The Sound of
Silence: Conversations with 16 Film and Stage Personalities. McFarland & Company, Inc., Jefferson, NC: 1998. p. 207.
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435:“The Talking Screen: Liberty Presents ‘On Your Back' in Conjunction with Style Show.” Sedalia (MO) Democrat, 23 September 1930.
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Catalog of
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348:"On Your Back (1930) - Overview"
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399:October 10,
377:October 10,
354:October 10,
327:Arthur Hoyt
281:as Julianne
69:Produced by
63:Rita Weiman
41:Directed by
481:1930 films
475:Categories
373:. AllMovie
334:References
321:Rose Dione
309:Ilka Chase
279:Irene Rich
239:Ilka Chase
219:Irene Rich
211:drama film
179:70 minutes
163:1930-09-14
128:Production
101:Ilka Chase
81:Irene Rich
395:. Afi.com
350:. TCM.com
329:as Victor
287:as Harvey
117:Edited by
16:1930 film
466:AllMovie
461:synopsis
317:as Belle
208:pre-Code
192:Language
77:Starring
59:Story by
195:English
184:Country
161: (
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455:IMDb
401:2015
379:2015
356:2015
273:Cast
253:Plot
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