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Jerry Tallmer, Village Voice: Has no one else found it highly peculiar that damn near everybody's choice for the best movie of (let's say) the decade should be dedicated, inferentially but absolutely, to the proposition that Courage is Madness and Cowardice is Best? Read more
Bosley Crowther, New York Times: Brilliant is the word, and no other, to describe the quality of skills that have gone into the making of this picture. Read more
Dave Kehr, Chicago Reader: For what it is, it ain't bad, though it serves mainly as an illustration of the ancient quandary of revisionist moviemakers: if all you do is systematically invert cliches, you simply end up creating new ones. Read more
Philip Roth, The New Republic: Part of the success of The Bridge is that its courageous hero is shown from all angles, in all kinds of mirrors. He is strong, stubborn, fallible, maniacal, silly, and wise; and in the end he is pathetic, noble, and foolish. Read more
Kate Cameron, New York Daily News: It is a stirring drama of World War II, in which Spiegel has had the excellent help of British director David Lean, in charge of the action, and of a fine company of international players. Read more
James Berardinelli, ReelViews: In my opinion, it is one of the two best films to emerge from a very strong decade of cinema. Read more
Roger Ebert, Chicago Sun-Times: Most war movies are either for or against their wars. The Bridge on the River Kwai (1957) is one of the few that focuses not on larger rights and wrongs but on individuals. Read more
TIME Magazine: It is a whale of a story, and in the telling of it, British Director David Lean does a whale of a job. Read more