Author: Neely

The 1960 film The Cranes Are Flying is filled with striking and compelling scenes. The director, Mikhail Kalatozov, is notably intentional with his use of the camera and framing, both of which enhance the storytelling and accentuate the performances. This Soviet film is set during WWII and tells the story of Veronika and Boris, who are recently engaged. Boris volunteers to join the Soviet fight against the Germans, deeply affecting Veronika. The Cranes Are Flying portrays the profound grief experienced when a loved one is sent to war.

Medium close up (MCU)

Medium close up (MCU)

Medium close up (MCU)

Medium close up (MCU)

Medium close up (MCU)

Medium long shot (MLS)

Long shot (LS)

Medium close up (MCU)

Medium close up (MCU)

Medium close up (MCU)

Medium (M)

Extreme long shot (ELS)

Extreme long shot (ELS)

Extreme long shot (ELS)

Extreme long shot (ELS)

Veronika is late for Boris’ farewell, her last chance to see him before he goes to war. The framing in this scene captures the frantic and urgent emotions that Veronika feels and reflects in her movements. Starting with the medium close-ups on the bus, Veronika is peeking her head in and out of the window, suggesting that something lies ahead. This framing allows the audience to focus on her while still grasping her surroundings. The camera follows her as she runs off the bus and continues with a medium close-up as she searches for the quickest way out of the crowd. The medium close-up allows the audience to see her thought process as she navigates the disorderly environment.

She then runs into the crowd, with variations in how she, the subject, is framed. Both the long shot and medium long shot capture her disoriented thoughts, manifested in her movement as she weaves through the crowd. At several moments as she runs, she is obstructed from view by surrounding objects and people, which helps to set the scene and convey her anxious state. The film then returns to several more medium close-ups, where her distraught state of mind is evident, while tanks roll along in the background. She runs away from the camera to enter the road where the tanks are rolling. The cameraman steps onto a lift, creating a high angle. The high angle, combined with the extreme long shot, makes Veronika appear small and insignificant, yet her actions remain distinct. The extreme long shots of her running through the path of the tanks also convey that her objections to Boris going to war are part of an issue much larger than herself.

The broad set of framing choices in this scene communicate several things. The medium close-ups and medium shot not only emphasize how crucial it is for her to reach Boris’ farewell dinner on time but also reveal how the situation has put her in a state of distress. While still conveying a sense of urgency, the long shots and extreme long shots also shows the chaotic situation that has caused her distress, thereby contextualizing her actions. This scene is executed without cuts, relying entirely on the cameraman’s work. The framing and camera movement masterfully elevate Veronika’s emotions and actions.