The Cranes Are Flying

The Cranes Are Flying is an exceptional and timeless Soviet classic film, released in 1957, which paints an intimate and humane portrayal of the horrors of World War II. Directed by Mikhail Kalatozov, the film stars Tatyana Samoylova and Aleksey Batalov, whose performances leave a lasting impact on the audience. The movie is a testament to love, sacrifice, genuineness, and the overarching destructive nature of war, which breaches even the purest emotions and relationships.

The Cranes Are Flying follows the story of a young woman named Veronica, essayed by the incomparable Tatyana Samoylova. Veronica is depicted as an ordinary girl, brimming with joy, hope, and an innate exuberance. She is in love with her boyfriend Boris (played by Aleksey Batalov), and their love is depicted as pure and innocent, filled with dreams of a future together. The film opens to a setting of pre-war Moscow, where the couple's dreams of marriage and future prospects remain unhindered by any impending catastrophe.

However, their lives take a tragic turn when the Soviet Union enters World War II, and Boris, like thousands of other men, leaves for the frontlines, leaving behind a distraught Veronica, who now must face the terrifying uncertainties of war alone. Left in the care of Boris's family, Veronica confronts a series of heartbreaks and challenges that redefine her life. Her struggle for survival and her longing for the love of her life, Boris, forms the crux of the movie.

The Cranes Are Flying skillfully transcends the traditional narratives of war-themed movies. It does not solely hinge on the horrors of battlefields or the heroism of soldiers but ascends to reveal the understated ramification of war - its impact on civilians caught in its gruesome web. The movie stands apart, pioneering through the struggles of a young woman facing the trials and tribulations the war had hurled at her.

Emphasizing this are the performances. Tatyana Samoylova's portrayal of Veronica is nothing short of remarkable, her exceptional acting ability embodying the shifting emotional states of joy, sorrow, despair, and hope with incredible ease, making the audience feel her every emotion. Her abandonment, despair, and longing for Boris are so compelling that they effectively convey the personal effects of war on a single individual.

In contrast, Aleksey Batalov, as Boris, represents the scores of young men who were forced to leave their homes and loved ones to fight in a war. Despite his limited screen presence, Batalov leaves a strong impression, and his character makes the audience ponder the larger picture of lives unraveled due to war.

The Cranes Are Flying is amplified by its extraordinary direction and cinematography. Director Mikhail Kalatozov's perspective on war is showcased through extensive innovative camera movements, angles, and emotional close-ups, which heighten the realism and intensity of the movie. Moreover, Vasiliy Merkurev's outstanding performance as Boris's father Fyodor Ivanovich adds another layer of depth to the movie, underscoring the emotional detachment and numbness induced by the war.

The film's title, "The Cranes Are Flying," is symbolic, relating to a Russian folk tale that suggests that birds flying high in the sky are the souls of deceased soldiers. It provides a stark depiction of hope amid the grim reality of war.

In essence, The Cranes Are Flying is a masterful combination of remarkable performances, an engaging plot, extraordinary direction and cinematography that delve into the human aspects of World War II, painting a poignant and an emotional narrative that leaves a lasting impact. A cinematic gem of its time, 'The Cranes Are Flying' is much more than a movie; it's a testament to the war-time era that imbues within its viewers a profound sense of empathy and understanding.