On the whole, international critics of the time praised "Loves of a Blonde", with positive reviews published by "Saturday Review", "The New Yorker", "America", "Sight and Sound", "Harper's", and "The New York Times". One of the film's most influential champions was Jean Collet, writing in "Cahiers du cinéma" that, by capturing the momentary indiscretions of his characters on the screen, Forman forces the audience into a voyeuristic situation that induces embarrassment and laughter. There were dissenting voices, however: Phillip J. Hartung, writing in "Commonweal", compared the film unfavorably with Ivan Passer's contemporaneous "Intimate Lighting", while Robert Hatch, in "The Nation", felt that "Loves of a Blonde" was an "endearing but artless" film, with its long central section of the big dance having little to do with the main plot. In a lengthy article in "Film Comment", Kirk Bond compared the "ordinariness" of "Loves of a Blonde" unfavorably with other Czech films of the period that he believed displayed greater mastery of narrative technique.