“Toward the end of the film, the hero (Robert Duvall) attempts to escape from his underworld city (called, in the title of the student version of the film done by Lucas at the University of Southern California, an “Electronic Labyrinth”). It is an escape which will bring him finally to a huge ventilation shaft and from there into real daylight for the first time. On the way he breaks into a video monitor room, annex of the central computer bank, and in an act of ultimate counter-acculturation takes the controls himself. He punches out the necessary code and then focuses in on a full-screen shot of the bottled fetus to which his just-dead mate’s ID number has been reassigned. Too long trapped in this encaved prison house of images himself, he cannot help but read this last image—the only one he has chosen for himself to call up, the one that makes visible to him the end of what human place he could claim in this subterranean world—cannot help but read this fetal image, or at least we can’t help but read it for him, as a symbol. The hero will become now in his own shaved person just such a newborn identity, out the long tunnel into the light. In escaping from the actual detention center a few scenes before, the prison within the prison—an overexposed sterile space bled of color and without discernible walls or angles, as if it were the two-dimensional space of his own video-monitored entrapment on an engulfing white screen—he is led out by a fugitive hologram, no less. This video refugee, one of the figures nightly used to pacify the masses, is a mirage tired of being ensnared in his monotonous digital circuit and aching to break free into bodied reality. When asked by the hero for the direction out, he points straight off the screen into the camera and so at us, at a palpable world elsewhere, the world itself…”
Garrett Stewart, “Videology.” Shadows of the Magic Lamp: Fantasy and Science Fiction Film. George Slusser & Eric S. Rabin eds. Carbondale: Southern Illinois University Press. 1985. p 176.