Chicago Sun-Times by Roger Ebert

Forster's novel is one of the literary landmarks of this century, and now David Lean has made it into one of the greatest screen adaptations I have ever seen.

The A.V. Club by Noel Murray

While it isn't as brilliant as his The Bridge On The River Kwai or Lawrence Of Arabia, Lean's final film is just as meticulously designed, because more than any other filmmaker of his era, he understood how the right hat could say as much about a character —and a society—as any line of dialogue.

Variety

An impeccably faithful, beautifully played and occasionally languorous adaptation of E.M. Forster's classic novel about the clash of East and West in colonial India.

The New York Times by Vincent Canby

Mr. Lean's Passage to India, which he wrote and directed, is by far his best work since The Bridge on the River Kwai and Lawrence of Arabia and perhaps his most humane and moving film since Brief Encounter.

Newsweek by David Ansen

What a sumptuous canvas Lean gives us, and what a superb cast. [24 Dec 1984, p.53]

Variety by Staff (Not Credited)

An impeccably faithful, beautifully played and occasionally languorous adaptation of E.M. Forster's classic novel about the clash of East and West in colonial India.

Washington Post by Rita Kempley

The usual complement of classy Brits and a host of Indian extras add the final touches to this vastly enjoyable, sprawling entertainment. Lean truly catches the sunset over the British Empire. [18 Jan 1985, p.25]

The New Yorker by Pauline Kael

It may not be the highest praise to say that a movie is orderly and dignified or that it's like a well-cared for, beautifully oiled machine, but of its kind this Passage to India is awfully good, until the last half hour or so.

TV Guide Magazine

Although the story makes for a movie that is often slow going, it is also a beautiful and evocative film fueled by an excellent performance from Davis and Peggy Ashcroft.

Miami Herald by Bill Cosford

Old-fashioned isn't necessarily bad. In Lean's case it can be immensely entertaining, because he knows how to build a story. At 76, he is still quite vital a force behind the camera, and he makes A Passage to India, born a comedy of manners, into high melodrama. [11 Jan 1985, p.D1]

Christian Science Monitor by David Sterritt

A lavishly produced and often involving drama that never reaches its full potential. [09 Jan 1985, p.25]

TV Guide Magazine by Staff (Not Credited)

Although the story makes for a movie that is often slow going, it is also a beautiful and evocative film fueled by an excellent performance from Davis and Peggy Ashcroft.

Empire by Ian Nathan

Perhaps, it was the choice of material, a much more internalised story despite its glossy Raj setting, or the absence of Robert Bolt as screenwriter (it was he who put the fire in Lean’s belly), but the film, for all Lean’s innate elegance, is strangely remote and unmoving.

Time Out

Not for literary purists, but if you like your entertainment well tailored, then feel the quality and the width.

Chicago Reader by Dave Kehr

David Lean's studied, plodding, overanalytic direction manages to kill most of the meaning in E.M. Forster's haunting novel of cultural collision in colonial India.