"An adventurer returns homeafter running for his life in war-torn China and a Paris full of exilesand spies, only to find his patient fiancée eager to embark onthe same life of danger and excitement he is impatient to abandon°(InHome from Babylon as in Flowering Time, see September 8) novelettishmaterial was turned inside out in search of ideological overtones, forthe play of light and shadow as well as for narrative legerdemain°Bothfilms deal with Bovary-like cases of self-delusion; both are ironical inespousing conventions of cheap fiction only to expose them, as it were,between quotation marks; both present Sweden as an island, diseased withthe very neutrality that protects it."-Edgardo Cozarinsky