In Crossways he [Kinugasa] demonstrated not only that the past can be shown as real but that there is no distinction between past and present, fantasy and reality. Chronological narrative had no part to play in this strange structuring of the film where long scenes of apparently little relation to the plot demanded a far greater degree of participation from the viewer than had been previously expected. Further, not only is the story told in a complex and puzzling fashion but the hero behaves in a way not expected of a strong samurai. Having killed a man he runs to his sister for help, an unheard of response to someone else’s death, then later, when the hero discovers that the supposed victim is not dead, he dies from shock. Despite the outrage felt by the producers the film was a financial success.

Richard N. Tucker, Japan: Film Image, Studio Vista, 1973