Its sexual frankness - very bold for '67 - and its satirical take on such liberal precepts as non-violence ensured that, in its time, the picture drew flak from all quarters. Mixing reportage and fiction, often conflating the two, Sjöman contrasts Lena's principles (her Dad's still in the doghouse over the Spanish Civil War) with her life-as-lived, specifically her affaire with a bourgeois rat. In a teasing subplot Sjöman accuses himself, not very vehemently, of similar inconsistencies. 'Describes the difficulties of a radical in a country with no serious problems,' sniped American commentator William O'Neill. The mix of frivolousness and moral reproach, though, seems altogether '60s, rather than particularly Swedish.