Word: flashbacking
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...that he gives his first loyalty to the theater, something that not even an actress can forgive. But in any case, Emily no longer matters much to Tom. It is Rhoda, his first wife and only love, who fills his thoughts. Any Marquand fan knows what happens next: a flashback (by the best flashback man in the business since Proust) that illuminates the whole life, the loyalties and griefs, the prejudices and honest confusion of a man of good will who lives in a world he helped to make but does not like...
...First Person Plural Dagmar, now 58, presents a jaunty flashback to the splendiferous silent days "when money was thrown to the winds [but] always landed right back in the box office." Publicity departments "[made] us all creatures of fantasy" so that Theda Bara tried to live up to her studio's statement that "her coming was prophesied on the Nile in the ancient days when Egyptians lived there." Margaret Livingston served a formal tea to her cat every day at 4 ("Ask Paul Whiteman. who later married her"), while Nazimova was the only member of the "nobility of Bedlam...
...Penfield reasons, his stimulations of the temporal lobe are like a process that is common in everyday life: a flashback of past experience, and an almost instantaneous comparison of the present with previous similar experiences. For this area of the brain, to which no function had been assigned, he proposes the term "interpretive cortex." Its discovery, he suggests, is a step toward explaining what Hippocrates called the brain's power to "distinguish the ugly from the beautiful, the bad from the good, the pleasant from the unpleasant...
...innuendoes loose the first of the novel's rockslides of revelation. On the very day of his first wife's death, this pillar of respectability, this devotee of reason, Arthur Winner, had embarked on an adulterous affair with Marjorie Penrose, wife of his crippled friend. In flashback ignominy, Winner relives their mute animal couplings, the gross infidelity of "two cheap sneaks." With this recollection the ordeal of Arthur Winner has begun...
Director Moore has only been effective in creating theatrically seperate and scattered scenes which in no way hold together. He uses good and tried techniques, such as the flashback and the symbol, but he incredibly misuses them. Daniel Gelin struggles with some artistry to maintain the sympathy and interest of the audience in his Jekyll and Hyde sort of role, and at times he is almost successful. Marie Monsart is fittingly tender and beautiful as his one true love...