Word: flashbacks
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...whole, however, the film is quite honest, certainly more so than most of the college recruiting genre. (I remember seeing one about Brown, a flashback affair concerning a close-cropped kid in white socks sitting on the library steps writing a letter home to Mom and Dad. Princeton that year toured with a 45-minute Howard Cosell-esque masterpiece about the basketball career of Bill Bradley.) There are some wonderful classroom scenes and a great interview with a freshman playing catch in the Yard, his pithy comments about the variety of options open to a Harvard student metered...
...YEARNINGS expressed in the film-both in its original and cut versions-are romantic, and constitute today's collective, updated white man's burden, which is probably why the film is presented as a flashback told by nobody in particular. The film supports Lawrence, and does not drown his military or political achievements for the sake of bombast. But there is still a credibility gap-without cutting a broader swath of history and defining its themes more clearly in that context, we cannot accept them. Lean's claim that he only worked to advance the story rather than concentrate...
...solve these problems Alan Jay Lerner seems to have turned more than once to Stanley Kubrick's movie version. The killing of Quilty takes place at the very beginning, making the entire story a flashback. Quilty is presented as a real character, popping up continuously throughout the action. The advances Lolita's mother makes to Humbert are set up almost exactly as they were in the movie...
...masses ("the blood of the people is sacred!") which restrains him from benefiting them materially through force against a feudal system. Paulo Martins combines the political rationality of one and the spirituality of the other, attempting synthesis in his own chaotic life. He narrates the film in flashback, struggling between newsreel-like objectivity and the violent subjectivity of his surrealist fantasies-a dialectic that can't be separated from Rocha's camera-style...
...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...