《你和我》（1971）的故事发生在当代俄罗斯，也是她唯一一部彩色片（Technicolor摄制）。讲述了两个男外科医生，深陷理想的危机，想要把个人的绝望和对更为宽大的人性、责任的期望平衡起来。（文/Nova）

作品描写主人公罗亭出身于破落的贵族之家，接受过大学教育，又曾到过国外游历，热爱自由，且能言善道，向往追求理想的生活、事业和爱情。但他却是“语言的巨人，行动的矮子”，虽追求尝试许多，但却屡屡失败，一事无成。他赢得了单纯善良的姑娘娜塔莉亚的芳心，却屈服于娜塔莉亚母亲的意志而放弃了幸福。至后来他曾创办多种事业，却都以失败而结束。之后，他一直过着贫困潦倒与漂泊的生活。

三个卫国战争时期的歼敌英雄聚集在莫斯科，迎接一年一度对他们来说最为重要的日子胜利日。然而就在他们兴致勃勃地为参加胜利日的阅兵式忙碌之际，不幸的事件发生了，其中一位朋友遭人陷害而被捕。为救朋友出狱，其余两个朋友想尽一切办法，在走投无路之际，他们劫持了飞机。待朋友被送来、机上全部人质撤离后，等待他们的将是被全部杀害。于是他们驾机而起，消失在蓝天白云之间，再也没有返回地面。

卡拉托佐夫与乌鲁谢夫斯基的第一次合作, 片子感觉一般不如两年后的<雁南飞>好, 乌鲁谢夫斯基当时还没有完全形成后来著名的手持摄影+情绪摄影的风格, 但已有初步的实践.
In one of the steppe regions of Kazakhstan arrives on a trip Komsomol youth squad. Severe spring frosts and flows of mud, debilitating work is not on specialty complicate the already difficult lives of arrivals. Against the backdrop of such a life is a touching romance Secretary Komsomol organization and traktoristki Anna ...
In 1954, the famous Soviet operator Yuri Ekelchiku suggested - the first of the Soviet operators - to hold experienced wide survey. The choice was an unusually happy: wide screen as if created specifically for Ekelchika on his constant desire "to go beyond the frame", "declared neobyatnoe". But the new format has brought new problems. Ekelchik obsessing looking for ways to feed the most expressive actor, checks with the possibility of shooting motion. Experiments and receive real goal - along with director Mikhail Kalatozov Ekelchik begins preparations for the shooting of the first Soviet widescreen movie "Tselina" by Nikolai Pogodin scenario. Unfortunately, the film had to withdraw a normal screen. But labor Ekelchika not gone and experienced shooting, and taken on a wide screen acting samples were carefully and with great benefit operators studied, followed by Ekelchikom absorb the new format. "The first echelon" (under the name of the film came out on the screen) again demonstrated the ability to change Ekelchika, finding new means of expression for new content. But the significance of the film in the development of carrier-art does not stop there. It's really, it seems, has not yet been assessed. The reason is that individual elements of synthetic art of cinema, as correctly noted art historian A. Kamensky, have "a certain autonomy development". She and manifested in the "first line" - went fine interpretation of a few more of scenario and director solutions. A film importance, place in the history of cinema is defined as a rule, the overall assessment. For Kalatozova (as, indeed, and for cinema in general) "The first echelon" had a transitional film: he began to get rid of this period malokartinya many canons and only naschupyval a style that has made his next movie - "The Cranes Are Flying" (1957) event not only the Soviet - of world cinema.




Sergei Urusevsky (1908 - 1974)
Sergei Urusevsky started as an painter and photographer studying under the great graphic artist Vladimir Favorsky at the Institute of Fine Art in Moscow. Bringing a pictorial tradition to cinema, Urusevsky started his career with Mark Donskoi on Selskaya uchitelnitsa (The Village Schoolteacher, 1947), Vsevolod Pudovkin on The Return of Vasili Bortnikov (1953), and Grigori Chukhari on Sorok pervyi (The Forty-First. 1956). Urusevsky also served during World War II as a cameraman on the front lines.
With The First Echelon he combined his marvelous visual sense with Kalatozov's breathtaking
technical skills — a partnership that made The Cranes are Flying, The Letter Never Sent and I am Cuba landmarks in the history of cinematography. Urusevsky and Yuri Ilyenko (cinematographer of Shadows of Forgotten Ancestors who also became a director) had profound
influence throughout the Soviet film industry — not since the 1920s had Soviet film style been acclaimed throughout the world. His poetic camerawork, no matter how daring, was always an organic search into the emotional possibilities of the script. In 1969 Urusevsky directed The Ambler's Race, adapted from the Kirghiz writer Chinghiz Aitmatov's short novel. Urusevsky followed this up with Sing Your Song, Poet (1971) based on the poems of Sergei Yesenin.
Urusevsky's other cinematography credits include The Land of the Blue Mountains, Alitet Leaves for the Hills, Cavalier of the Golden Star, and Lesson of Life.

In the Soviet airbase, occupied by the Nazis, a resistance group occurs, led by a modest girl Anna Morozova. For each victory (important, albeit small on a scale of the war) they have to pay a heavy price.

Mini-series set in times of WW II about Soviet underground fighters led by brave Anna Morozova. They are establishing connection with Polish people who work on German airfield. And even small victories cost a lot sometimes.