"In ... L'AMICO FRIED'S GLAMOROUS FRIENDS, which is built around a pas de deux by Ondine and Sally Dixon ... the relationship to traditional dramatic narrative is rather obvious; the actors are in well-defined roles and are recognizable in them, and the films are as such accessible. More or less. And it is this more or less quality in which I am most interested; because the drama isn't the main object of his presentation, rather a component in Jacoby's total formal approach to film. There is the film grain. The sometimes lovely and sometimes not beautiful but nearly always exquisite collisions of light and shadow upon the screen which seduces us and takes us into a whole new world. And may as likely cause one to squirm in one's seat. With a quickness of breath and dryness of the throat one is apt to say 'What is that!' as if peering into some exotic fog, not sure if one may trust his own eyes. ... I think that the films of Jacoby are among the strongest in ... a post-structuralist trend toward the revitalization of the dramatic narrative, as his formal approach involves the subjective camera eye as well as the photochemical augmentation of the photographed image."
- Carmen Vigil, Museum of Modern Art program notes, Field of Vision