Word: flashback
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Dates: during 1970-1970
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...Christ was a profoundly humanitarian radical thinker, not unlike Martin Luther King and Robert F. Kennedy. Near the end of Superstar, the authors invite comparisons between radicals, old and new, using the voice of Judas, who appears this time as a kind of 20th century Everyman, not in a flashback, but in a 2,000-year flash-forward...
...FLASHBACK (a true story about choice): Once upon a time, when I was six years old, there were two little girls, one of which was me, and two big dolls, one of which was beautiful. My sister and I were each supposed to choose one of the dolls, and I, of course, wanted the beautiful one, which had curly brown hair and rosy cheeks and a blue ruffled dress (and which was later named by my sister Patty Mary Barbara Sternhell). My sister, who was only two years old, didn't really understand what was happening, but when I reached...
...level, Maclnnes is still knowledgeably documenting his casebook on people-exploiting-people. For beneath the mock-replica Tom Jones style, Westward to Laughter is a kind of quick history of the slave trade-a flashback, so to speak, from Maclnnes' novel of black London, City of Spades. Shooting his imitation-lace cuffs and pointing angrily from today's ghetto back to the West Indies of the 1750s, Maclnnes says, in effect: here's where it all started...
JORGE SEMPRUN wrote the screenplay, based upon the novel. Z by the Greek-born French writer Vasily Vasilikos, Semprun wrote the screenplay for Alain Resnais La Guerre est Finie, which also stars Yves Montand, who plays Lambrakis in Z. In both films. Semprun makes use of flashback technique. In Z, it shows Lambrakis the man. Throughout the film, Semprun maintains both the man and the mythical martyr through Irene Pappas, who plays his wife and widow. One of Lambrakis aides comes to her after the officials responsible for his death have been indicted and says...
...attempts to provide depth in characterization are the weakest parts of the film: a few quick flashback shots for Yves Montand, as useless as John Schlesinger's attempt to create a past for Jon Voight in Midnight Cowboy; Costa-Gravas's seeming attempt to link one character's villainry with homosexuality...