Intermittently the film both pleases and amuses, particularly when Orson Welles, as the advertising tycoon, makes one of his brief appearances with a remark like "What's the going price on integrity this week?".

Carol White is vivacious as the tragic Georgina, and Otto Heller's Technicolor photography gives the subject a distinction that probably goes beyond its deserts.

"[4] Richard Schickel wrote in Life magazine: "The people responsible for this movie have taken a big chance, deliberately blowing their cool in the hope that they can overpower ours.

[7] VideoHound's Golden Movie Retriever 2007 wrote: "To some tastes, this overwrought and long-unseen comedy from the swinging '60s will be completely dated with characters whose mindsets are totally alien.

"[8] Leslie Halliwell said: "Vivid yet muddled tragi-comedy of the sixties, with splashes of sex and violence in trendy settings, a hero one really doesn't believe in, and a title which seems to have no meaning whatsoever.

"[9] In the United States, the film was denied a MPAA seal of approval due to a scene between Oliver Reed and Carol White which supposedly implied cunnilingus.

In fact, the BBFC certified the film after demanding the removal, or at least obscuring, of the word fucking (via the sound of a car horn) in June 1967, three months later than Ulysses (1967), which suffered heavier cuts.