The black and white feature Cranes Are Flying draws its source from the stage play Forever Alive by Viktor Rozov and debuted in the late 1950s. The drama centers on the young Veronica, whose fiancé Boris goes to the front to join the war. Veronica’s delicate appearance, with softly angled eyes and dark hair, challenged typical looks in Soviet cinema of that era.
Kalatozov’s work marked a shift for national cinema. It arrived at a moment when wartime life was a fresh lens for screen storytelling. Soon after, groundbreaking works like The Soldier’s Song by Grigory Chukhrai and Ivan’s Childhood by Andrei Tarkovsky presented ordinary people through the crucible of conflict, each offering a new way to see wartime experience.
The movie caused a surge of interest for its technical execution as much as for its emotional depth. Cinematographer Sergei Urusevsky captured farewell moments between lovers in a cradle and shot along a metal pole as Boris ascends the stairs. Visual culture researchers noted that these effects helped convey the characters’ feelings with striking clarity.
Urusevsky himself described a philosophy: the camera should engage with the actors, shrinking distance and inviting the audience to feel present and connected. This approach is echoed by commentators who emphasize close ups and intimate framing as means to bring viewers into the moment.
For the climactic scene with the heroine, Urusevsky devised a circular camera track and filmed the iconic turning birch trees against the sky. The visual design leaned on action photography and an ultra wide lens, a setup that became a hallmark of the film’s iconic look.
Reception and critique
Viewer numbers reached beyond the Soviet state cinema, with millions watching Cranes Are Flying at home and the film securing a notable position in box office rankings of its time. Critics were not shy about debate; a prominent political leader at the time compared the lead character to a morally ambiguous figure, suggesting the film diverged from party expectations.
The film also found audiences abroad. Distribution rights were secured in France, where a large audience later experienced the picture, while it performed strongly in East Germany as well.
French filmmaker Claude Lelouch, later known for A Man and a Woman, admired Kalatozov’s film and spoke of it as a lasting influence in his career. His later reflections placed the movie among a short list of personal favorites alongside classics from Orson Welles and Abel Gance.
At a youthful stage in Lelouch’s career, a chance encounter in Moscow with a cut of the film left a lasting impression. He later recounted how that moment inspired his decision to pursue directing rather than newsreel work.
That encounter contributed to a gathering in Cannes where the film competed. Backstage challenges highlighted the intense atmosphere, including political and logistical pressures that affected cast and crew during the festival. Still, the audience response in Cannes was powerful.
As the event unfolded, Cranes Are Flying earned the Palme d’Or, the festival’s top prize, an extraordinary achievement for a Soviet feature at the time. The jury commended the film for its synthesis of artistic craft and human insight, and special praise was directed toward the lead actress for her performance. The recognition extended to the cinematographer for his technical accomplishment.
In Paris, the film’s impact extended beyond film circles. The lead actress drew attention from prominent figures and became a cultural symbol, while the craft of Moscow’s studios was acknowledged by international peers. Yet within the homeland, the project did not generate equal attention from all quarters, with some discussions not highlighting the collaboration of the film’s creators.
Beyond the Palme d’Or, the film earned a variety of honors, including an honorary diploma at a major European festival, recognition at a renowned national festival, and nominations in key categories. It later appeared in lists recognizing important world cinema works, underscoring its lasting influence on both style and storytelling.