The matter is that this film was joint Soviet-Italian production and the most part of money for its setting was brought by the Italian producer.
Quite probably, that under the contract, negative materials were sent to them.
The known Russian cameraman Levan Paatashvili who has shot such 70-millimetric films as "Beg" \"The Flight" and "Romans o vlyublyonnykh" \"Romance for Lovers", in his book wrote, that he has been invited to shot this picture and that it was planned to shot it in 70mm.
You on your site make great job for preservation fundamental principles of cinematograph.Filming of "Beg"/"The Flight" (Camera "Russia") Unfortunately, I do not have any posters form Russian70mm films. As to DVD of the films, their covers in our country never reveals if the films were photographed of exhibited in 70mm.Let though and partially, but that fact, that for a short interval of time many authors of cinema again started to use 70mm format at shootings, in such films as "The New World", "The Prestige", "Sunshine", "The International", "The Dark Knight", "The Tree of Life", "Inception", "Shutter Island", "The Young Black Stallion", "Transformers-2".It speaks that the format of 70mm can again return in complete volume.Sovscope 70 You Tube clips Tabor ukhodit v nebo (1975) "War and Peace" Part 1 "War and Peace" Part 2 "War and Peace" Part 3 "War and Peace" Part 4 Also, recommend you to address on studio "Mosfilm". In the foreground behind camera KSSHR-1 is Cameraman Jury Gantman, nearby Director Akira Kurosawa; behind the second camera KSK-70 is Cameraman A.
They have also storehouse of films, shot directly at their studio (and such films are more than half from my list of the Soviet 70 mm of films). Or to the chief of an international department and film distribution Mr. Nakai It is the fullest list of the fiction, full-length Soviet films which have been shot on 70 mm a negative. Film Krasnaya palatka \The Red Tent (1969) - in Gosfilmofond is stored only a positive reference copy of this film in a format 1.37:1, printed in laboratory Technicolor. In storehouse of studio Mosfilm the same - a positive rolling copy and also in a format 1.37:1.
I consider, that shooting on 70mm a negative and demonstration of such films at cinemas in 70mm it some kind of HI-END in the world cinematograph.
On my deep belief, use of digital chambers can spoil cinematograph.
Almost same not clear situation with the film Szerelmi lmok - Liszt \The Loves of Liszt (1970) which is also joint statement (with Hungary) and which is stored in Gosfilmofond in a format of 35 mm (2.35:1). This film did not demonstrated in Soviet Union in a format of 70 mm! The part from these films was shot on 35 mm (anamorph, 2.35:1) and then blown up to 70mm for distribution, and the part from these films was shot on system super 35 and also blown up to 70mm.
in spite of the fact that film was joint Soviet-Hungarian. Here it would be desirable to give a short historical information.
As far as I have understood from your website, it was always mentioned if a film was presented in 70mm, and the posters carried a 70mm logo.