Представил свою смерть и ... умер. Женщины, обиды и потрясения великого Евстигнеева

The favorite word is NORMAL. Bad or good, it's NORMAL. Even now he walked through the corridors of the house and repeated about himself. NORMAL. And in the heart, as if a knife was inserted. And who? A companion, a friend, a person to whom he was devoted all his life. He was very worried, because he so infinitely believed in Oleg Nikolaevich. And he was so devoted to him that he immediately left his contemporaries for him. And even how to call it, this cannot be. What happened to the greatest artist, that he was kicked out of the theater, where he should work, where there is nothing to do without him. That evening, after another performance, Evgeny Ustegneev came to Oleg Efremov to talk about his feelings. He complained to Oleg Nikolaevich that the role is not very interesting, it is difficult for him to play it. And what, Oleg, in his strict manner, said to him, then go to retire. I was kicked out of my job now. How kicked out? For what? It was a tragedy for Zhenya. He could play dust on the windowsill, but he could not without work. He melts this pain inside, not complaining to anyone, not blaming anyone. He's a man, you can see it. You can see it in his actions. All these women are running to each other and complaining. Or artists with feminine characters. And with a man's character, they do not run and do not complain. Only then do we find out the facts, what is happening to them. Love will give him strength. Late, unexpected. But having made such a gift, fate will measure a short time for him. Evstegneev did not share the details of his personal life. But when he got married for the third time at the age of 60, no one believed that it was serious. In a theater party, they twirled a whisker around his finger, and his friends said directly, Are you crazy? Your wife will put horns on you. But it turned out that she saved him. I noticed how this woman looked at him with such love. It's something special, it's a phenomenon. She admires him and is ready to take off any dust from his jacket, from his head, to lie to him. Because she loves him very much. He was happy, despite the misfortunes that fell on his head in the theater. He was well-groomed, he was beautifully dressed, very fashionable. They had a very cozy, clean house. It seems to me that he has always lacked this in his life. He has always been some kind of alien, a temporary person. I don't believe it. He saw this beautiful girl from Minsk for the first time in the walls of the studio school in Mkhat, where he was a teacher. Many students were in love with the master. But Ira Tsyvina noticed at the second year that she was the one who stood out from everyone. When he watched our excerpts, he liked my appearance, he liked what I was doing. By the way, I was playing a boy. They hid their feelings from each other for a long time. Then they hid together from others. But at some point, Yevgeny Vestegneev allowed himself to be free. From someone else's opinion, from imposed standards. Of course, I saw them in the theaters. They went there, and it caused some anxiety, because there was a very big age difference. And Ira, still in her youth and stupidity, had the manner of braiding two pigtails. It looked impossible. But then she stopped braiding two pigtails. I want to say that they lived very well. You know, just very well. It's beautiful when you're bald. Look. Bend your head. You have a blue hair. You're so cute. He may have always wanted to hear such words, although he treated himself with irony. I'm not young, I'm not attractive. My stomach is growing, but my head is the other way around. When he was young, Vestegneev was described as an ugly man. For his career in the cinema, this fact became fatal. Here he is. And he's bald. It can't be. Listen, stop it. He was not offered deep dramatic roles. Could a real hero look like that? Actors were usually called for small character roles, in comedy. And his early baldness was a real shock. Vasya! Here I am, in the frame. Come here, and then there. They are bald, and the number of people on earth is decreasing. I would shoot such people. Even the future classmates at the MHAD school were shocked when they met Vestegneev for the first time. A man with red lips came to our studio. A man with red lips came to our studio. He leaned on the railing of the stairs. In a half-lying state, he wrapped one leg behind the other. He had a cigarette in his mouth, and he was telling and laughing. He was laughing out loud, and he was laughing in his breath. Can you imagine how he was laughing? Each pretty student was seen off by a novice with a dim look, polishing his long nail. He was showing the highest option. You have to draw yourself as high as you can. You come in and say, hello, beautiful. You shake your hand. Nobody knew then that Yevstegneev had already graduated from the Gorky Theatre School. He took a photo with his classmate Lyudmila Khityaeva. Yevgeny had worked at the Vladimir Theatre for three years, and the audience started to pay attention to him. Nobody knew what was going on with the future great artist. The Russian mind is an inventive mind. But they don't let him go. He can't boast. He'll break all the records. His love for jazz brought him to the stage. They say that the teachers of the Gorky Theatre School happened to see him at the cinema where a guy from the working class was knocking on the drum before the session. Then they persuaded him to go to the theatre. So artistically, Yevgeny has moved a whole orchestra with his play. How much do you pay?" And he had a mother to support him. 20 rubles as a stipend. Men! He spoke French. Are you crazy? I'm a 6th grade miller. I get 130 rubles a month. But he graduated from the school. And when he got into VKUST, he wanted to become an artist in Mkhata. You could get there only through the school-studio. And at the age of 28, the actor became a miller again. We had a wonderful dance teacher, Maria Stepanovna Voron'ko. A very nice woman, a former ballerina, with an embroidered scythe, who would say, Idiots, let's go! And Zhenya danced in front of me. And he danced like a person who has one leg, and the other leg is bone, or in a cast. It was very funny. I laughed like crazy. He was long regarded as a comic character. So when he got married to young Galia Volchek, the school-studio discussed this miscellaneous. Galina was a well-known Moscow girl, the daughter of a famous cinematographer Boris Volchek. She lived in a separate apartment when I was 18. When I married him, I thought he was Einstein, but he was Edison. She lived with her father, and she had a housekeeper, Tanya, who lived with her all her life. When Galia got sick, we moved to her apartment. And we would always drink and eat together. This family had a groom, a provincial, poor, somewhat funny, bald man, whose only favorite book at that time was a two-volume book by Ilf and Petrov about Ostap Bender. Naturally, his father was against such a union, but the household problems were perceived as humor, because their main home was the Sovremennik Theatre, which they themselves created with Oleg Efremov. It was a happy time. There was love, and a wonderful son was born, Denis. Galina Borisovna was not an ordinary person, but a strong, powerful, beautiful person, who probably saw it all before. But something went wrong in the family life, and one day Volchek found out that her husband had a affair. Yevstigneyeva's attention was drawn by a fragile Liliya Zhurkina, who was not at all like Galina. Anna's mother was defenseless. In her essence, she was defenseless. She had no armor, which an actress should have. Because, of course, it was such a complex world, quite cruel, I would even say, and she didn't have any armor at all. She could be eaten at once. Zhurkina joined the Sovremennik Theatre in 1962. At that time, Yevstigneyev was already at the peak of popularity. Moscow theatres were all over the world. But when she saw him for the first time, she thought, God, how old and scary he was. Liliya herself was incredibly beautiful, like an Italian movie star. Then he won her over. He sat down at some general meetings and beat her in the neck. That was the way his mother won her over. Nevertheless, she gave up, because of her incredible manly charisma. He attracted her. It didn't matter if he was bald or not. Between Yevstigneyev and the young actress there was a feeling that came without asking for permission. They had to leave their previous families and Zhurkina had to leave the theatre. It turned out that she was a divorcee. Naturally, she left Sovremennik at once. Naturally, she had nothing to do there. It seemed that everything would be fine. Vladimir Sashalsky was Yevstigneyev's husband. He had his own apartment. Yevstigneyev was proud of his beautiful wife. He spent his rare weekends only with her. The spouses often fooled around by filming each other. In 1968, Masha's daughter was born, whom his father adored. He could cry when he walked with me. He was sentimental. He bathed me for a long time. He bathed me in a bathtub with a duck. I even remember it. I was two or three years old. He didn't allow me to bathe neither my mother nor my grandmother. He was a very touching father. He was gentle and touching. His career was going up. In the theatre, after the film Yevstigneyev immediately took the place of the Sun in relation to other planets. He also played the second main role, Satin, in the play Gorky at the Bottom. Man is great. It sounds proud. He was crying while acting. It was really bad. I was afraid of him. I was afraid that he would sell himself. But there was no one who didn't cry. Yevstigneyev was not just like that. Yevstigneyev became the favorite of the whole country when he played the head of the pioneer camp Dynin in the play Welcome or Forbidden Entrance. He was lucky. The film could not be screened at all. Yevstigneyev was very proud of Khrushchev and his corn program. When I was little... He also had a grandmother. I also had a grandmother. But Khrushchev liked the film. Immediately after the premiere, ironically, he was removed from the high post. So the film was out of the picture. Yevstigneyev showed that he could add a bit of charm even to a finished bureaucrat. Comrades! I wanted to do my best so that the children would get better and there would be discipline. It is not surprising that he attracted the attention of director Ildar Ryazanov, a famous master of lyrical comedy. Ryazanov will shoot the actor in four films. It will be a great holiday, even if, as in the case of The Zigzag of Luck, the filming was in fierce frost. Operator Vladimir Nahaptsev is ready for filming. The interview will have to be interrupted. The cold was terrible. And what did we come up with? It was Burkov. He said, we will freeze. All our noses will be blue. We must improve our health. I love hats. Did anyone run for a hot hat? However, at some point the actors were so carried away that the director threatened the most guilty to write a report in their theater. Evstigneev once even separately blamed him for not being able to choose a sober take. But the anger was short-lived because the actor worked brilliantly. Thank you, dad. Evstigneev's career did not go well for his wife. The beauty Liliya Zhurkina mostly stayed at home. She left the theater. She was not invited to the cinema. Only in episodes, with a trailer to a popular husband. Of course, she suffered a lot. I fell in love six times. What? Liliya was a touching person. She was very unsatisfied. They did not let her work. She was a talented person. In the theater, the modernist was ripening. In 1970, Oleg Efremov headed Mkhat and called the color of the corpse with him. The debates were hot. What no one could expect happened. Zhenya left at the most unexpected moment. It was strange. The modernist was defending him. He said he would never leave. No one should leave. Suddenly, he left. It was a trap. Evstigneev was accused of treason. In Mkhat, he did not get the roles he wanted and could play. You see, talented people gathered in Mkhat with Efremov. It was a mess. It was a hard time. There was a period when something happened to Efremov. He was looking for something. Evstigneev's move to Mkhat made the situation worse. Efremov promised to take Liliya Zhurkin's corpse. The main reason was their friendship. When we were on tour, we discussed it after the next performance. There were clouds over Oleg Nikolayevich. Evstigneev told him that if something happened to him, he would go with him wherever he wanted. He was close when Efremov gave the corpse to Mkhat. Evstigneev was listened to. He had no enemies in the theatre. You have to do your job properly. That's how it should be. It will only give you a chance to win. Evstigneev never said anything bad about anyone. He didn't despise those who were weaker than him. On the contrary, he helped these people with his presence. When they were on tour in Japan, they were told everything in turn, just like a priest. The artists knew that it wouldn't be as good as what Evgeny Sanych said. Everyone who knew him closely talked about some inexplicable charisma of Evstigneev. If there was a company, he was always at the center. He was often silent. He had an inner state of loneliness. Sometimes he was very touching. He always paid for me. I tried to talk to him. Evgeny Sanych had a bad motive. He thought I was a young director and I was in need. He was very caring. Evstigneev himself often became a hero of actors' fairy tales. Stories about him were told not only in both theaters, but also in the wide film and theater circles. We decided to put Griboyedov's play The Sorrow of Atom. Evstigneev told him how to make the play and gave him the play. The next day he came and said, Oleg, we don't need it. Look here. What did you find in it? He gave a speech and said, you will pay for everything and for everyone. He said, you will pay for everything and for the light and for the gas. It was the end of the play. Everyone fell down. As a joke, the story is recalled how together with his friend Vladimir Kashpor Griboyedov bought shoes for himself. As he grew older, he became a big fan and loved beautiful shoes. It was not expensive. They bought 11 pairs each. They came to the room and washed the shoes. In the evening, the actors came and everyone praised what he had bought in Japan. Nina Gulyaeva went to see when they put on the shoes. You know, it is a funeral shoes. You can't return it. It is disposable. That's how they came back from Japan. For him, such incidents were a reason to laugh at himself. Yevstigneyeva made him not satisfied with his work. She grew up with the years. Here is a meeting of the party committee. The actors always had roles Zhenya played a genius in Stalivary. He played not the best, but a great role. But it was not enough for Zhenya. He went to the theatre hoping for other roles. The main thing in Chichotka is courage. You feel you can beat Chichotka. You feel you can't live without it. If you don't beat Chichotka now, you will die. It is scary. It is hard to understand a person who doesn't do it. But he was beaten. What does it mean to play a role? It is a year, sometimes more, of life. Of course, it is like a heart. He never told himself how we like to relax and tell everything. He is a different person. I can't imagine how he could stand the insults. No one could appreciate him for his incredible blow. God, who is it? It is Vitya Adamovich. He is always with the people. He is our man. I recognized you. Our respects. The actors didn't have the understanding at home. Liliya Zhurkin was tormented by her husband. Her hope to make a career was gone. The actress played only secondary characters. She couldn't achieve something on her own. Her husband didn't ask for it. Now it is normal. We promote our children. I think it is natural. It is normal. Every profession has it. There are dynasties, but he was different. He couldn't be rude or rude. Even if he was worried, he didn't do anything. You don't care where to sit, but you bother me. Or do you do it to make me angry? Against the background of constant worries, Liliya had health problems. She lost her charm. She became sensitive and didn't miss a chance to be with her husband. Her stress killed her with pills and alcohol. Stegneyev felt sorry for her. We had dinner in Karen Shakhnazarov's apartment. It was a feast. It was so nice, so homey. Anna Grigoryevna, Karen's mother, knew how to create such an atmosphere. We laughed, joked, and then we left late. We were catching a car. I was with Stegneyev and Liliya. Zhenya called me and whispered in my ear, Sasha, if only life was like that! Can you imagine? He didn't have such a life. Sometimes he was saved by a movie. In the 70s and 80s Stegneyev played several roles that would later be called Christmas roles. I like to play cash roles. Yevstegneyev showed that he could do anything. He could work with broad strokes, literally spreading his disgusting character from the film. He could draw a complex image with the tips of his fingers, almost without words, as in the case of Prof. Pleischner from the film The 17th Moment of Spring. I can never play like that. Not as vividly, not as deeply as he did. Tell me, who would have played the scene of escape together with Ulyanov when he lost all the money and was drunk, trying to get at least a ruble and the money? I was looking at Prof. Pleischner and I didn't understand how it could be possible from an actor's point of view. How could he do such a walk, such jumps, such a strange, scattered professor in such detail? His episodes often cost entire roles. What are you staring at? I'm a thief in the law But he was never offered to play a significant role of the scale of Queen Lira in a movie or in a theatre. And he knew he was capable of a lot. He never played a great artist, although he was one. He was in the line of the greatest, in the line with Mukhtunovsky, with Leonov. There were three or four of them. Once he was sent to read the script of the movie Winter Night in the Hagra. The story of the forgotten dancer who was even buried by the TV touched him so much that the actor, who usually didn't ask for roles, went to the director Karen Shekhnazarov with the words I will fight for Beglov. And then every day he came to the studio to play the role that was most similar to that of Stegnev in real life. What happened? Nothing happened. But you didn't like something? I liked everything. No, you didn't like something. I liked everything. But I'm not a trained monkey. He played a lot of roles that were comical, satirical. But he was not a comical character at all. The actor put all his pain and loneliness and confusion from the sudden separation of his beloved daughter into Beglov's image. I had my own young life, of course, and I tried not to get involved because they were my parents. They were both dear to me. I didn't want to get involved in their problems. I wanted to get away from the wall. Hello, Lena. How are you? Do you remember when we drank tea? Of course. Maybe we'll meet and knock? Are you crazy? I have an exam tomorrow, and you will knock. Sorry. Not many people know where he found all the tricks. I think he was just looking for them. We sat down and ordered a bottle. We had fun. I said, Zhenya, the audience is normal. Look, they'll start fighting. Look. It's interesting. He was afraid of some life, of society. He was afraid of loneliness. The film was shot in 1985. A year before that, his mother died, whom Stegneyev loved. In 1986, Lilya Zhurkina died. Antidepressants, overdose, either by accident or on purpose. They lived together for more than 20 years. Yevgeny Alexandrovich died and then fate sent him salvation. Life is not over yet, is it? It will be. I lived a lonely life. Not young anymore. But the one who loved me the most in the world left me. Well, I don't find a place on the bed at night. Well, I go crazy. It was some kind of chemical reaction. I really liked his appearance, his beautiful voice, his hands. It was love. Well, I don't know what attracted me. Some kind of charisma. I don't know what. He was a man at any age. And it was clear that any girl could fall in love with him. If only he paid attention to me without hesitation. It was the first time in his life. A young woman surrounded him with almost maternal care. Everyone around was amazed. Where did you, a student of yesterday, get so much hospitality and warmth? Tea? Coffee? A drop of wine, if possible. A drop is allowed. It was his sweetheart, some kind of hope. And he... Maybe he hadn't met such attention and care in his life. And Irochka gave it to him. And it touched him very much. And he treasured it. Unfortunately, water. Attention! Next to her, he felt the taste of life again. He was happy to wear the fashionable new clothes that she sewed for him. He was happy for the guests. We sat in the restaurant and we wanted to continue the conversation. And Ira said, let's go to our place. I'll call you now. And we all, at about 12 o'clock, rushed into this small apartment in a huge company. So that he wouldn't swear at us, we all knelt down in front of the open door. But he still defeated us because he had a movie camera. He had a close friend, Semyon Moiseevich Zeltser, who worked in a store on Gorky Street. It was called Kishka. And he took food there, brought it, and started cooking. He loved to cook shish kebab. And he couldn't be touched. Then he enjoyed watching these shish kebabs being eaten by Masha and me. She kind of brought him back. She made his life longer. She forced him to work. He went to work, filmed himself. Of course, it's her in many ways. It was Irina who persuaded her husband to play the best role in all of his artistic career. Professor Preobrazhansky in the film Dog's Heart, which was shot at Lenfilm. Destruction is not in the eyes, so when these baritones shout, I laugh. I find it funny. He didn't read Dog's Heart. It was forbidden. And I read it at school. And when he got the script, he didn't have time to read it. So I read it. He asked me. And suddenly I saw the script of Dog's Heart. It blew my mind. And I started to persuade him. And he agreed if I would go to St. Petersburg with him. Many outstanding actors tried this role. But director Vladimir Bordko stopped at Evstigneyevo, noting his special penetration into the image. Thoughts that Preobrazhansky expresses to Evstigneyevo. He was in his sixties. They understood what was going on in our country. They criticized it. God save you. Don't read Soviet newspapers before lunch. But there are no others. Don't read any of them. Besides, on the eve of shooting Evstigneyevo left Makhat. The emotions of an actor who knew his place, knew the audience needed him, but lost his footing were perfect to make him a genius. But Evstigneyevo's situation worsened. He got old in one day. He called me and said he wanted to retire. It was embarrassing. I wasn't ready for it. Evstigneyevo came to the theater as a person from the outside. Nobody understood why Efremov treated his old friend so harshly. Maybe Oleg Nikolayevich left the fatal phrase in his heart. Then his pride prevented him from fixing it. I think it was the situation of a quarrel between two artists in love. We've been working together for 30 years. You're my right hand. And today it's being cut off mercilessly. It was difficult. I'm not a judge. When Evstigneyevo married Irina, he wanted her to be his wife. Zhenya didn't get it. I think Oleg Nikolayevich envied Evgeny that he could bring a young girl to his heart but he wasn't allowed. It was purely a man's weakness. He called Evstigneyevo only a year and a half later. He called and asked to come back. Evgeny had already played the role of Firs and he asked Evgeny to help the situation by playing Firs in Manhattan. By that time Firs had already played the role of Firs. It was a private enterprise. It was a huge success. Evstigneyevo played the last Firs in the list. It was one of the most prominent roles. Firs was sweet, juicy, fragrant. They knew how to do it. Where is this method now? They forgot it. Evstigneyevo survived the insult and found the strength to continue his career. He didn't refuse Efremov's request and played Firs instead of a sick actor in Manhattan. But they were no longer friends and Evstigneyevo didn't come back to the theater. He already felt the charm of free life. When there is no obligation, the feeling of freedom and creativity is very important. He wants to write it and he is an actor. He has a right to do it. The place where we stopped is called Palm Beach. He did a lot of things that he missed in his life. He visited the edge of the world. Together with his young wife he flew to Australia twice. His relations with children became more tender and closer. He was very proud of Denis. When his son became a cinematographer and began to make films, he said, Sanya, did you see? Not bad, not bad. He was so worried. I broke my leg very badly in 1990. I was in the hospital for five months. We got very close then. He often came to me to the hospital. We had time before he left. We got closer as adults. He left suddenly and it was a shock for many. Only two days ago he was sitting with his colleagues at the banquet. Then they said that his own impression killed him. Before the heart surgery in London the surgeon told the actor about all the risks. I think he had a hunch. He said goodbye to us. At the banquet he said goodbye with his own humor as always, not seriously. He was a man and remained a strong and very bright person. When the actors were setting up a monument at the grave, his friends even thought that it was his next joke. I had a feeling when I was sitting at the monument that he would come out and people would say to him, «Enough, guys! Let's go!» Such a story.