An MGM CRIME DOES NOT PAY Short Subject.
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.
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.