Next follows an elaborate exposition of the heavenly land in terms of Israel, Montreal and the second part depicts the return to earth from being eaten by Max Müller on the day Edward the Seventh dedicated the Great Sewer of London.

[5][6] The film is accompanied by a musique concrète score featuring the noises of water, clocks and sound effects albums.

"[7] Fred Camper from Chicago Reader praised the film's artistic style, calling it "a mysterious world of alchemical transformations in which objects suggest a multitude of possibilities.

"[8] Time Out Magazine offered the film similar praise, comparing it to the works of Max Ernst and Georges Méliès.

[9] It is listed in the film reference book 1001 Movies You Must See Before You Die, noting the film as director Harry Smith's magnum opus, and saying "Incomplete, deeply idiosyncratic, rearranged from materials taken largely from an earlier period —a Victorian-era catalogue— it is explicitly "folk" in nature.