I can see why Jean Renoir thought this was the best American movie in forever. It's an absurdist art comedy that's actually very European. Its creative visual compositions, lively camerawork, Meyer Kupferman's stupendous musical score and Adolfas Mekas' zesty experimentalist editing, conspire with the strange and humorous content to create a rich and unique mood. Nothing like Philip Kaufman's later mainstream cinema, Goldstein harks to Tati, Antonioni, early indie film and Renoir himself.