Another aspect that’s great is how the film juxtaposes the sterile cleanliness and the total order and security of the dome with the harsh reality of Carrousel. Because the population is so enamoured by the hedonist lifestyle of the domed city, the Carrousel is depicted as a sport of sorts to them as they cheer on, making them numb to the reality of the situation. This can also be said of the ice cave below, which looks calm and serine, yet hides a horrible truth beneath.
It’s true that the film suffers from slow padding during the middle and latter stages, but the film is still engaging thanks to its action and philosophical underpinnings. The film’s art design is visually impressive and pretty damn spectacular, even for the time it was made at, and Jerry Goldsmith’s music delivers a terrific combination of operatic grandness and futuristic foreboding. Michael York is still charismatic and intense in the central role, whilst the mercurial Jenny Agutter gives a very nuanced and understated