Harrison's search for master recordings turned up a lyrical song, "In the First Place" by the Remo Four, which he had not submitted the first time around, believing Massot wanted only instrumental music.

On one side of the wall, there is Oscar living the standard farce life of the absent-minded professor, complete with quaint char Irene Handl and timid assistant Richard Wattis.

Assheton Gorton's sets have possibilities, particularly the jumbled accumulation of the ages in Oscar's flat and the vaguely pre-Raphaelite legends around the walls.

"[3] Budd Wilkins, writing for Slant Magazine, criticized the "slender-to-the-edge-of-nonexistent narrative" and "hopelessly square" underlying point, but enjoyed the film overall, saying it was "best taken for the sensory provocation of its eye-popping set designs and the spaced-out world music ambience of its soundtrack" in his 3.5/5 star review.

And while not all the experiments work out, the film remains a charming relic of a bygone era of light shows, sitar sounds, and over-the-top symbolism.