Film Review: The Cranes Are Flying (Letyat zhuravli, 1957)

Most casual cinephiles are typically familiar with only two prominent figures from the history of Soviet cinema: Sergei Eisenstein, who marked its inception, and Andrei Tarkovsky, who represented its culmination. However, between these two cinematic giants, there exists a rich tapestry of influential filmmakers whose contributions significantly impacted cinema beyond Soviet borders. One such figure is Mikhail Kalatozov, a Georgian director whose 1957 drama The Cranes Are Flying was groundbreaking in more ways than one. This film not only achieved unprecedented critical acclaim but also stands as the greatest international success in the history of Soviet cinema.

The Cranes Are Flying is adapted from Viktor Rozov's play Life Eternal, which was originally writrten in 1943 and drew inspiration from the author’s own experiences as a soldier during the ongoing Second World War. The play premiered in 1956 to critical acclaim, prompting Rozov to craft its cinematic adaptation.

The plot starts in Moscow on June 21, 1941, where two young lovers, Veronika (Tatiana Samoilova) and her fiancé, Boris Borozdin (Aleksei Batalov), are filled with dreams of a shared future. Their idyllic aspirations are abruptly shattered by the news of the German invasion of the Soviet Union. Boris volunteers to join the Red Army, leaving Veronika in a state of despair. As the war escalates, Veronika's life spirals into tragedy; she loses her home and parents in a German air raid. Taken in by Boris's family, she faces further anguish as Boris's cousin Mark (Aleksandr Shvorin) exploits Boris's absence to pursue her romantically, ultimately marrying her. The couple, along with the Borozdins, are evacuated to Siberia, where Veronika endures immense hardships, clinging to the hope that Boris, who has apparently disappeared on the battlefield, will return.

Released four years after Stalin's death, The Cranes Are Flying emerged during a period known as "Khrushchev's Thaw," a time characterised by a relative loosening of stringent Party control over cinema and an increase in creative freedoms. This new era allowed filmmakers to address previously taboo subjects, and Kalatozov's film exemplifies this shift. Rather than glorifying Soviet triumphs, it poignantly examines the staggering toll the war exacted on the Soviet populace—not only in terms of lives lost but also in the profound emotional and psychological scars left on survivors. Thus, The Cranes Are Flying is often regarded as one of the first post-World War II Soviet films to adopt clear anti-war stance.

What distinguishes this film from its predecessors is its focus on individual experiences rather than collective narratives. Veronika’s struggles are deeply personal, reflecting a departure from grand socialist ideals. Her character, brought to life by the exceptional performance of Tatiana Samoilova, embodies the intimate suffering of those caught in the throes of war. Samoilova's portrayal captures the nuances of Veronika's emotional turmoil, establishing her as a significant star in Soviet and Eastern Bloc cinema.

Kalatozov's individualistic approach to war also permits a candid exploration of human frailty, a theme that was often suppressed under the Socialist Realist doctrine of the "New Soviet Man." This film reveals Soviet citizens as flawed and vulnerable, capable of engaging in acts of infidelity, corruption, and even violence, thus presenting a more complex and realistic portrayal of humanity.

For younger audiences, unfamiliar with the historical context, Kalatozov's innovative and distinctive directorial style is likely to leave a lasting impression. His use of Dutch angles effectively conveys the protagonist's mental state, while the production design and shot composition reflect the influence of German Expressionism. However, it is the film's mass scenes, characterised by long tracking shots, that truly showcase the extraordinary skill involved in its creation.

Cinematographer Sergei Urusevsky played a pivotal role in achieving this visual mastery. His background as a frontline cameraman during the war led him to experiment with handheld cameras, lending The Cranes Are Flying a modern aesthetic that resonates with contemporary viewers. The film's dynamic camerawork often feels akin to the music videos that would emerge decades later.

The emotional resonance of The Cranes Are Flying profoundly impacted its contemporaries. Soviet audiences were taken aback by the film's frank depiction of the war's aftermath, which mirrored their own experiences from just a decade and a half prior. This emotional authenticity contributed to its remarkable box office success, not only within the Soviet Union and Eastern Bloc but also in Western countries, such as France, where it became the fifth most popular film of 1958. The film's accolades were further solidified by its receipt of the Palme d'Or at the Cannes Film Festival, a historic achievement as it remains the only Soviet film to have ever won this prestigious award.

The Cranes Are Flying stands as a monumental work in the canon of Soviet cinema, representing a pivotal moment in the evolution of film during a time of significant social and political change. Mikhail Kalatozov’s masterful direction, combined with Sergei Urusevsky’s innovative cinematography, creates a poignant narrative that transcends its historical context.

RATING: 8/10 (+++)

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