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Letyat zhuravli / Летят журавли (1957) [Repost]

Posted By: Someonelse
Letyat zhuravli / Летят журавли (1957) [Repost]

The Cranes are Flying (1957)
DVD9 Custom | VIDEO_TS | PAL 4:3 | Cover + DVD Label | 01:32:18 | 8,04 Gb
Audio: Russian AC3 5.1/1.0 @ 448 Kbps | Subs: English, Russian, French, German,
Spanish, Italian, Portuguese, Dutch, Swedish, Chinese, Japanese, Hebrew, Arabic
Genre: Drama, Romance, War

Director: Mikhail Kalatozov
Stars: Tatyana Samoylova, Aleksey Batalov, Vasiliy Merkurev

Veronica and Boris are blissfully in love, until the eruption of World War II tears them apart. Boris is sent to the front lines…and then communication stops. Meanwhile, Veronica tries to ward off spiritual numbness while Boris’s draft-dodging cousin makes increasingly forceful overtures. Winner of the Palme d’Or at the 1958 Cannes Film Festival, The Cranes Are Flying is a superbly crafted drama, bolstered by stunning cinematography and impassioned performances.


The Cranes are Flying is a flawless mixture of technical audacity and emotional purity…the kind of film Russia has been specializing in since the days of the silent era. The boldness in camerawork exists only to capture and heighten the spirits of the various moments. If they venture a little too close to melodrama, they can be forgiven…sometimes, heart can be too big to contain within the confines of an aperture.

Directed by Mikhail Kalatozov and superbly filmed by Sergei Urusevsky, Cranes is one of a remarkable string of post-Stalinist pictures that came out of the Soviet Union depicting war and its heartaches more truthfully than had been allowed in that country for far too long. Like many films of the period, it deals with World War II, but not in a broad, sweeping, pro-military stance. It focuses on a pair of very real and true characters, who might have lived happily ever after, if not for the outbreak of war.

Letyat zhuravli / Летят журавли (1957) [Repost]

To describe the film is to discuss not only the key story elements, but the incredible cinematic technique that brings each one to the screen. Because of that, I’ll have to forgo some of the most remarkable technical detail to avoid spoiling plot points, but fear not…I’ll tread carefully. Just consider that the problem is a direct result of how much the story and technique are married in this picture.

Boris (Batalov) loves Veronica (the lovely Samoilova), and in a few carefree moments at the beginning of the picture, we share in their warm romance. A superb example of how the film’s technique enhances the emotion is when Boris sprints up several flights of stairs to follow Veronica…the camerawork is impeccable, and the energy is almost too great to contain.

Letyat zhuravli / Летят журавли (1957) [Repost]

But the Nazis have begun their Russian invasion, and Boris has volunteered to fight, much to his own sadness and that of Veronica and his father, Feodor (Merkuryev). In other sequence of technical marvel, both Boris and Veronica frantically search for one another at the train station in long, unbroken tracking shots that will make film students wonder how Urusevsky managed to weave his camera so fluidly in such tight, chaotic spaces.

As Boris heads for the front, Veronica is left alone but under the lustful eye of Mark (Shvorin), a pianist who got out of being drafted because of his musical skills (maybe). She, of course, doesn’t return his affection, but war brings out the worst in some. In another audacious sequence, Mark forcefully confesses his feelings to Veronica as their faces are horrifically lit by the falling bombs just outside.

Letyat zhuravli / Летят журавли (1957) [Repost]

Shamed by the rape, Veronica agrees to marry Mark, much to the heartbreak of Boris’ family, whom she had been staying with since her own home was destroyed in an air raid. The film sadly follows both her at home and Boris on the front, and makes clear that not only has war robbed them of their ability to be together, but of the very illusion of their togetherness as well.

That’s as far as I want to tread…there’s much more to the story as it works its way towards its sober conclusion. The cinematography continues to progress with the plot, bringing more and more stunning shots to the screen, including one where Veronica runs frantically as the camera tracks her with deft speed, while her image is blurred by the fence between them. Another tour-de-force is a short sequence that speaks volumes during a critical moment for Boris. In other words, The Cranes are Flying is a story that could not have been told any other way but cinematically…maybe the basic plot and structure could have been delivered, but not the emotional impact.

Letyat zhuravli / Летят журавли (1957) [Repost]

But not all of Kalatozov and Urusevsky’s work strives for bold effect. One of the film’s most unforgettable images is also one of the simplest…the luminescence of Veronica’s face as she finally finds the goodbye letter Boris left for her on the day he departed for the front. The lighting creates a soft, otherworldly glow upon Ms. Samoilova’s pretty face, in a shot that Josef von Sternberg would have applauded.

The Cranes are Flying is an amazing achievement by any analysis. Combining bold, fresh cinematic techniques with a moving and emotional story about war torn lovers, it’s a picture no movie lover should pass up for any reason.
Letyat zhuravli / Летят журавли (1957) [Repost]

The Cranes Are Flying essentially tells the story of Veronica (Tatiana Samoilova), who is parted from new lover Boris (Alexei Batalov) in Moscow when he joins the army to fight the invading Germans in 1941. Because of his absence and lack of communication, coupled with the death of her parents in an air-raid and the aggressive seduction by Boris's cousin, draft dodging Mark, Veronica is left confused and needy. After much heartache and disappointment she still clings to the hopeless idea that Boris has survived his stint in the front lines and will return to her. We, the audience, are also left unsure and her belief leaves us as stalwart as she.

Letyat zhuravli / Летят журавли (1957) [Repost]

Winning the 1958 Palme D’or The Cranes Are Flying is a modernist film by Mikheil Kalatozishvili who came out of the great Soviet silent film era of the 1920s, a disciple of Dziga Vertov (The Man With a Movie Camera, Three Songs of Lenin etc. ). In this film he shows brilliant and innovative techniques using unique camera angles, dream sequences and inventive fluid montages. He never overdoes each technique allowing the viewer to become complacent. This film is years ahead of it’s time with hand-held shots interspersed with high obtuse angles from above and a pace that keeps you on edge with a suspenseful feel of the catastrophes of war looming on the horizon.

Letyat zhuravli / Летят журавли (1957) [Repost]

The storyline is not new at all… star crossed lovers and their tragic relationship that can never evolve to the next passionate level because of absence due to the onset of war. Nothing is exaggerated, cloying or melodramatic in the film and overall it reminded me very much of the birth of French New Wave cinema. The overall examination can only determine it to be a masterpiece regardless of its age, country of origin or any other mitigating factors. For film buffs this is a must own DVD…
Letyat zhuravli / Летят журавли (1957) [Repost]


Special Features:
- Cast interviews - Alexei Batalov (11 mins), Tatiana Saimolova (19 mins)
- Wartime propaganda film - "Chronicles" (7 minutes)
- 'November 7 1941 - The Parade in Red Square'.
- Trailers
- Filmographies
- Stills gallery

Content
1) the video and audio from the Russian Крупный План disc
2) the extras, menus and subs from the Ruscico disc
3) the English subs from the Criterion disc

Menus………..: Ruscico source, French and Russian pages stripped
Video…………: Крупный План source untouched
DVD-extras…..: Ruscico source, French and Russian trailers stripped
DVD-Audio……: Крупный План source untouched
Subtitles……..: Criterion track synced for PAL and converted to .sup
Ruscico tracks time-shifted without format conversion



All Credits goes to Original uploader.

No More Mirrors, Please.



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