In 'The Girl Chewing Gum' a commanding voice over appears to direct the action in a busy London street. As the instructions become more absurd and fantasised, we realise that the supposed director (not the shot) is fictional; he only describes - not prescribes - the events that take place before him. Smith embraced the "spectre of narrative" (suppressed by structural film), to play word against picture and chance against order. Sharp and direct, the film anticipates the more elaborate scenarios to come; witty, many-layered, punning, but also seriously and poetically haunted by drama's ineradicable ghost."

A.L. Rees
"A Directory of British Film & Video Artists"
Arts Council of England, 1995

"In relinquishing the more subtle use of voice-over in television documentary, the film draws attention to the control and directional function of that practice: imposing, judging, creating an imaginary scene from a visual trace. This "Big Brother" is not only looking at you but ordering you about as the viewer's identification shifts from the people in the street to the camera eye overlooking the scene. The resultant voyeurism takes on an uncanny aspect as the blandness of the scene (shot in black and white on a grey day in Hackney) contrasts with the near "magical" control identified with the voice. The most surprising effect is the ease with which representation and description turn into phantasm through the determining power of language."

Michael Maziere
"John Smith's Films: Reading the Visible," Undercut, 10/11, 1984