The Great Patriotic War left an indelible mark on Soviet history, shaping national identity and cultural memory
Ekaterina Grig
During the war itself and in its immediate aftermath, Soviet cinema focused on themes of heroism, sacrifice, and the unity of the Soviet people against the fascist invaders. The post-Stalinist era witnessed a shift toward a more nuanced representation of the war. With Khrushchev’s Thaw, filmmakers gained more artistic freedom, leading to works that explored the psychological and emotional consequences of the bloodiest and most destructive war in human history.
The Cranes Are Flying (1957), directed by Mikhail Kalatozov, takes a more personal and emotional approach to war. It tells the story of a young couple separated by the war. The film focuses on loss, longing, and the human cost of war, marking a shift away from purely heroic depictions. It won the Palme d’Or at the Cannes Film Festival, gaining international recognition.
The Ballad of a Soldier (1959) by Grigori Chukhrai follows a young soldier Alyosha, who is granted a brief leave to visit his mother after a heroic act at the front. During his journey, he meets various people, and fall in love with a young woman named Shura… The film emphasizes themes of love, kindness, and the fleeting nature of happiness during wartime. Unlike traditional war films, Ballad of a Soldier focuses on human emotions rather than battle scenes.
The Clear Skies (1961) is a Soviet drama film also directed by Grigori Chukhrai. The film explores the life of a Soviet pilot during and after World War II, addressing themes of political oppression, redemption, and personal resilience. The story follows Aleksei Astakhov, who was captured by the Germans during the war. Upon his return to the Soviet Union, instead of being welcomed as a hero, he is treated with suspicion, since former prisoners of war were often considered traitors. His struggle to reintegrate into society, the challenges he faces in his personal and professional life, and his relationship with Sasha, a devoted woman who stands by him, form the emotional core of the film. As Soviet policies shift in the 1950s, Aleksei’s status is eventually restored, reflecting the political thaw under Khrushchev’s de-Stalinization.
Clear Skies was a significant cultural marker in Soviet cinema, showing a more humanistic and personal perspective on political issues. It was one of the first Soviet films to openly criticize Stalinist repression, aligning with Khrushchev’s more liberal policies.
The film won the Grand Prix at the 1961 Moscow International Film Festival.
The Dawns Here Are Quiet (1972) is a war drama directed by Stanislav Rostotsky based on Boris Vasilyev’s novel of the same name. The film nominated for the Academy Award for the Best Foreign Language Film category (1973) tells the tragic and heroic story of a Soviet anti-aircraft unit consisting of five young female soldiers and their commander, Sergeant Vaskov. Stationed in a remote area, they unexpectedly face a squad of Nazi saboteurs attempting to infiltrate Soviet territory. Though poorly armed and outnumbered, the women choose to stand and fight, displaying incredible bravery and sacrifice.
As the story unfolds, the film explores the backgrounds, hopes, and dreams of each female soldier, making their ultimate fate even more poignant.
By the 1970s and 1980s, Soviet war films had matured into complex narratives that questioned the cost of war. Films like They Fought for Their Motherland (1975) by Sergei Bondarchuk combined patriotism with a deeply personal perspective on soldiers’ struggles. This epic war drama is based on the novel by Mikhail Sholokhov. Set during the Battle of Stalingrad, the film depicts the hardships faced by Soviet soldiers as they fight against overwhelming odds. It presents realistic battle sequences, exhaustion, and camaraderie among soldiers. The film stands out for its realistic portrayal of the war, showing both physical and psychological struggles.
Elem Klimov’s Come and See (1985) stands out as a harrowing portrayal of Nazi atrocities in Belarus, utilizing surrealism and horror elements to depict the war’s inhumanity. It follows a Belarusian boy, Flyora, who joins the resistance against the Nazis and witnesses the atrocities committed against civilians. The film uses surreal and haunting imagery to convey the horror of war, avoiding traditional action scenes in favour of psychological devastation. It remains a profound anti-war statement and is widely regarded as one of the most powerful and disturbing war films ever made.
Soviet films about the Great Patriotic War were not only significant cultural artifacts but also powerful tools for shaping historical memory. Soviet war films evolved over the decades, from early patriotic propaganda to deeply psychological and emotional works that explored the true cost of war. These films remain an essential part of cinematic heritage, they continue to influence global cinema and remain essential for understanding the Soviet perspective on World War II.
