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THE MOVING PICTURE WEEKLY
■15
TKe Bi g Punck Scenes in Great Air Rotbery Demanded a Powerful Plot
HERE'S HOW WE GOT THE STORY
HEN Carl Laemmle, president of the Universal, grasped the possibility for a tremendous motion picture in Locklear's world-startling exploits, he saw that to get the full effect of Locklear's magnificent performance, he would have to obtain a story commensurate with the magnitude of what were to be the biggest scenes in the production.
Immediately he got in touch with the leading story writers of the whole nation. By mail and toy wire came stories from men who are acknowledged masters in the art of embodying thrill and sensation in motion picture stories. The assignment to write a story for Locklear's picture carried with it the agreement by Mr.
Laemmle to pay for the stories whether they were found suitable or not.
When the flurry and scurry of reading scenarios were over, it was found that Jacques Jaccard, one of Universal's own directors, had produced the only story with the necessary dramatic value. As Jaccard himself directed the filming of the sensational play, it goes without saying that he has put punch, action and power in every foot of film.
The story grips the interest at the outset and whirls the spectator on with increasing momentum to a conclusion that snaps the tension like the breaking of an elastic. 'The Great Air Robbery" is a masterpiece of dramatic thrill and sensation.
Cdi'l Ldemmle presents'
Univetxtl -yevel Production de luxe
^aii i^acmmic; presents'
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