Izod takes a purely Jungian perspective in analyzing the British filmmaker, Nicolas Roeg. And he makes a pretty good case for it. Roeg's films lend themselves to psychological interpretations and analyses. And by applying Jungian notions of individuation as an overall thrust to Roeg's central characters, Izod provides a connecting framework helpful in seeing a certain thematic unity across most of the films.

Whether Jung is actually something to accept as plausible in the scientific sense is another matter. For the films, it is enough to see that they are powered with a germ of an idea that may well be Jungian. Personally, I am more convinced that Roeg and many other filmmakers, extending from the 1950s through the 1990s, were concerned with individuals on the threshold. Paused there, neither passing or retreating. The idea might seem similar to Jungian outlines, but it's not, really. It's anthropological and sociological, not psychological. And I believe that is the key to understanding many of the films, more than Jung. Even if the filmmaker himself meant to allude to Jung, reviewers need to step beyond authorial intent and look at anthropological effect.

Meanwhile, poor Roeg. He really did deserve a much better fate. Sentenced to anonymity since the 1990s, even his much celebrated earlier films have begun to recede from critical recognition. For films such as Performance, The Man Who Fell to Earth, and Walkabout, that is a pity. Perhaps this nearly three decades old book can keep Roeg's critical interpretation vital in some way. ( )

Interesting analysis of Nic Roeg's films from a Jungian perspective, recommended to those who admire the director's work. ( )