The movie's mainly a matter of taste. There's no real narrative or exchanges of dialog, while the characters are more humorous caricatures than real people. Still, the cinematography is dazzling, probably too much so since FFC appears obsessed with the spiraling effects. These, however, do lend the film a free-spirited sense of freedom that young Bernard (Kastner) is confused by, having been kept on a tight parental leash. So, the theme, as much as there is one, is very much a 60's one— how to break free of stifling convention. In Bernard's case, it's more like simply understanding what it is that's stifling him.
The biggest mystery to me is how FFC assembled such an outstanding Broadway cast—Harris, Paige, Torn—for a Master's Thesis. And who's inspired touch is that "attack chicken" that bedevils the girls, or the Neanderthal cop who's never off duty. Anyway, if you're not insisting on a conventional style and are willing to put up with some pretty self-indulgent passages, the movie may have genuine appeal, especially for those either nostalgic or curious about the free-wheeling 60's.
The biggest mystery to me is how FFC assembled such an outstanding Broadway cast—Harris, Paige, Torn—for a Master's Thesis. And who's inspired touch is that "attack chicken" that bedevils the girls, or the Neanderthal cop who's never off duty. Anyway, if you're not insisting on a conventional style and are willing to put up with some pretty self-indulgent passages, the movie may have genuine appeal, especially for those either nostalgic or curious about the free-wheeling 60's.