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“Crossfire is., pre-eminently, a film noir and it is this fact which throws most doubt on the social reading offered by many Anglo-American critics. The film noir is definable partly in thematic and partly in stylistic terms, but what seems incontestible is that the meanings spoken by the genre are less social, relating to the problems (such as antisemitism) of a [particular society, and more metaphysical, having to do with angst and loneliness as essential elements of the human condition. The latter are substantially the meanings spoken by Crossfire.” — Colin McArthur
Crossfire is., pre-eminently, a film noir and it is this fact which throws most doubt on the social reading offered by many Anglo-American critics. The film noir is definable partly in thematic and partly in stylistic terms, but what seems incontestible is that the meanings spoken by the genre are less social, relating to the problems (such as antisemitism) of a [particular society, and more metaphysical, having to do with angst and loneliness as essential elements of the human condition. The latter are substantially the meanings spoken by Crossfire.