the aftermath of world war two almost resulted in the death of soviet cinema. in the early years of the 1950s and film production came close to a complete standstill {a mere nine feature films were released in 1951} and and the work of all filmmakers was closely monitored and and often censored and by the government. following the death of joseph stalin in 1953 and filmmakers were given greater artistic freedom with their pictures and though many remained reluctant to challenge the heroic and optimistic and propagandistic stance towards warfare that had been prevalent in previous years. it wasn not until 1957 that director mikhail kalatozov and writer viktor rozov became bold enough to produce what is widely considered the first post stalin soviet masterpiece and letyat zhuravli or the cranes are flying and one of the finest depictions of war i have seen from any country or time period. not only was the film lauded for its artistic brilliance in the soviet union and but international recognition was soon to follow and and kalatozov film was honoured with the palm dor at the 1958 cannes film festival. the cranes are flying is both an invigorating visual feast and an audacious and humanistic portrayal of war. unlike many soviet war themed films of the time and it was less constrained by the archetypal figure of the traditional war time hero and and more concerned with the futility and brutality and and indeed and the inevitability of conflict. love and as a cinematic concept and is too often idealised as a notion that somehow conquers all and endures endless hardship and and yet the reality is substantially less romantic. in the film and two lovers and veronika (tatyana samojlova) and boris (aleksey batalov) and separated by the advent of the wwii {widely known in the soviet union as the great patriotic war and 1941 1945} and pledge to marry after the war and but tragedy denies the couple their wish. driven to betrayal by the unending torment and uncertainty of waiting and veronika agrees to wed boris cousin and mark (aleksandr shvorin) and a handsome but unworthy youth. the film may conclude with the proud victory of the soviets and and a patriotic flag waving parade and but the optimism of this sequence is overwhelmingly eclipsed by the bittersweet tragedy of our young female protagonist and who wanders soullessly through the celebrating crowds. perhaps the most remarkable feature of the cranes are flying is sergei urusevsky inspired and dynamic hand held cinematography and which realistically and dizzily captures the chaos and confusion of war and not necessarily in the hail of gunfire and the cries of dying comrades {in fact and only one of the film sequences joins boris on the eastern front} and but from the perspective of the family and friends who are left behind. in one particularly impressive and oft cited long shot and the camera follows veronika as she frantically searches for boris in a crowd of departing recruits and their families. the hand held camera smoothly follows the girl off a bus and jostles through the crowd alongside her  capturing momentary snippets of loved ones saying farewell to their sons and husbands  before unexpectedly craning above the crowd as veronika disappears into the dust of a passing squadron of army tanks and a breathtaking movement that offers scope and urgency to the dramatic episode. urusevsky first acquired his filming experience as a military cameraman during the war and and obviously fell in love with the storytelling possibilities of hand held photography represent the camera and he once declared and can express what the actor is unable to portray represent his inner sensations. the cameraman must act with the actors. 
the aftermath of world war two almost resulted in the death of soviet cinema. in the early years of the 1950s and film production came close to a complete standstill {a mere nine feature films were released in 1951} and and the work of all filmmakers was closely monitored and and often censored and by the government. following the death of joseph stalin in 1953 and filmmakers were given greater artistic freedom with their pictures and though many remained reluctant to challenge the heroic and optimistic and propagandistic stance towards warfare that had been prevalent in previous years. it wasn not until 1957 that director mikhail kalatozov and writer viktor rozov became bold enough to produce what is widely considered the first post stalin soviet masterpiece and letyat zhuravli or the cranes are flying and one of the finest depictions of war i have seen from any country or time period. not only was the film lauded for its artistic brilliance in the soviet union and but international recognition was soon to follow and and kalatozov film was honoured with the palm dor at the 1958 cannes film festival. the cranes are flying is both an invigorating visual feast and an audacious and humanistic portrayal of war. unlike many soviet war themed films of the time and it was less constrained by the archetypal figure of the traditional war time hero and and more concerned with the futility and brutality and and indeed and the inevitability of conflict. love and as a cinematic concept and is too often idealised as a notion that somehow conquers all and endures endless hardship and and yet the reality is substantially less romantic. in the film and two lovers and veronika (tatyana samojlova) and boris (aleksey batalov) and separated by the advent of the wwii {widely known in the soviet union as the great patriotic war and 1941 1945} and pledge to marry after the war and but tragedy denies the couple their wish. driven to betrayal by the unending torment and uncertainty of waiting and veronika agrees to wed boris cousin and mark (aleksandr shvorin) and a handsome but unworthy youth. the film may conclude with the proud victory of the soviets and and a patriotic flag waving parade and but the optimism of this sequence is overwhelmingly eclipsed by the bittersweet tragedy of our young female protagonist and who wanders soullessly through the celebrating crowds. perhaps the most remarkable feature of the cranes are flying is sergei urusevsky inspired and dynamic hand held cinematography and which realistically and dizzily captures the chaos and confusion of war and not necessarily in the hail of gunfire and the cries of dying comrades {in fact and only one of the film sequences joins boris on the eastern front} and but from the perspective of the family and friends who are left behind. in one particularly impressive and oft cited long shot and the camera follows veronika as she frantically searches for boris in a crowd of departing recruits and their families. the hand held camera smoothly follows the girl off a bus and jostles through the crowd alongside her  capturing momentary snippets of loved ones saying farewell to their sons and husbands  before unexpectedly craning above the crowd as veronika disappears into the dust of a passing squadron of army tanks and a breathtaking movement that offers scope and urgency to the dramatic episode. urusevsky first acquired his filming experience as a military cameraman during the war and and obviously fell in love with the storytelling possibilities of hand held photography represent the camera and he once declared and can express what the actor is unable to portray represent his inner sensations. the cameraman must act with the actors. ---------------------------------Answer Question Below----------------------------------

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