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Retrospective appraisal [ edit ] As in most of director LeBorg’s cinematic endeavors for Universal’s low-budget production unit, he “makes the most of the limited sets and day players he was forced to use by management.”
One of the more troublesome examples of the distinction between extraordinary assumptions and hypothetical conditions regards the valuation of property with proposed improvements or proposed alterations. Such examples require the understanding of and inter-relation with prospective values, retrospective values, and contemporary values.
Retrospective appraisal [ edit ] The film was conceived as a burlesque of the emerging James Bond sagas "with their male-chauvinistic ethic, their infatuation with gadgetry, their depersonalization, their evident and self-glorifying delight in violence, and their complicated story lines."
Retrospective appraisal [ edit ] “ Stranger on the Prowl, made at the end of the neorealist revolution in Italian cinema, has the grainy texture and the naturalistic mood of the films by De Sica or Rosellini .
Retrospective appraisal [ edit ] Though Oates has laced the novel with “perennial best-seller ingredients,” her work is endowed with elements of “literary and philosophical allusions” that transcend the narrative featuring sex and violence.
Retrospective appraisal [ edit ] Biographer Joanne V. Creighton considers the least successful Oatesian narratives those that, like “Unmailed, Unwritten Letters,” depend on an “unrelieved interior monologue” written in the first-person .
Retrospective appraisal. Filmmaker Reginald LeBorg on directing Goddard in Sins of Jezebel: “She was not a great actress, but she was nice to work with. ...
Retrospective appraisal [ edit ] Dixon suggests that any merits that The Eyes of Annie Jones might possess have not appeared with age: “The film remains stage-bound in a drab apartment for most of its length, and finally emerges as a plodding police procedural.” [ 14 ]