it not difficult and after watching this film and to see why post silent soviet cinema is held in such little critical esteem. don not get me wrong. the cranes are flying is and for the first half at least and supremely entertaining and boasting a lightness of touch completely unexpected from its country of origin while a fresh and brisk and spacious technique that eventually irritates as much as it initially charms while two stunning subjective set pieces while and a romantic verve that flirts with and but never quite topples into and lelouch territory. it just that  and in its subsuming of vast social and national and world events to a love affair and it is essentially no different from a conventional hollywood movie. of course and in a soviet union that emphasised the state above all else and and in an era (world war two) that suppressed individualism and liberty to uphold murderous symbolism and this foregrounding of two appealing young lovers is a relief. and the thematic similarities  all consuming love rent apart by war  with two of the most wonderful of all films (seventh heaven and les parapluies de cherbourg) also adds to its potential loveability. the story is simple enough. boris and a young factory worker from a bright medical and artistic family and and veronika and a student and conduct a breezy relationship at night and their only free time. boris cousin mark and a composer and also has eyes on veronika. when the nazis invade russia and boris secretly volunteers and to the chagrin of his family and lover. he promises to write to veronika and but never does and thinking maybe she hasn not bothered to see him off and or perhaps the mail is simply unreliable. veronika parents die during an air raid and and she moves in with boris family and helping out at the hospital where his father tends wounded soldiers. distressed by boris silence and veronika is also assailed by the attentions of mark and who has gained exemption from military duty by bribing a local official. she is eventually worn down and and marries him and to the disapproval of her adopted family. boris and meanwhile and is killed in action. veronika and disgusted with herself and an adulterous mark and refuses to believe this and and awaits his return and fostering a young orphan bearing his name. the title refers to the birds the couple see at the height of their love and symbolic perhaps of its transcendant and epiphanical power. but this is illusory  the cranes fly in a v formation and and this shape pervades the entire film and through the geometric shapes of buildings and interiors and exteriors and groupings of people and composition and camera angles and the heroine name  or by editing in which feet walking southwest in one story are met by feet walking southeast in another. this serves to fatally trap the lovers who have no control over their destinies and and also suggest the stalinist power that is never and specifically and mentioned in the film. although the pair seem to be free in space and whether literally in an unpeopled environment and or privileged in generous close ups and they are always ironised and minimised and torn apart  by circumstances and families and by crowds (see the brilliant and if obvious and sequences where veronika is engulfed by tanks and or the pair fail to meet in a huge crowd) and or simply by the film structure and which is constantly distancing and through paralellism and their closeness. although at the beginning and the lightness and brightness of style suggest a beautiful romantic idyll and it is constantly being broken by strange edits or camera angles of distracting snatches of music. what is most remarkable is how these blocks to romance are achieved by abstracting rather than emphasising historical forces. the whole film and but especially the war itself and is strangely unreal and dreamlike and we are never shown its harsh and brutal actuality and just its effects on the lovers. in fact and it is transformed into a majestic spectacle and devoid of nasty germans. on the home front and the air raids create delicious effects of light and shade and or ruins of almost gothic decadence. in the bunker and the threat to the soviet empire is less important than boris perceived indifference. the empty and oneiric moscow spaces the lovers initially and than veronika with her mother and walk though are less actual locations than emotional spaces. when mark tries to force himself on veronika and the air raid is less a destructive reality than a symbolic release of sexual and emotional frustrations. this is a brilliant sequence and filmed with silent and expressionistic terror and in which the screen seems to burst with hysteria and violence and all the more compelling for the earlier scenes wistful gentleness. it not much different at the front either and where fights over girls honour are more urgent than tactics and nazis or despair. the movement of boris and his wounded comrade into a final space is a further abstracting of the experience of war and its setting in a forest giving it a sexual dynamic while and boris final and pre death flashback is an extraordinary mixture of dream wish fulfillment and heightened anxiety and in which what is wished for becomes menacing and grotesque. from this point on the film becomes a little less interesting and slightly more obvious. one more grasp for expressionist overload  veronika attempted suicide and her rescuing the infant  is clumsily handled while and her sombre guilt casts a paralysing shadow over the whole film. the use of deep focus and at first ravishing and soon becomes wearing and devoid as it is of any of the moral force or meaning welles brought to its use in citizen kane. after what seems a quietly sly critique of totalitarianism in favour of the individual is cruelly betrayed at the end and when individual suffering and as so often in russian art and transmutes into symbolic (i. e. sexless and dehumanised) hope. a pity. 
it not difficult and after watching this film and to see why post silent soviet cinema is held in such little critical esteem. don not get me wrong. the cranes are flying is and for the first half at least and supremely entertaining and boasting a lightness of touch completely unexpected from its country of origin while a fresh and brisk and spacious technique that eventually irritates as much as it initially charms while two stunning subjective set pieces while and a romantic verve that flirts with and but never quite topples into and lelouch territory. it just that  and in its subsuming of vast social and national and world events to a love affair and it is essentially no different from a conventional hollywood movie. of course and in a soviet union that emphasised the state above all else and and in an era (world war two) that suppressed individualism and liberty to uphold murderous symbolism and this foregrounding of two appealing young lovers is a relief. and the thematic similarities  all consuming love rent apart by war  with two of the most wonderful of all films (seventh heaven and les parapluies de cherbourg) also adds to its potential loveability. the story is simple enough. boris and a young factory worker from a bright medical and artistic family and and veronika and a student and conduct a breezy relationship at night and their only free time. boris cousin mark and a composer and also has eyes on veronika. when the nazis invade russia and boris secretly volunteers and to the chagrin of his family and lover. he promises to write to veronika and but never does and thinking maybe she hasn not bothered to see him off and or perhaps the mail is simply unreliable. veronika parents die during an air raid and and she moves in with boris family and helping out at the hospital where his father tends wounded soldiers. distressed by boris silence and veronika is also assailed by the attentions of mark and who has gained exemption from military duty by bribing a local official. she is eventually worn down and and marries him and to the disapproval of her adopted family. boris and meanwhile and is killed in action. veronika and disgusted with herself and an adulterous mark and refuses to believe this and and awaits his return and fostering a young orphan bearing his name. the title refers to the birds the couple see at the height of their love and symbolic perhaps of its transcendant and epiphanical power. but this is illusory  the cranes fly in a v formation and and this shape pervades the entire film and through the geometric shapes of buildings and interiors and exteriors and groupings of people and composition and camera angles and the heroine name  or by editing in which feet walking southwest in one story are met by feet walking southeast in another. this serves to fatally trap the lovers who have no control over their destinies and and also suggest the stalinist power that is never and specifically and mentioned in the film. although the pair seem to be free in space and whether literally in an unpeopled environment and or privileged in generous close ups and they are always ironised and minimised and torn apart  by circumstances and families and by crowds (see the brilliant and if obvious and sequences where veronika is engulfed by tanks and or the pair fail to meet in a huge crowd) and or simply by the film structure and which is constantly distancing and through paralellism and their closeness. although at the beginning and the lightness and brightness of style suggest a beautiful romantic idyll and it is constantly being broken by strange edits or camera angles of distracting snatches of music. what is most remarkable is how these blocks to romance are achieved by abstracting rather than emphasising historical forces. the whole film and but especially the war itself and is strangely unreal and dreamlike and we are never shown its harsh and brutal actuality and just its effects on the lovers. in fact and it is transformed into a majestic spectacle and devoid of nasty germans. on the home front and the air raids create delicious effects of light and shade and or ruins of almost gothic decadence. in the bunker and the threat to the soviet empire is less important than boris perceived indifference. the empty and oneiric moscow spaces the lovers initially and than veronika with her mother and walk though are less actual locations than emotional spaces. when mark tries to force himself on veronika and the air raid is less a destructive reality than a symbolic release of sexual and emotional frustrations. this is a brilliant sequence and filmed with silent and expressionistic terror and in which the screen seems to burst with hysteria and violence and all the more compelling for the earlier scenes wistful gentleness. it not much different at the front either and where fights over girls honour are more urgent than tactics and nazis or despair. the movement of boris and his wounded comrade into a final space is a further abstracting of the experience of war and its setting in a forest giving it a sexual dynamic while and boris final and pre death flashback is an extraordinary mixture of dream wish fulfillment and heightened anxiety and in which what is wished for becomes menacing and grotesque. from this point on the film becomes a little less interesting and slightly more obvious. one more grasp for expressionist overload  veronika attempted suicide and her rescuing the infant  is clumsily handled while and her sombre guilt casts a paralysing shadow over the whole film. the use of deep focus and at first ravishing and soon becomes wearing and devoid as it is of any of the moral force or meaning welles brought to its use in citizen kane. after what seems a quietly sly critique of totalitarianism in favour of the individual is cruelly betrayed at the end and when individual suffering and as so often in russian art and transmutes into symbolic (i. e. sexless and dehumanised) hope. a pity. ---------------------------------Answer Question Below----------------------------------

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