Dacă o să vă spun că am plâns ieri vizionând unul dintre cele mai umane filme făcute vreodată, n-o să vă spun nimic. Pablo Picasso, după ce a ieșit de la premieră a zis că ”this is outstanding cinematic poetry”. Aș adăuga că o mișcare de cameră și o compoziție precum cea a domnului Urusevsky n-am mai întâlnit la nimeni, poate doar la expresioniștii germani înainte, și la Tarkovski după.
Kalatozov’s gem focusing on the love between a young couple and how it was torn apart by by WW2. The story is probably the most coherent, and overall satisfying/devastating he ever achieved. But to be fair the real strength lies in its expressionist composition. There’s no director as consistently phenomenal cinematically, and with Cranes he truly mastered the art of camera movement and spectacular imagery.
Mesmerizing, poetic, and emotionally powerful. This film also contains some of the most lush and fluid camera movement in cinematic history. Every frame is packed with complex symmetry, exquisite detail, and beautifully cinematography. This film is an essential piece and masterwork of Russian cinema.
The star is obviously the masterful camerawork, which creates several breathtaking sequences that border on avant-garde. The rousing sentimentalism that closes the film is well-earned considering the tragic events that precede. I'm just still in awe at the execution of much of the film.
Haven't expected for a moment this would be so cold. To employ a J. Kristeva disjunction, "Cranes" is symbolic (carries a structure & fine editing acc. to best standards; is adamant about the martially Utopian, off-front line circumscription of civilian duty as in an unintentional "Meine Ehre heißt Treue" which makes it less detestable than Mizoguchi's "Poppies" though) but never semiotic (poetic, musical, feminine).