The Cranes Are Flying
1957 · Directed by Mikhail Kalatozov
Original language: Russian
- drama
- romance
- war
The story
Veronika and Boris come together in Moscow shortly before World War II. Walking along the river, they watch cranes fly overhead, and promise to rendezvous before Boris leaves to fight. Boris misses the meeting and is off to the front lines, while Veronika waits patiently, sending letters faithfully. After her house is bombed, Veronika moves in with Boris' family, into the company of a cousin with his own intentions.
What it’s like
Black-and-white photography that moves like breath: restless handheld camera hugging faces in close, swooping crane shots and sudden tilts toward a sky full of birds, and dazzling, subjective flourishes such as slow-motion and mirrored reflections when feeling spills over. Moscow streets and riverbanks glow in soft overcast grey and bright summer light, then give way to smoky, rubble-strewn wartime sets, air-raid darkness and the bleached, muddy austerity of the front. Sound is sparing but expressive, with the rush of wind, distant sirens and a lilting, folk-tinged score that swells at moments of hope. The vibe is aching, tender and bruised, a love story pressed against catastrophe. Pacing is brisk and emotionally direct, and its arc follows a young woman holding onto faith and dignity while war and loneliness wear her down. Intensity is moderate: wartime bombing, death and grief appear, with some startling shock, but there is no gore and little graphic violence. It suits a rainy evening, a serious but romantic night in, or anyone who wants a weeping, humane wartime drama for those who value emotional honesty over comfort.
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