This is one of Lewis's richest films, one in which technical perfection meets considerable thematic depth. Professor Kelp is a soul whose few contacts with the sensible world lead to complications; people mock him because of his inability to accomplish concrete actions. Suddenly troubled by sensible beauty (S. Stevens), Kelp feels the need to have a body that will enable him to satisfy his desire. This body (Buddy Love), in direct contrast to Kelp, is comfortable only when pursuing entirely material endeavors; Love is especially at ease at the Purple Pit, an echo of Plato's cave in the way it manufactures illusions and crude dreams. Kelp's embodiment is not complete, as soul and body soon start to interact (when Buddy speaks like Kelp and vice-versa). The merging of both is foreshadowed by three clues: a) Buddy avenges Kelp by humiliating the head of the University; b) as the prom night begins, Kelp uncharacteristically starts to dance, led by instinct alone; c) Buddy's more decent behavior when he performs for the students, a bit later. A performance which is interrupted by the ultimate transformation and Kelp's ensuing confession. The film's conclusion is far from a happy ending: despite Kelp's vow to accept himself as he is, he now moulds his appearance and demeanor after Buddy Love's and has been corrupted by Buddy's fascination with artificiality. The fact that Kelp would return two years later in 'The Family Jewels' as a photographer - i.e. as a reproducer of the sensible world - is revealing. A major work from an underrated artist.