Excerpt from a 1966 essay on Joseph Losey

Why, then, should this body of work which amounts almost to a scientific programme so often leave one with a sense of dissatisfaction? Partly the poverty of the scripts, and their skilful but very conventional adaptation; but perhaps also the fact that in satisfying his desire to reduce everything to essentials, this champion of lucidity suppresses everything which might not seem to serve his meaning. For Losey, to say something means to explain, translate, explain again, and offer analogies; and it also means a rigorous exclusion of non-essentials. A film becomes a series of equal signs: the danger is that this closed circuit collection of signposts in which Losey becomes trapped may result not only in a dilution of significance but a loss of creative energy. It is one thing to embrace the universe, quite another to register its secret heartbeats.

— Gilles Jacob writing in the Spring 1966 issue of Sight and Sound, a British Film Institute publication

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