Review by Chris Fujiwara for the Criterion Collection, April 2002. TheCranesAreFlying, directed by Mikhail Kalatozov in 1957, is one of the landmarks of Soviet film and, in Josephine Woll’s words, “the first indisputable masterpiece of post-Stalin cinema.” The film was instantly greeted as a revelation in the Soviet Union and became an international success, winning the Palmed’Or at Cannes. Even today, seeing TheCranesAreFlying is a moving experience, and it may not be difficult for contemporary viewers to recapture the sensation which the film is said to have evoked in those who saw it when it was new: that of a fresh wind sweeping through a musty house.
In large and small ways throughout the film, the filmmakers affirm their commitment to personal drama above public platitude. Early in the narrative, which starts on the day of Germany’s surprise invasion of Russia (June 22, 1941), the hero, Boris (Alexei Batalov), volunteers for the front. Avoiding glib appeals to nation and duty, the film foregrounds Boris’ reluctance to tell his lover, Veronica (Tatiana Samoilova) that he has volunteered, and the pain and anxiety felt by Veronica and Boris’s father, Feodor (Vasily Merkuryev), when they learn the truth. The film goes as far as to undercut rote patriotism—in what must have been perceived as a daring stroke in 1957—when Feodor impatiently cuts short and mocks the clichés of a farewell tribute addressed to Boris by two girls from the factory where he works.
The film is also exceptional in refusing to condemn Veronica for her involuntary infidelity to Boris while he is at the front. In Tatiana Samoilova (daughter of Evgenii Samoilov, who starred in Dovzhenko’s Shchors), TheCranesAreFlying unveiled a magnificent screen personality: expressive, sexy, dynamic. Veronica is far from a traditional war-movie heroine (not only by the standard of Soviet war movies), and Feodor’s impassioned denunciation of faithless women is clearly meant to be taken as more than just the party line, but Samoilova makes her character completely sympathetic, down to her bittersweet apotheosis in the moving final sequence.
The Georgian-born Kalatozov, who began his directing career in the silent era, spent several years in Los Angeles during the war on a diplomatic assignment, and seems to have been marked by Hollywood cinema. In TheCranesAreFlying, he treats melodrama with a formal complexity worthy of Frank Borzage, King Vidor, and Vincente Minnelli—finding, with no fear of excess, potent visual correlatives to emotional states.
Especially notable is the camerawork of Sergei Urusevsky, a brilliant cinematographer who first worked with Kalatozov a year before on FirstEchelon (1956). Kalatozov and Urusevsky followed TheCranesAreFlying with TheLetterNeverSent (1959), an interesting if compromised work, and the astonishing visual extravaganza IAmCuba (1964). The two men’s joint body of work deserves to be considered as one of the great multi-film director-cinematographer collaborations, no less innovative and fertile than those of William Wyler and Gregg Toland, Ingmar Bergman and Sven Nykvist, and Jean-Luc Godard and Raoul Coutard.
In AngleofVision (Iskusstvo, 1980), a beautiful book by Maia Merkel’ on Urusevsky, the cameraman discussed his work with Kalatozov: “With us there existed a tacit right of veto. We didn’t agree on it, it wasn’t written down anywhere, but he knew: if I don’t like something, he won’t insist; if he doesn’t like something, me neither. Of course, we tried to persuade each other, we argued…” He then gave his general principles for working with directors. “If you’re going to have it your way, and he his own, the result will be rubbish. You mustn’t push him, and at the same time you mustn’t fulfill only what he wants, you understand? Here the only thing that saves is mutual trust. Then you get something.” Agreeing with Merkel’ that he was never more himself than in the films he made with Kalatozov, Urusevsky recalled: “No one held anyone back, prompted, dictated. The graphic side of the picture depended on me, and Kalatozov attached great importance to that.”
Urusevsky’s handheld cinematography in several scenes of Cranes was a revelation. He had developed his love and talent for handheld shooting during his two years of service as a military cameraman during the war. He and Kalatozov experimented with handheld shooting in FirstEchelon. Urusevsky coined the phrase “off-duty camera” to describe his mobile, alert, sensitive camerawork (whose fullest unmooring would come with IAmCuba).
One of the highlights of TheCranesAreFlying is the sequence in which Veronica, having failed to say goodbye to Boris, rushes in search of him through a crowd of people seeing new recruits off to the front. In the first shot of the sequence, she looks tensely out the window of a moving bus, gets off the bus, and weaves in and out of a crowd—Urusevsky’s handheld camera staying with her all the while, without a cut. Then, unexpectedly, still in the same shot, the camera cranes up to look down at her as she runs between tanks across a street. The mobile camera heightens the urgency of the scene, gives it breadth, depth, and elasticity.
In another impressive sequence, the camera rushes alongside Veronica as she runs after a train. As she dashes up a stairway, the camera assumes her point of view, creating a jagged flurry of lines that renders her emotional state in purely graphic terms. Urusevsky’s undercranked camera accentuates the violent impetuousness of the scene’s movements. The cinematographer commented on this scene in words that convey an entire philosophy: “The camera can express what the actor is unable to portray: his inner sensations. The cameraman must act with the actors.”
The virtuosity of the camerawork in Cranes should not conceal the subtlety of the film’s soundtrack and the force of its editing. The early scenes with Veronica and Boris on the bridge and on the staircase of their building establish vibrant and discrete sound environments, in which the resonance of voices and footsteps is specific and emotional. When Veronica takes home an abandoned boy she has found in the street, Kalatozov’s comic and atmospheric use of overlapping dialogue is as sophisticated as that of Howard Hawks or Robert Altman. There’s a marvelous moment in which Veronica finally reads Boris’ long delayed goodbye letter: his voice-over seems to transmit the message directly into her head (her eyes are averted from the letter, looking up off-screen), while the irrelevant swing music from a record played at a party provides counterpoint. The straight sound-and-image cut from this richly textured scene to a scene at the hospital is an example of the many strong, expressive contrasts Kalatozov’s editing creates throughout the film.
TheCranesAreFlying is an enduring classic of Russian cinema. Its place is right alongside Grigori Chukhrai’s BalladofaSoldier (1959), Mikhail Romm’s NineDaysofOneYear (1962), and Andrei Tarkovsky’s Ivan’sChildhood (1962). With them, it’s a haunting work from a brief, bold, and still-challenging period of discovery and experimentation—a period it helped to define.
From Guardian Obituary for Samoilova, May 2014
At the 1958 Cannes film festival, in a competition that included films by Ingmar Bergman, Jacques Tati and Satyajit Ray, the Palme d'Or was presented to Mikhail Kalatozov's The Cranes Are Flying, the first and last Soviet film ever to have won it....
In The Cranes Are Flying (1957), Samoilova played Veronica, a young hospital worker who hears that her fiance (Alexei Batalov) has been killed in the war, though she refuses to believe it. Yet bitter circumstances drive her to marry a man (Alexander Shvorin) she does not love. In the cinema under Stalin, the trauma of the second world war, in which one in 10 Russians lost their lives, had been represented as a patriotic, collective duty from which individual suffering was excluded. In Samoilova's tender performance, far from the traditional wartime heroine, Veronica's suffering is very much personalised among the devastation that war has wrought. The film also refuses to condemn Veronica for her infidelity while her fiance is at the front. The Cranes Are Flying, with its spectacular camerawork, coming towards the end of the worst decade in Soviet film history, was the first film to benefit from the "thaw" after Khrushchev's famous speech in 1956 in which he attacked aspects of Stalinism. Samoilova, who was nominated for the best foreign actress Bafta film award in 1959, now hoped to profit from the comparative liberty and her worldwide reputation. But although she received many offers to work in the west, the Soviet government prevented her from accepting jobs outside Russia and its satellite states.
She was also the great niece of the director Konstantin Stanislavsky, and graduated from the ballet school of the Stanislavsky theatre. Although invited by prima ballerina Maya Plisetskaya to join the ballet school of the Bolshoi Theatre in Moscow, Samoilova chose to study acting..... little chance to shine, until Anna Karenina (1967), her best role since The Cranes Are Flying 10 years previously.
This 10th screen version of the Tolstoy novel, in lush Sovcolor, can lay claim to being the best. Its director Alexandr Zarkhi, using the 70mm screen effectively, comes closer to Tolstoy's romance than previous versions, with Samoilova's brilliantly nuanced Anna matching such screen luminaries as Greta Garbo and Vivien Leigh.