This MGM short, part of the Crime does not Pay series, focuses on industrial sabotage during wartime. After a valuable shipment of manganese is blown up at a plant, the FBI try to find out ... See full summary »
Joseph M. Newman
A small-town druggist is henpecked by his social-climbing wife to sell his pharmacy to a national chain. In addition, she tries to set up her pretty young daughter with the nitwit son of ... See full summary »
The MGM crime reporter introduces Dr. Mallory, health commissioner of a large Midwestern city, he who talks about the dangers pregnant women face by going to clinics that advertise discreet... See full summary »
Al Douglas is a teller at the Seacost National Bank. He pleads guilty to embezzling $200,000 from the bank and is sentenced to 5-10 years in prison. He says he spent all the money, but he actually buried it. After 2½ years, he escapes to Canada. He even burns his face so he will be less recognizable. He digs up his loot but will he get the chance to spend it ? Written by
David Glagovsky <email@example.com>
How do you do, ladies and gentlemen. This is the MGM reporter speaking. I'm a man on a mission. It's my privilege to examine police files and prison records, to interview prominent authorities throughout the country, and bring to you undeniably, proof of the message that crime does not pay. You can't beat the law. The cards are stacked against you. At this time it is my privilege to interview Mr. Edward Swain, the International Bonding Company. Mr. Swain has promised me an incident...
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An imprisoned embezzler begins to worry about the $200,000 in BURIED LOOT he's secreted in New Jersey.
This two-reeler was the first in a series featuring true crime stories told in a compelling, hard-hitting fashion. It is well plotted & acted, with no dull moments or unnecessary subplots. No cast credits are given, but movie mavens will enjoy the ripe performance of Robert Taylor, only steps away from discovery & stardom, as the bad guy consumed not by conscience but by fears of ultimate failure to enjoy his ill-gotten gains.
Many of the prison shots were lifted right out of MGM's classic feature THE BIG HOUSE (1930).
Often overlooked or neglected today, the one and two-reel short subjects were useful to the Studios as important training grounds for new or burgeoning talents, both in front & behind the camera. The dynamics for creating a successful short subject was completely different from that of a feature length film, something like writing a topnotch short story rather than a novel. Economical to produce in terms of both budget & schedule and capable of portraying a wide range of material, short subjects were the perfect complement to the Studios' feature films.
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