Oleg Tabakov and Marina Zudina: “Love is when there is no strength to endure separation. “I foresaw a romance with him!”: The story of the difficult love of Oleg Tabakov and Marina Zudina Oleg Tabakov leaves Marina Zudina

Oleg Pavlovich Tabakov met with RG journalists, who, according to tradition, not only asked their own questions, but also voiced letters and calls from their readers, of which there were a huge number. Unfortunately, no account of this meeting can give a complete picture of the brilliant, hilariously funny, serious, grotesque and temperamental spectacle witnessed by RG journalists Valery Kichin, Maya Kucherskaya, Sergei Sych, Yadviga Yuferova.

Oleg Pavlovich, I would like to start the conversation with what worries many today. IN Once again The flight was delayed for several hours at the airport. The two women aroused great suspicion among the passengers. In your opinion, what is happening to us after Beslan, will we not become hostages of our own suspicion?

Not really. I think that every trouble, every grief has its own recipes for treatment. Something can be treated by drinking 200 grams and burying your nose in a corner. Some things take longer to absorb. I do not think that with all the magnitude of the current disaster, the suspicion of passengers on a flight to Hurghada will become a trend. No. We, I would say, are still gullible: a person still tends to forget the bad.

I was seven and a half years old when the first large column of Germans was led through Saratov, where I come from. We lived hungry, my grandmother sold gold coins, paintings, and especially valuable books. She took a loaf of black bread, cut it and said: go, give it back. I don't think I have changed much since then.

You had American students, you yourself have been to America more than once since September 11th. Americans believe that their society has changed radically since the tragedy. What do you think such tragedies teach our country?

I don't think the Americans have changed, it's for the red word they say so. Little have they changed.

Our trouble is something else, and I think that she is diagnosed quite seriously. We have been destroying our secret services for a long time. Before Putin, in my opinion, this department was reorganized four times. Losses are irreplaceable. You probably understand that people with the most enterprising brains have long been working in other places. Destroyed, destroyed, and then realized: what a disaster! What did you think then? The last thing I want to do is exclaim or throw up my hands, as Democrats, Orthodox, and statesmen do. I am a man of a free profession, so I am interested in this because of human science.

We need to restore these services, and the president's recognition is worth a lot. When, by coincidence, I began to direct the Moscow Art Theater, I had to muster up my courage to say: sorry, we are bankrupt, and therefore let's get down to business.

For two years already, an unprecedented theatrical tragedy has been unfolding before our eyes - the capture of Nord-Ost. It continues, because now there are fierce disputes: to play a performance or not?

It seems to me that this is one of the very honest attempts to make a national musical performance, and "Two Captains" is not "Romeo and Julia" at all. This is absolutely our, Soviet, novel, which was clothed in a very convincing form. So, it seems to me that this must be done. I think that even if people come and put flowers in front of the theater and go to watch, there is nothing wrong here, on the contrary. After all, what do the terrorists want to do? They want to destroy the way. way of life, national character. You lived like this - you won't live like that. Impose will. In my opinion, the restoration of "Nord-Ost" - this is anti-terrorist activity. This is resistance to terror in my understanding.

- So we went to the theater. Does the theater need a strong state?

A strong state is not necessary for the theater, but for the people. Theater is part human life. A strong state is a mechanism for caring for a person. Today we have 20 percent of poor people. According to the current trend of economic growth, by 2007 this figure could be half as much. If the state is strong, then the poor will be half as many - that's what a strong state is for. And the theater is still only a part of life.

But a strong state is a police state in which the budget goes not to culture, education and theater, but to the army, to services that have not been given money for all these years.

Well I'll wait. Pay first teachers, doctors, soldiers, policemen.

Perhaps this is not the answer of an actor, but of a successful businessman. Because an actor would probably say: pay the theatre...

That stupid actor would say. And I, I will not say that smart, but cunning.

Let's finally move on to the theater stage. What happened to the letter "A" in the name of the Moscow Art Theater? Where and why did she disappear at the beginning of the season?

There is no difficulty here. What is "A"? This is a kind of sublimation of what was called the "imperial theater" at the beginning of the last century. It contained various forms encouragement. When the revolution happened, she wanted to keep some kind of reward system. Show who she has on a special account...

What do I associate the adjective "academic" with? with the Academy of Sciences. With something undeniably unshakable. In relation to the theater, such a word is incorrect. Theater is a beautiful, frivolous, exploratory activity.

When the new theater artist Trofimov from the Moscow Art Theater configuration left those three letters that were invented by the founding fathers and showed me a photocopy of what was, I thought: oh, how good! And the "name of Chekhov" also needs to be removed.

- But did the academic theater get a bonus for academicism?

Well, what is the academic bonus now? Of course, there is some kind of allowance, but not for people, but for the theater. The Moscow Art Theater pays its employees much more from the funds earned from its main activities than the state does. The state gives, say, 5.5 thousand rubles, and the average wage for the troupe for June (the last month before the vacation) was 19,800 rubles. I try to bring things to the point where people get what they work for. It is very important. By labor. That's all.

You came to the theater and told the troupe that the theater is not only a temple, but also an enterprise. What are the successes of the Moscow Art Theater enterprise today?

Talking about success is embarrassing, not to the face and not for years. I can talk about an interesting, developing business, about joys along the way. Well, for example, which of you wrote about actress Olga Barnet a few years ago? Of course, she was famous, but somehow quietly. And today you know her very loudly, right? This is the main joy.

This is what makes me happy. Or the debuts of completely unknown people. Vanya Zhidkov, yesterday's student of Dima Kulichkov, or Dmitry Nazarov's remarkable debut on the Moscow Art Theater stage as Teterev. Or, let's say, a twist that you probably didn't expect in Sasha Semchev when he played Lariosik in The White Guard. Here are my joys.

And how do you feel about the dramaturgy of the Presnyakov brothers, which is actively staged today at the Moscow Art Theater and throughout the country?

I think that they are a new undergrowth, or something, of the Russian theater. I would not call them a discovery, but they are extremely sympathetic to me as people prone to self-learning, to improvement, and, undoubtedly, their latest play, Playing the Victim, is for the better different from how they started.

- But criticism evaluates this work differently.

Excuse me, I don’t want to disavow criticism at all, but I turned 69 in August, and believe me that I understand the theater no less than criticism. I will build the case, and they will criticize. To say that I don't care what the critics write about our work would be a lie. But I survive it without much psychological trauma.

How do you feel about the critical statements of some theater critics about the changes in the Moscow Art Theater that took place after the departure of Oleg Nikolayevich?

I will say that I do not inherit anything from anyone. At a difficult time for the theatre, I was appointed external manager. A sort of major general from the department of Sergei Shoigu. And let them come up to the grave of Oleg Nikolaevich, look to the left and be ashamed that the slabs have failed at the grave of Stanislavsky. And the water in these dips.

So for me, memory is a pretty important thing. But in a different way: 27 graves of employees of the Moscow Art Theater, who had fallen into disrepair and looked like heaps of earth, were restored. And not only on Novodevichy, but also on German, and on Vagankovsky. Through the efforts of Garik Leontiev, my feeble efforts.

- There are several questions from our readers about the fate of the memorial plaque on the house where Oleg Nikolayevich lived.

In 2001, the theater wrote a letter to the mayor's office regarding the installation of a memorial plaque on the house where he lived. We were told that such a board can only be installed 5 years after death. We wait.

Another question from Galina Stepanovna Orlova from Omsk: "How are your relations with the actors who worked with Efremov?"

Natasha Tenyakova has just turned a few years old. She is in that shape and in that condition of her talent that she should play Gurmyzhskaya in "The Forest" and this will be the premiere a few months after her anniversary. Here is the thing. I accept this, this is my life logic.

- And what is the fate of the Efremov foyer?

The Efremov foyer was made hastily and untalented. And it will be done differently. In general, the memory of Oleg Nikolayevich, it seems to me, rises much more clearly when Zhenya Mironov, Boris Plotnikov, Zhenya Dobrovolskaya, Nastya Skorik, Misha Khomyakov entered the play "The Seagull" (my favorite play from his Chekhov ones).

Or, as a result of slightly increased money for culture in the budget of my country and with the help of well-wishers, in particular the chairman of the board of trustees of the Moscow Art Theater German Gref, we will finally connect house 3 and house 3a in Kamergersky Lane. This opening will have a glass cover and there will be three levels: on the lower level there will be a good, beautiful cash hall, where computer monitors will stand. On the second floor there is a permanent exhibition. Because we must remember the history of the theater. It should be a part of life, not some exclusive promotion. After all, I go to my mother and to Maria Nikolaevna, my second mother, to the cemetery for the wrong dates. I do this because this is my life.

Another question from our readers: "Why Soviet actor, formed as a talented person, became an ardent anti-Soviet? This is incomprehensible to me. Doctor of Historical Sciences Sokolov.

If you call me an anti-Soviet, then you need to define Doctor of Historical Sciences Sokolov as an "adviser", that is, a supporter of the Soviet system. I am opposed to this religion. I respect his convictions and urge him to treat my political and civic views with the same respect. I want to disappoint the doctor of historical sciences. Formed in Soviet time the actor comes, on the one hand, from his father from the middle class and serfs, and on the other hand, from his mother from quite serious nobles, whose estate was in the Odessa province. And the collection of grain from this estate was a significant part of the bread that fed the tsarist army in the Russo-Japanese War.

I already told you how my uncle Anatoly Andreevich, who lived opposite the Saratov Theater for Young Spectators, on the pediment of which there was a huge, 9 by 6 meters, portrait of Stalin with a girl Gelya Velikanova in a sailor suit and a huge bouquet of daisies, led me to him and said: "Here is Lelenka, this blind-eyed man killed 20 million of our people." So, let it be known to the doctor of historical sciences, I am an anti-Soviet with early age. He simply lived a double, triple life, was a Komsomol organizer in Sovremennik, was chairman of a local committee, and was a party organizer. He became a member of the party after the decision of Oleg Nikolaevich, who turned to Zhenya Evstigneev and me and explained: “We won’t make party organizations, they will close Sovremennik.” By this time, Malanin Mikhail Petrovich, head of the assembly part, deputy director Leonid Erman, two firefighters, Efremov himself. Then Zhenya and I entered ...

- Art, they say, is not capable of influencing life.

Your views are close to the truth ...

-But what about the experience of Sovremennik or Taganka?

Stop it. The creation of Oleg Nikolayevich in 1956 is straightened lungs, this is a deep breath. Has it affected anyone? Influenced, but on a very narrow stratum of the intelligentsia. They are terribly far from the people. And speaking seriously, the political ambiguity, which both the Taganka Theater and, to a sufficient extent, the Sovremennik Theater operated on, has always been unsympathetic to me personally. I remember how, in the late 60s, I came to see Tarelkin's Death at the Mayakovsky Theater, staged by Petya Fomenko. A successful performance, they put me in the director's box for free. In front of me are two educated women, critics, and in the most pathetic moments one grabs the other by the hand and whispers enthusiastically: "Do you understand what this is about?" As my grandmother used to say: I'm squeamish. I can do it better with my craft. To hell with your political ambiguity?!

And how do you feel about the fact that in a week you will again cut furniture on the TV screen? How do you feel about your hero, the character of Rozov's play?

You know, Oleg Savin is still doing something to get the viewer out of the state of spiritual static. The idea is not too deep, but understandable. To make the difficult lives of the people I'm in charge of easier. So that they receive the money that will take them out of poverty and allow them to feed their families normally. To the best of my weak strength, I want to restore this theater to its working form, the elasticity of the body and the confidence of the muscles.

- Is it possible?

It's up to you to judge. In any case, the current government offered me a contract for the next term. If you had asked me three years ago, I would have said: "Oh, I don't know", but today I think so. If God grants and there will be health, it is necessary to brush aside one more term.

Let's reassure some of our readers about your personal life, which they managed to write about in the yellow press.

They don't leave women like Marina. If only they would resign...

With what inspiration you speak about household things, it seems that you have somewhat cooled off towards your main profession - acting.

Do you seriously think that these are household items? No, these are not business items. As for acting, here's the premiere of "Tartuffe" will be in two months. We issue with our own money. Not from the budget. I play Tartuffe there. It's actually the only thing I really like - to play on stage.

Oleg Pavlovich, traditionally we do not like the rich. And in The Last Victim, where you play a wonderful, in my opinion, rich industrialist, you are engaged in justifying a rich man. He's so thin and tender...

Yes, I love Stanislavsky - Alekseev Konstantin Sergeevich, the owner of the gold-weaving production. I love Schukin, Morozov. I respect Mamontov, Schmidt. The rich have done so much for Russian culture.

And how do you feel about the fact that for so many years they have not been able to advance the law on patronage, which would allow for a real expansion of assistance to culture?

Loafers. This is how I take it. The idlers are the Duma, the idlers are people from the Union of Theater Workers. They would need to do three things: to ensure that a person who graduated from a higher theater educational institution, had no right to receive less than a certain wage per hour of work. Then - to help the elderly. I will not talk about the third. But these would be two things to do. Don't mimic activity.

Oleg Pavlovich, as an intermission. There is a letter with a story behind it. If you can, tell me. "Sakhalin. City of Dolinsk. Nikonova Galina Vasilievna: I express my gratitude to Oleg Pavlovich for the help you provided to my son Ivan Nikonov. I wish Oleg Pavlovich good health and success."

I don't want to comment on it. These are my personal matters. I help people and I don't want to talk about it. Thank you. God bless your son.

You build two theaters at once. Meanwhile, the Russian theater as a whole is now facing a real danger of curtailing the system of repertory theaters, which our Western colleagues envy.

I won't comment for fear of harm. But I want to reproach my brothers in the shop. Many of them float with the flow like stupid logs. I myself am from the Volga, from Saratov. When the river opened up, from there, from the upper reaches, with absolute certainty that they would sail to the Caspian Sea by gravity, these most stupid logs went. But even to the left or to the right bank they did not always succeed in landing. Why raise your hands and yearn for social security? Do something to save yourself. The state will not be able to provide 550 theaters indefinitely. This is not according to the talent of Russia today. This is called "equality for all in poverty". So let's start with this: what have you done to help yourself? And what to say: oh, how bad! Everyone knows what's bad. And who is good?

Those who cannot resist, who cannot fight for the right to life, will die. I don't see this as a tragedy. I have rather radical views on the system of government assistance to its theaters. It is necessary to help, first of all, successful, developing, moving, changing. Here you give me a million state. And next year I need to help in direct proportion to how much I earn for this million myself. How much will I increase. Of course, opera and children's theaters should be immediately excluded from this competition. This is part of the cultural program. And a normal drama theater should exist responsibly.

But, seriously speaking, if I knew the answer to your question, I probably was doing something else. I only know what I know. I know how to help others. You need to take the money out of your pocket and give it back. This is a very simple move. It doesn't always lead to success. Because money is spent, and things are not always done.

Well, you are just being offered a job in Saransk: "Over the past 10 years, not a single good performance has been staged in Saransk due to the lack of a talented director. Could you take patronage over the Mordovian theaters?"

I'm a quarter Mordvin. Here next year, for my 70th birthday, I'm thinking of playing seven performances in Moscow: three, maybe from the basement, four from the Moscow Art Theater. Then I will play the same performances in my hometown of Saratov. In Saransk for seven, I think I won't pull it. But I'll bring two. You know, this again has nothing to do with anything theoretical or global. These are human addictions. No more. And even better for the anniversary, if the guys - Zhenya Mironov, Seryozhka Bezrukov, Vovka Mashkov - still composed some kind of funny story and we would have amused each other. I once ended up in the American city of St. Louis. And there I saw how fat, old Negro musicians sitting in a cafe turned on each other. Here is the most interesting! When, looking at someone else's talent, you want to try to do it yourself.

- Who else turns you on? You keep saying: Mashkov, Mironov...

Why? Valka Gaft turns me on with her talent. True, he has not played lately. Chulpan Khamatova turns me on. The performance based on Sigarev's Claudel Models turns me on.

How do you feel about latest work Kirill Serebrennikov? Here Alla Borisovna Pokrovskaya courageously participates in the play "Playing the victim". They say that at the spring shows she cursed there, as it should be according to the text. And now she could not say a swear word of three letters, although it contains all the salt of the joke.

It took me a long time to come to this decision. Of course, if a theater hall was built under the direction of Tabakov for 375 people, it would probably be better to play this performance of the Moscow Art Theater there. But still, I feel the pain of one of the characters, the police captain, in relation to indifference, so to speak, current life. And then I think: no, it has a right to exist. It's not designed to entertain people. Maybe in the performance the pain is not enough. Or not so sharp. But it's still a pain. And the presence of pain for me justifies the existence of this very obscene performance on a small stage.

- In one interview, you very tasty told that you love slot machines. True?

I am theoretically not ready to generalize my experience and offer it to other workers. But it came to me very simply. I worked in Finland or Denmark, I don't remember, I worked very hard. And when things were already coming to an end, two weeks before the premiere, when I rehearsed for 4.5 hours in the morning and 4.5 hours in the evening, even two cassettes by Vladimir Semenovich did not help to relax. And 200 grams. And then I took 50 dollars in a sweaty hand, went to the slot machine, lost and slept like a child. I can't say that this is the only thing that drives me now when I go to play. I hope and sometimes even win. I have an intimate relationship with him.

-Have you ever won?

And won a lot.

-Acting for you - a fun, dashing business, inexpensive?

Not quite right. When I play "Amadeus", I lose 800 grams.

-And then how do you recover?

Five pies and that's it.

Sometimes it seems that today's theater is indeed a low-cost occupation. No one wastes nervous energy - neither the artists, nor, as a result, the audience.

If you are talking about the symptoms of the disease, then you are right. Because imitation becomes a chronicle. But you know, I'll tell you for myself: if you imitate a couple of times, you'll die. And if several people imitate, then the performance will die. And many such dead performances are shown to us. But if everything goes well, then The Blue Bird, which Mitya Chernyakov will make, will not, how to say, a performance of insufficient energy.

Oleg Pavlovich, you have a very strong production start. You are a classic producer because you are able to create unexpected alliances, make strange proposals. For example, your idea to invite Nina Chusova to stage a play about the war seems to me completely paradoxical.

And I just saw how she played Nastena in "Live and Remember" in Samara. Actually, you misunderstand me. I am a very cunning person. I only believe my eyes. I have a flair. And this instinct is physiological in nature, this is what I got from the Lord God and from dad and mom. Count my successful students. What's the matter here? I taught them for myself. I thought they were all going to play with me. I thought: let's go on stage together, and then everyone will see ...

- Aren't you afraid that they will overplay?

No. Not afraid.

The publication was prepared by Alena Karas

On March 12, Oleg Tabakov, an actor and director of theater and cinema, died as a result of a heart attack. The most important inspiration in the life of the great artist has always been his faithful wife Marina Zudina.

Master and Marina

Zudina was in love with Tabakov while still a very young student. At that time she was only 16 years old, and the teacher himself did not even suspect the existence of Marina, being married to actress Lyudmila Krylova. In the family of artists, son Anton and daughter Alexander grew up - the same age as Zudina. Then Marina could not even imagine that she would ever be able to win Tabakov's heart. The girl had a clear goal: to enter GITIS and certainly in the workshop of Oleg Pavlovich. The task turned out to be within the power of the young actress, and then everything turned out by itself - a romance began between the student and the teacher. “All the students were in love with him - both boys and girls. It was adoration. I didn’t think it would turn out this way. The relationship was honest, I wasn’t going to take anyone away. Oleg Pavlovich didn’t promise anything,” recalls Zudina.

The actress said that at some point she and Tabakov realized that they could no longer be without each other. For the sake of her beloved, Zudina was ready to lay her career on the altar of love. “If at that moment Oleg Pavlovich said:“ You won’t play anything, but we will live with you, ”probably, I would choose“ live, ”Marina admitted. However real love does not require self-sacrifice. Tabakov did not put any ultimatum before Zudina, and the girl appreciated this.

Love for all ages

For lovers, the age difference has always been conditional. When the actor left Lyudmila Krylova, Marina Zudina turned to her mother for advice: “Then I myself expressed doubts: they say, we have a 30-year age difference. To which my mother replied:“ Yes, and you are also a lot of years. it was such an exhaustive dialogue," the artist recalls. Zudina also said that her parents value and respect Oleg Pavlovich very much, so they had no questions about marriage. Moreover, what questions can there be when you see how a serious and self-fulfilling man treats your only daughter?

Understand and forgive your father

When Tabakov left the family, his wife and children broke off contact with him. Krylova could not forget the betrayal, and the daughter took the side of her mother. Only son Anton was eventually able to forgive his father. “Mom and Sasha are not offended because it happened. They are offended by how it happened. After the divorce of my parents, I also did not communicate with my father. However, looking at the situation from the outside, I realized that it looks like “to spite my mother, I will freeze myself nose. "I quickly forget insults, I try to think about the good. It's easier for me to exist. And my mother ... She lives with us. Her female happiness is children and grandchildren," Anton shared his revelations.

Idyll comes with time

Marina Zudina admits that at the beginning of their life together, she and Tabakov quarreled almost every morning: “Everything I did caused discontent. Then they found a way out: he got up and did something himself, I woke up later, and We didn't get to fight." In the first place for Oleg Pavlovich, undoubtedly, was work. But the vocation did not deprive Tabakov of the need to love and be a man. The actress stressed that she was always present in the life of her husband, no matter what he did.

hurry to love

In an interview, Oleg Tabakov admitted that he was very worried about how long he could see his children. The artist also said that with the birth of their first son, Pavel Tabakov, with Marina, he began to feel much younger and more cheerful. According to the actor, doctors also noted the improvement in physical health. "Our vitality does not dry out because we are physically worn out. They dry up when we cease to be necessary. And while this factor is in effect, our possibilities are practically limitless.", Tabakov regulates.

"I have two of the most happy day in life. The first - when I entered the course to Oleg Pavlovich. Apparently, this day determined my whole further fate. The second is Pavlik's birthday, when, after many hours of pain and horror, relief came, and I saw the eyes of a loved one - my husband, "Zudina admitted. There is not a single reason to doubt that the artist was also truly happy next to Marina.

The 53-year-old actress looks 30!

In Moscow, prominent theater figures gathered for the ceremony of presenting the International STANISLAVSKY Prize. This year, it was timed to coincide with the 155th anniversary of the founder of the most famous theater school in the world, whose favorite phrase was: “I don’t believe it!”

The award in the nomination "Property of the Russian Theatre" was presented this year for the first time. The artistic director of Lenkom became its laureate Mark Zakharov. As you know, the 85-year-old director has been struggling with a serious illness for several years now and, although it is difficult for him to walk without outside help, he found the strength to get up on stage:

I am a longtime director, and a longtime director should know what he has done and what chance has given him. I have 50 to 50, - Mark Anatolyevich noted sadly, receiving the prize.

Another winner - Alexandra Filippenko- accompanied by wife Marina:

She agrees on filming and on my fees. I don’t interfere in everyday details, I just need to know which car will take me to the shooting and which one will bring me back. Marisha does everything else,” Filippenko said.

received an award and Alla Demidova.

In the house where we are now, after the war, the military lived with their families - it was a large communal apartment, - Alla Sergeevna launched into her memories. - We often played here with the guys in front of the entrance. I had an itch for superiority, and the children quickly got tired of it. Once they took me by the arms and legs and tried to throw me over the parapet of the Moskva River. But thank God they didn't quit. Since then, I have started to fear the team. So I lived my life on the sidelines.

So at the awards, the 82-year-old actress kept apart, and immediately after the ceremony she hurried home, not even staying at the traditional banquet.

Good wife

53 year old widow Oleg Tabakov Marina Zudina, on the contrary, she communicated nicely and with good mood with her colleagues, who literally bombarded her with compliments. Like, and rejuvenated, and flourished. And this is just eight months after the bereavement - the loss of a beloved husband.

It turned out that work saved Zudina. Offers are now pouring in one after another. She starred in the TV series "The Good Wife" - an adaptation of the American project Good Wife. Moreover, the role of co-owner of a law firm was her first film work in the last five years. And now Marina Vyacheslavovna starts filming in a new series Konstantin Bogomolov.

The son of Zudina and Tabakov, Pavel, appeared last week in a film in memory of Oleg Pavlovich, which was shot by a popular blogger Yuri Dud. He dwelled in detail on the topic of the death of Tabakov Sr., who, as you know, died of prostate cancer.

The young artist admitted that his father had known about a serious illness for a long time and, despite the complexity of the situation, continued to work actively and enjoy life. To his sons Pavel and Anton (from marriage with Lyudmila Krylova) Oleg Pavlovich spoke about the fatal diagnosis even before Zudina found out about it.

How long did Oleg Tabakov live with cancer? Dude asked.

Refused Malakhov

A prominent figure at the Stanislavsky Prize ceremony was the 77-year-old prima of the Theater Russian army Ludmila Chursina. On the sidelines, she proudly told her colleagues that she had just flatly refused to participate in television shootings with Andrey Malakhov. And she wondered aloud:

I do not understand why my colleagues participate in these programs. Maybe they get paid there?

When her eyes were opened that many people come to “Live”, “Let them talk” and other similar shows not for free, but for a substantial fee, Lyudmila Alekseevna shook her head sadly:

Well then, it is clear. But, as she said Ranevskaya, money is an opening, but the shame will remain. If they had called for a serious program, a political one, I might have gone. And I don’t want to participate in kitchen showdowns!

She herself spent the whole evening in casual communication with a new companion much younger than herself. The author of these lines was already happy for her beloved actress, that she, who at one time was married three times, including the son of the Secretary General of the Central Committee of the CPSU Yuri Andropov regained personal happiness. But when I called Lyudmila Alekseevna the next day to clarify the name of her mysterious beau, she thought for a long time, and then exhaled into the phone:

Unfortunately I can't help you and I don't remember his name. There is always someone hovering around me!

Oleg Tabakov and Marina Zudina

Gray hair in a beard, and a demon in a rib

Unequal marriages, about which the people say "gray hair in a beard, demon in a rib", in Soviet cinema periodically happened. Albeit not as often as in the post-Soviet period, but it happened. Moreover, almost every decade had its own “loud” unequal marriage. For example, in the early 60s it was the union of director Ivan Pyryev and actress Lionella Skirda, where the difference between the spouses was 37 years. In the 70s, this category included the marriage of director Vladimir Naumov and actress Natalya Belokhvostikova with an age difference of 24 years between the spouses. And in the last decade of the existence of the USSR, the most "blatant" unequal marriage became an acting union in the person of Oleg Tabakov and Marina Zudina, in which “the demon hit in the ribs” the first at the moment when he was 47 years old, and his chosen one barely exceeded 17. That is, the age difference was 30 years. However, love, as you know, is submissive to all ages. It is this particular love that will be discussed in our next chapter. However, not only about her, because before her Tabakov had many years of love with another woman who gave him two children. However, let's talk about everything in order.

The first serious feeling came to Tabakov in 1955, when he was in his first year at the Moscow Art Theater School. His chosen one was a classmate Susanna Serova (1934). But since she was married at that time (her husband was in China at that time - he taught the local residents to play the piano), Tabakov's feelings were purely platonic. He himself recalls:

“The first years of my studies, I dealt mainly with the problems of love. I was lucky from the very beginning: I ended up in a wonderful intelligent Moscow family of the descendants of the artist Serov - I studied at the course with Susanna Serova. And when I fell seriously ill, they brought me to this very house, where I stayed until graduation, that is, for almost two years. The family reacted to the sick Saratov boy with participation and tenderness. The granddaughter of the artist Serov, Olga Alexandrovna Khortik, was my moral educator (she was in her forties at the time). But only not persistently boring, but a kind of friend. Maybe Olechka didn’t specifically come up with the idea to defuse the “suicide gun”, that is, to save her brother’s wife from a youngster in love in such a strange way. But the deed was done, and from that time on I lived for several years in a house at Bolshaya Molchanovka, 18. Olechka did an amazing amount to make me a man. This was expressed in the fact that in one of the rooms there was a painting “The Abduction of Europe”, and in how we went with her to Abramtsevo and Arkhangelskoye, and in the way she taught me to go to the conservatory. At first I fell asleep, and then stopped. Didn't fall asleep on the Richter. Couldn't…”

The first fame for Tabakov was brought by his roles in the Sovremennik Theater, which was born in April 1956 with the play Eternally Alive, where he had the role of Misha.

What was he like in the 50s? Here is what his theater colleague I. Kvasha recalls: “Tabakov loved to eat even in those years. Oh, it was not love, but real passion ... He always stocked up. Even when he did not have an apartment and he rented a room. And we, always hungry, raided them. It happened like this: we went into his room. 2-3 people kept him, and someone was looking for supplies under the cabinet, behind the cabinet. Found. Got it. Opened before his eyes. And all this was devoured before his eyes. He yelled at us (it's scary when they take away a loved one). Only then was he released. He always had delicious compotes and preserves.

And once on tour, Efremov fell ill. They sent him honey with lemon and something else tasty there. And since Efremov could not get up, every day Tabakov came to his room, opened the closet and, in front of the patient, began to eat this "healing". Oleg shouted: “Go away, leave it, my mother sent it to me,” and Lelik (as we called him), munching and savoring, ate a few spoons and left. Then he came the next day.

I must say that he had terms, the main of which was food of high quality and poor quality. You used to ask: “Lelik, is there quality food in this restaurant?” There was no doubt about the accuracy of the answer ... ".

In the late 50s, Tabakov had an affair that could drastically change his fate: the daughter of ... one of the members of the Politburo fell in love with him. The girl turned out to be an inveterate theatergoer, went to all the performances of the Sovremennik Theater, which was then in vogue, and as a result fell in love with Tabakov, as they say, head over heels. But he was afraid of this connection. And in the end, he exchanged the daughter of the “bump” for a completely ordinary artist Lyudmila Krylova (1938), who soon became his wife.

Krylova then studied at the Shchepkin Theater School and was in love with Tabakov not less daughter statesman. For a long time the girl slept and saw how to get acquainted with the object of her sighs. The reason presented itself in 1958, when the second director from Mosfilm, Irina Poplavskaya, called Krylova and ... However, let's listen to the actress herself, who begins her story from afar:

“I had a difficult childhood. In 1947 my mother died. I wasn't nine. She did not understand that her mother was gone forever, she had been waiting for her for a long, long time. Then I began to think about what this world is, how to live without loved ones ...

Our family was poor. There are few books in the house, and every day I went to the reading room. I decided to go to the theater after one of the graduates of the school was able to enter the Shchepkinsky school. I thought, what if I try?

And - she entered the drama circle of the Pravda Palace of Culture ... Once I saw a poster there - an invitation to the play of the Sovremennik studio. You see, as if someone is leading me through life ... And so I go to this performance. And desperately fall in love with him (Tabakova. - Auth.). The thought that I will definitely meet this person someday became my guiding one for several years! I believe that if you really want something, it will happen. It happened, but not right away.

First, I graduated from the tenth grade. I entered Shchepkinskoye - the course was recruited by Veniamin Ivanovich Tsygankov, fortunately for me, he staged Gorbatov's play "One Night" at the Maly Theater, and he needed a boy who looked like the main character. I was like her, and the director literally led me in the entrance exams ...

Thus began my work at the Maly Theater, my studies. And soon - and filming in the film "Stories about Lenin" (1958), after which the path to the cinema was opened to me ... I got tired wildly, but continued to go to the performances of "Sovremennik", and the thought of meeting Tabakov did not let go, love did not pass.

When I was invited to star in the film “Volunteers” and they said that Tabakov would play one of the roles, I rushed to the studio and asked: “Where is Tabakov?” The assistant replies: “Tabakov refused, he didn’t like the script.” I was upset, but I had to take it off. Then the director Irina Ivanovna Poplavskaya calls: “Lyusenka, I have such a fastidious actor in the lead role, he can’t find a partner for himself, he doesn’t like everyone, maybe I’ll show him your photo.”

I answer that I can’t act in film - exams and work in the theater. But then she casually said that this actor was Tabakov (!). My tongue stuck to my palate! I got excited, I said: “I have only one photo test for the film “Stories about Lenin”, I’m wearing such a scarf on it ...” The director soon calls happy: “Lyusenka, he looked at your photo and said:“ This one, perhaps, will do.

What happened to me! Everything inside was trembling! She ran from the filming of "Peers" to another pavilion along the stairs, a handsome man blocked the road: "Are you coming to me?" I recognized in him the then star Kozakov, but tore off his hand: “No, not to you!” - and rushed to the dressing room.

As I remember now - an empty dressing room, a woman in a white coat is standing with her back, a man is sitting in an armchair, I see his reflection in the mirror and I almost fall! Knees trembled, teeth chattered. The make-up artist says: "Wait, I'll finish with Tabakov, I'll take care of you." And I: "Ho-ho-good!" It's like it hits me! Never experienced such a feeling!

During the filming, this state arose in me as soon as I met his eyes.

The director says: “Now, Lyusenka, we will shoot your close-up, and you, Oleg, stand under the camera and give cues. I almost screamed, “Don’t! I can't play with him at all!"

The director was surprised. Tabakov was asked to leave ... But our romance with him began almost on the very first night!

And this despite the fact that I was the most modest on the course! I had a gentleman, we saw him off hand in hand. But it ended on the highest note! That is, no one else existed. And when that young man once again came to me, I closed the door in front of him: “Sorry, I got married.” Just blurted out this phrase!

Some four days have passed since I met Tabakov! He rented a room in the center (rented for a small fee from Maria Arnoldovna Arnazi, sister wife of Tikhon Khrennikov. - F. R.). I stayed with him to spend the night, that is, for me there were no longer any barriers. At the institute, of course, everyone learned. My teacher persuaded me: “Lyusenka, you will regret it, it’s too early, don’t, baby ...”

My impulse was so strong that Tabakov, with his apparently already fairly rich experience in this regard, could not and probably did not want to resist. Why not? After all, no one suspected that our romance would drag on for so long ...

To the father’s question: “Where do you sleep?” - said: "Dad, I got married."

He was amazed: “Why don’t we know him?!” In short, she brought Tabakov. We sat at the table. And I say: "Dad, meet me, this is my husband." Tabakov later said that he almost slipped under the table. He asked: “How could you say that?!” - “How could I say otherwise, if we live with you!” “But we are not scheduled.” “I didn’t say that we were scheduled, I said that you are my husband.” “What if we break up?” - "So, we will consider that we are divorced." Such naivete lived in me! .. "

Tabakov was in no hurry to sign even when Krylova became pregnant. It happened at the end of 1959. Lyudmila then passed her graduation performance and, so that the examiners could not see her pregnancy, she covered her stomach with a folder. On July 11, 1960, a boy was born, whom his parents named Anton. Moreover, Lyudmila gave birth to him in her husband's homeland, in Saratov.

L. Krylova recalls: “When it seemed to me that the birth had begun, Oleg’s mother and I (she worked as a doctor. - F. R.) went on foot to the hospital. They laid me down, there was a continuous fight, but I wouldn’t give birth in any way (Antoshka turned out to be big-headed). Spoons and forks were taken away from me, because I was ready to rip myself up - such a pain! And on the third day, some intern comes up to me. I told him: "Step back, I'm dying! Yes, yes, the waters have receded!

And he keeps asking: “Well, how much: a tablespoon, a glass?” I howled: “I measured, or what?! Well, maybe half a glass.”

He made those eyes! I ran somewhere and then pierced the fetal place with forceps ... And a quick birth began ... Then I could not sit for a month and a half - the pelvic bones diverged by one and a half centimeters. Because of these postpartum complications, she could not go to her husband in Moscow. And Oleg could not read my letters, because I wrote and cried, and the ink was blurry ...

Oleg bought a stroller for his son in Moscow, but did not know how to send it. Antoshka slept in my suitcase. I woke up at night with fear - I was afraid that the lid would close and he would suffocate. And the communal apartment was full of cockroaches, and I was afraid that a cockroach would crawl into the baby’s ear!

Mom Tabakova stoically endured everything: she cooked, and she was engaged in diapers ... "

As soon as Krylova returned to Moscow with her newborn son (it was September 1960), Tabakov took Lyudmila to the registry office (it was located next to the Forum cinema).

The young people celebrated the wedding at the WTO restaurant, invited all their friends and colleagues to it (it was another wedding in the recently born Sovremennik Theater, where Evgeny Evstigneev and Galina Volchek had already married, as well as Oleg Efremov, Igor Kvasha. By the way, Krylova joined his troupe in the same 60s). The bride appeared before the eyes of the groom and guests in a not quite traditional way: she was carried out in a huge box, like a doll. It was not difficult to do this - Lyudmila was so tiny that she easily fit in the box. The bride wore white lace dress, which she sewed herself, and a veil.

At first, the young lived with Krylova's parents on Pravda Street. The ancestors blocked their room with a closet, and one part of the dwelling went to the newlyweds. Since all the adults in the family worked (Tabakov and Krylova, for example, had 20 performances a month), the newborn was left with a nanny. When Anton was about a year old, the young people moved to another place - to a one-room apartment with a balcony in a house on Nesterov Street.

At that time, the young continued to play together in Sovremennik, and also acted in films. Moreover, the palm in the latter was firmly held by Oleg Tabakov, who in the first half of the 60s starred in eight films where he had three main roles (Sasha Egorov in "Probationary Period", 1961; Oleg Savin in "A Noisy Day", 1961; Nikolai Babushkin in "Young Green", 1963), while his wife had four films and not a single main role. In two films, the couple starred together: in "Young and Green" (in which Krylova played the role of the wife of the protagonist, whose image was embodied by her husband) and "The Living and the Dead" (1964; Tabakov had the role of a senior lieutenant, Krylova had the role of military doctor Tatyana Ovsyannikova).

In the summer of 1965, the entire Sovremennik troupe was filmed in Tabakov's homeland, in Saratov, in the film A Bridge Under Construction by G. Egiazarov and O. Efremov - about young builders of a bridge across the Volga. Tabakov had the role of an intern from the Zaitsev construction school, and Krylova had the role of Komsomol organizer of the bridge team Nadia Seryogina. Returning from filming, in the same autumn, Krylova became pregnant with her second child from Tabakov. Nine months later - on May 3, 1966 (exactly three weeks before the premiere of the film "A bridge is under construction") - a charming girl was born, who was named male name Alexandra. A month later (!) Lyudmila took the risk of taking the newborn with her to the dacha (they rented a house in Saltykovka in half with Galina Volchek). There the girl caught a cold, and Lyudmila had to give her injections herself.

Great help in raising children was provided by Tabakov's neighbor in Saratov, Maria Nikolaevna, whom everyone called Kolavna. O. Tabakov recalls:

“Once Maria Nikolaevna was about to die. She bought a shroud, white slippers and called me. “Here,” she said, “is a passbook, here is the money for which you will bury me.” I was offended and said that I had money and that I would bury her anyway ... And at that time Lucy gave birth to Sasha. A small, helpless creature needed to be taken care of. Kolavna got up and began to live, living for another nine years, until Sasha went to the second grade. That's how things are. Kolavna was such a cement mortar, or something, of our house. The family began to crumble after her death in seventy-five ... "

In 1965, Tabakov had a heart attack, after which the doctors thought about completely banning him from acting. However, already two (!) months after being discharged from the hospital, the actor was already playing Aduev Jr. in I. A. Goncharov's "Ordinary Story", losing one and a half kilograms of weight every evening (the premiere of the play took place in 1966). Krylova also played in the same performance - she got the role of Nadenka Lyubetskaya.

In November 1967, it was this performance of Sovremennik that would be marked State Prize THE USSR.

In the same year, Tabakov was awarded the Prize. Moscow Komsomol for the gallery of images of young contemporaries and was awarded the Order of the Badge of Honor. These were the first official awards in creative career our hero.

According to Tabakov himself, in 1967 he could well have started a film career on a European scale (in the film by Karel Reish, he was supposed to play Sergei Yesenin, in the role of Isadora Duncan - Vanessa Redgrave), but this did not happen. Why? That year, in Sovremennik, they tried to close the play Bolsheviks, and he remained in the Union to fight. The performance nevertheless saw the light, but the European film career of our hero did not take place then. However, Tabakov did not kill himself about this. I will note a curious detail: in the late 60s, of all the actors of Sovremennik, only four had personal Volga. These people were: O. Efremov, O. Tabakov, I. Kvasha and M. Kozakov. The rest of the "contemporaries" went at best on the "Moskvich", at worst - went on foot.

In 1969, the Tabakovs played together in another performance - "Student" by A. Griboyedov: Tabakov had the main role there - the provincial student Benevolsky, Krylova - the pupil of the Stars Varenka.

In the same year, their son Anton made his film debut. In the film almanac "The Seasons", in the short story No. 2 "The Fourth Pope" he performed leading role- Sasha. According to the plot, the boy grows up without a father, his mother works in a hospital, so Sasha spends most of his time with the housekeeper Fenichka (Galina Yatskina). The boy really wants to have a father - he already called three unfamiliar men dad. Once Fenichka is visited by the sailor Fedya (Alexander Yanvarev). Sasha does not leave him for a minute, which made Fenichka very angry, because she had dreamed of this meeting for so long. Her face became completely different, she even tried to drive the boy out of the room. But the sailor also noticed a flare-up of anger: he quickly said goodbye and promised Sasha to definitely come back from the voyage.

The film premiered on TV on January 4, 1969. At that time, Anton was in his 9th year, he was in the second grade.

And in 1970, with the help of the same television, “ ordinary story”, where Anton played his second film role, however, episodic.

In 1972, the children's adventure film "Property of the Republic" was released on the screens of the country. Oddly enough, but Anton, who was of the right age to participate in this film, there was no place even in the episode, but his parents “lit up” there: his father played the main role - Chekist Makar Ovchinnikov, and his mother played a small role of Nyura, a teacher in the orphanage.

After Oleg Efremov left Sovremennik for the Moscow Art Theater, Tabakov's official position reached new heights: he became the director of the theater (five years earlier, our hero had successfully joined the ranks of the CPSU). It was not by chance that he was chosen for this position - everyone in the theater knew his adherence to principles and uncompromisingness. Indeed, the new director punished idlers and hacks mercilessly. When one day Oleg Dal showed up drunk for a performance and could not go on stage, our hero immediately ordered him to be fired.

Until the end of the 70s, the Tabakov spouses starred in two more joint films: the t / f “On the Eve of the Premiere” (1979; both have the main roles: Tabakov - the main director of the Youth Theater Nikolai Platov, Krylova - the actress of the Youth Theater Zinaida Balabanova), t / f “Ah , vaudeville, vaudeville ... "(1979; both have the main roles: Tabakov - retired ensign Akaki Ushitsa, Krylova - maid Katenka).

In January 1977, Oleg Tabakov was awarded the title of People's Artist of the RSFSR. And his wife at that time did not have any title at all. Krylova will become Honored Artist of the RSFSR only in December 1982.

Meanwhile, on May 1, 1977, the Central Television hosted the premiere of a two-part film directed by A. Blank and S. Linkov from the Odessa film studio "Timur and his team" based on A. Gaidar, where the main role - Timur - was played by the son of the heroes of our story Anton Tabakov. The film was released just at the moment when Anton was finishing the 10th grade. He recalls his school years as follows:

“I was kept on an extension until the last minute, after which I went home to go wild in the yard. We lived then at the intersection of Gottwald and 2nd Tverskaya-Yamskaya streets - exactly opposite the 10th police station, which did not prevent us from creating informal associations. There were guys among us, one appearance which terrified adults. I fully admit that one of them could become a famous thief in law. About 20 years ago, some guy of a rather specific appearance approached me on the street and began to hug me like an old acquaintance.

The school remained in my memory as the most traumatic period of my life. At that time, I gave my parents a lot of trouble, because I broke something all the time: legs, arms ... Once, having fallen from a rope, I broke my spine. At physical education lessons, everything was just fine, but at breaks! .. Endless injuries and even abdominal operations - this could undermine any nervous system. Mom was very worried, but father courageously held the blows of fate.

With this time, our tricks with Denis Evstigneev in terms of stealing cigarettes from our parents are also connected. In the scarce 70s, the entire wall in my father's room was filled with a huge number of imported blocks. He himself was more of a dude with a cigarette in his mouth. In several pictures, including in "Seventeen Moments of Spring", he appeared in the frame with "Camel", the blocks of which were stored in the "warehouse". What did we heavy smokers do? They took blocks from his “storage”, carefully steamed cellophane over a boiling kettle, took out whole packs, carefully sealed everything again and put it in place. For a long time, my father did not know about the theft; it was opened only when one of the boxes, finally empty, collapsed, and the wall, made up of cigarette blocks, as if made of bricks, collapsed. However, the punishment was not particularly cruel ... "

In the same year, Anton Tabakov entered GITIS for the course of A. A. Goncharov.

In the 1980s, only one joint film by Tabakov and Krylova saw the light of day - the TV movie Pechniki (1983), where Tabakov played the role of a military commissar major, and Krylov played the role of school director Maria Fedorovna. More spouses did not act together. Why? A story happened to Tabakov, about which people usually say "gray hair in a beard, demon in a rib." In short, he fell seriously in love at the age of 47.

In general, at the time of his marriage to Krylova, he sometimes had love affairs. Mostly, fellow artists acted as his passions. As Tabakov himself notes, he "sinned on professional grounds." But there were also exceptions. So, once an American millionaire fell in love with him. Her grandmother left her a rich inheritance, which the woman decided to dispose of in a very original way: she was going to keep half for herself, and give the other to Tabakov so that he would open his own theater studio in the USA. The offer was very tempting, but our hero did not take advantage of it for a number of reasons.

Most likely, Krylova guessed about her husband's hobbies, but she preferred to turn a blind eye to this, putting the well-being of her children at the forefront. This went on for almost two decades. While in 1981 on life path The young entrant Marina Zudina did not appear as an actor (1965). She was born in Moscow, in a family where her father was a journalist and her mother was a music teacher. Marina's desire to become an actress appeared in high school. And her idol was Oleg Tabakov. She liked him from childhood: under his voice, when he read "Fifteen-year-old Captain" on the radio, she did her homework. When, after school, Marina decided to enter the acting class, her mother told her: “Go to Tabakov! If he doesn’t accept you, don’t go to anyone else - it means that you are a bad actress.” The girl did just that. Understanding how difficult it is to get to such a teacher, Marina studied with a phonator for a whole year before entering, developing a low register, since she had problems with her voice. A little later, the newspaper "Sobesednik" will publish the memories of Marina's classmate - a certain Olga Zoldina (surname changed), who will tell the following:

“... I found out that Marina got a job at Oleg Tabakov's drama studio, which later became the famous Snuffbox. This studio was in the basement, and classes were held there several times a week. Marina went there first of all because there was a good phonator in the studio, and she needed to put in a voice. This was her weak link, Marina did not have a voice at all and could not even say loudly: “Dinner is served!” In general, she went there and returned all the time very late, after three in the morning. And then she confessed to me that she wants to conquer Tabakov himself. This thought seemed crazy to me. But she explained: “You know, he paid such attention to one girl from our group ... But not as an actress, but as beautiful girl, understand? And then I thought: “Why am I worse than her?” I understood how to deal with Oleg Pavlovich.” These are the adult thoughts that Marina Zudina had at the age of 16. What kind of classmates are there with their children's games and dreams of entering at least some institute or, at worst, a vocational school ... "

Zudina achieved her goal - during the exams at GITIS, Tabakov paid attention to her (or it happened a little earlier - when she visited his "Snuffbox"). In his own words:

“A certain adultery of the previous part of my male existence was performed rhythmically, with a certain time cycle. But everything changed with the appearance of this chubby, dark-haired girl who came to the Architect's House on Shchusev Street, where we auditioned applicants for recruitment. Marina Zudina offered us her repertoire, crowned with a story about the misadventures of Zoya Kosmodemyanskaya. There was something strange about her. Even my bitter knowledge real history Zoya Kosmodemyanskaya, as well as the completely unthinkable fate of her mother, who talked about the end of her children Zoya and Shura, did not cross out what this applicant did. Rather, on the contrary, the story about Zoya clearly demonstrated Marina's inner need and willingness to shed tears over fiction. This is where an actor begins, and indeed any creator… Marina was filled with, how shall I put it… a hard-to-control desire to act in roles. Marina's performance was good, although she was somewhat late in her birth. The range of roles that are beneficial for her is in expensive, costume films ... "

In 1983, Tabakov's daughter Alexandra graduated from school. Like her brother Anton, she followed in the footsteps of her parents - she entered the Moscow Art Theater School (course of V. Bogomolov). Moreover, at school she was strong in mathematics, and everyone was confident that she would enter some technical university. Alexandra herself was guided by the same. But at the very last moment she decided to go to the actress, although she did not have much talent. As a result, she will not become an actress.

And her dad in November of the same 1983 had an affair with his daughter's age, who at that time was in her second year. The hardest thing was, of course, the student. Let's listen to Tabakov:

“In our unkind theatrical world, she got the full measure. Marina was helped to survive only by our mutual love - without this it would not be possible to go through what she went through. Sometimes it was simply broken through the knee. The attitude towards her was absolutely like a concubine: well, if you serve, then have your own, like any servant ...

Of course, everything happened: at the dawn of our romance, Marina wrote me letters more than once summing up our relationship after I consistently and logically tried to convince her that she needed to build her life without me ... And then it all started again.

I felt guilty towards her and was convinced that I could never leave my children born in my first marriage. All this was a kind of legend that I invented in my teens, but I tried to follow it until I met Marina ... "

Zudina studied with Tabakov for five years (1981–1986). And during this time she managed to act in seven films, where she played two main roles. And her debut was the film “I still love, I still hope” (1985), where she played a small role of Peter's wife. And a year later, she was taken to the main role in the film "Valentin and Valentine". Moreover, the film was directed by Georgy Natanson, who in 1960 filmed Oleg Tabakov in the film "A Noisy Day". According to Zudina:

"Most big success I had it when I played in the movie "Valentin and Valentina". I was flooded with letters, and the sea of ​​letters was from places of deprivation of liberty, the prisoners wrote: “I will return and find you!” ( Laughs.) I can not say that I am very satisfied with this work of mine. I then had an affair, I understood that I could not be with my beloved, and I cried a lot. Although love is such a great happiness, and not just tears and experiences, but I sobbed. But still, the film turned out great ... "

By the way, in two films out of seven, her teacher Tabakov also starred with Zudina. These are: “After the rain on Thursday” (1986; he had the role of Koshchei the Immortal, she had Miloliki) and in “The Journey of Monsieur Perrichon” (1987; they had the main roles there: Tabakov - Monsieur Perrichon, Zudina - Henriette ).

After graduating from GITIS in 1986, Zudina was taken by Tabakov to his studio theater - the so-called "Snuffbox", which was born in 1978 on Chaplygin Street. Naturally, there their romance continued safely. True, it was interrupted several times, but then resumed again.

In the midst of these relations - in January 1988 - Oleg Tabakov became people's artist THE USSR.

With his love triangle Tabakov finally figured it out only 10 years later - in 1993 he left his former family. It cost him a lot of work to do so. The fact is that his father left him in childhood, so Tabakov knew perfectly well what it was like to survive the divorce of his parents. His wife and children did not forgive him for this act and stopped all communication with him. And they did not comment on it in the press.

But Tabakov himself in April 1994 in an interview said the following: “Despite all my sins, novels, hobbies, I still returned to my stall. In fact, we can say that a lie never goes unnoticed. She poisons life...

For a long time it seemed to me that my wife and I would live a long time and die on the same day. I think I remember all the good things we had. My wife did her best to get me on my feet when I had a heart attack (this happened in early 1965. - F. R.), and much more ... But ten years ago, our relationship deteriorated. In our conflicts, often reaching the limit, she herself often said: "We need to disperse." It probably should have been done ten years ago. This is my fault to her.

The fact is that at some point it seemed to me that those close to me did not respect what I was doing. Do not respect. They are familiar. I took my hard-living nephew to America to live there for a month, and from an introvert, maybe he would become a different person. I did it because I thought it was necessary to do it. And my relatives were sure that it was window dressing. I help my cousin. They again say - "window dressing". It seems to my relatives that there are only lackeys and sycophants around me. And only they, that is, close ones, are the bearers of the truth about me, a truthful and sober look. But the only thing I do not forgive people is rudeness towards my studies ...

I have always taught my children by example. The way I lived. What was important for me. But I was once told: “You will die alone. And in general, the apartment ... "I'm not saying it's good or bad. This, perhaps, is the answer to the question of what place I occupied in the lives of my loved ones ... "

And here is another excerpt from a March 1995 interview: “After I paid 120 thousand dollars in compensation to my ex-wife and bought a two-room apartment for my daughter, Alexandra Olegovna Tabakova, both of them are still registered in my house. This is not a very original story - purely soviet. There would be a marriage contract - and everything would immediately fall into place, and since there is none, inadequate claims are born ...

Two months ago, we reconciled with my son and came to an agreement. Today we have normal relations. I'm glad that he started to realize himself. In his first profession, acting, he did not fully realize himself.

When I was at his Pilot disco at the birthday party of my good friend Garik Sukachev, I discovered that my son brings joy to a huge number of people. They have fun…”

From an interview with M. Zudina: “I did not think that we would be together. But it happened, that's how the stars laid. Even the astrologer told me that the fact that we met was fate. Once Oleg simply told me that he was divorcing his wife, and we did not comment on this. I don't know how long my patience would last, I don't think twenty years, but ten was a natural time. Although an awful lot. Someone waits a year or two, but Oleg Pavlovich found such a fool who waited for ten whole years ...

The only person to whom I confessed my love is Tabakov. I can’t imagine that I will ever be able to love so desperately. I can say with full confidence that I have never loved anyone so much and no one will love me as much as my husband loves me ... "

In the summer of 1995, a boy was born to Tabakov and Zudina, who was named Pavel. At the time of the birth of his son, the father was next to his wife and held her hand all the time. He subsequently explained his feelings from this action as follows: “The feeling of complete despair and the inability to help close person. I wouldn't wish this on my enemy."

And further: “Today, the sweetest thing for my soul is how my son Anton and I, after the birth of Pavel, sat together and drank. Although Anton is 36, and this one is 10 days old. I was proud, I don't know how! Like General Serpilin or like Captain Tushin, when he defended the battery. Children, grandchildren ... Dreams about them. That means I'm back..."

Meanwhile, after the birth of a child, relations in the "star" family became more tense. Here is how M. Zudina recalls this:

"I had difficult period when I gave birth to a child, because my energy and emotional reserve were always enough for two, and after the birth, my strength became less, and I suddenly realized that all the energy had passed to the child. On this basis, I had a depression for a whole year. I was so absorbed in the child that my husband went to an unknown plane ... "

But the marriage of Tabakov and Zudina passed this test. Marina herself admits:

“I can firmly say:“ I love Oleg Tabakov. And if I felt like just an attachment to him, I would be notorious, I would withdraw into myself. But I know about sincere feelings to me a loved one and husband. And it calms me down, gives me a sense of stability…

Meanwhile, it is impossible to command Oleg Pavlovich. He will just be silent and worried. According to the horoscope, he is Leo, he does not tolerate obvious dictates and, as a rule, decides everything himself. Of course, I have my own voice, he listens to it, for him my opinion is not indifferent. But in something categorical the last word behind him. Here it must be taken into account that I was largely formed by Oleg Pavlovich and I look at many things through his eyes. Therefore, we are on an equal footing in life, and no one commands us. We appreciate each other...

By nature, Oleg Pavlovich is cheerful and a kind person. Especially in the morning when phone calls have yet to spoil his mood. From eight to ten he usually gets calls, and conversations sometimes bring him to a boil. There's no fun here. He tells me: “This must be experienced right now, don’t touch me…”

Sometimes it hurts me that Oleg Pavlovich is not jealous of me. Or jealous, but does not show his weakness. True, then it can remind you of something in a joking manner. Apparently, he has such a character. I'm more jealous, and it's in me from birth. When we were not yet married and just met, it was sometimes difficult for me to find out what was happening to him and what he thought about me, about my actions, about my behavior. And then my wisdom, as it were, receded into the background, and emotions, coming to the fore, demonstrated jealousy, a sense of ownership ... "

The son of Oleg Tabakov, Anton, personally "outdid" his father: he was married several times. He first married at the age of 19 to a girl named Eugenia. Their wedding was noisy, cheerful, but one of the guests, Nikita Mikhalkov, joked unsuccessfully, saying: "The first marriage is training, so let's go straight to the second." And the young soon really got divorced. Moreover, Evgenia herself and her mother were categorically against this, but Anton acted in his own way.

Then Anton married a second time. The girl's name was Asya, he had known her for a long time. But this marriage was short-lived. Evil tongues will then claim that Anton's childhood friend Mikhail Efremov acted as the "tempter snake" - they say that he seduced Asya, who became pregnant from him. But the truth is that this happened after Asya and Anton fled. Although it was after this that the friendship of former friends came to naught.

A little later, a 17-year-old student of the Moscow Art Theater School Katya Semenova appeared on the horizon of the “star” offspring. But Anton did not sign with her - he preferred to live in civil marriage. Katya finally gave birth to Anton's heir - son Nikita. However, soon after the birth of the child, this couple also broke up.

In 1993, another girl appeared in Anton's life, the youngest of all the previous ones - 16-year-old Nastya Chukhrai (daughter and granddaughter of directors Pavel and Georgy Chukhrai). When the parents found out who was cramming into their daughter's suitors, they categorically forbade Nastya to meet with Tabakov Jr. By that time, in the bohemian environment about Anton Tabakov, the unkind fame of a “womanizer-terrorist” had long been circulating. However, Nastya showed enviable persistence, and in the end, the consent of her parents to marry her beloved was received. Soon the young daughter was born.

At the end of October 2003, Tabakov's ex-wife Lyudmila Krylova broke her long silence. She gave a long interview to the Komsomolskaya Pravda newspaper, in which she said the following:

“I don't like betrayal. Betrayal is a very capacious word. It doesn't even mean cheating, no. Betrayal goes much deeper than that. I part with traitors right away, whether they are girlfriends, husbands or someone else ... And what happened to me was what should have happened. Nobody is immune from divorce.

The only thing I wanted was for my divorce to be more human, because ... You see, it's one thing if I were alone and divorced him alone, but I had to think about children, who might be even harder …

But everything passes, and insults also pass. Forgive? All has been forgiven. But it has not been forgotten… I have been living without a husband for ten years… I do not regret anything. I don't suffer from loneliness. Nothing has changed for me. Friends stayed with me. I have wonderful children and grandchildren! In the summer I go to the countryside. I love the forest, mushrooms, nature ... I am happy that fate gave me such a life!

By the way, Tabakov's daughter, Alexandra, still cannot forgive her father and does not communicate with him at all. True, her daughter Polina regularly comes to him at the theater, consults on various issues.

In February 2004, Oleg Tabakov gave a long interview to the weekly "Sobesednik". Here are just a few excerpts from his personal life:

“Am I greedy? Before life, yes. I call it the fullness of being. I have no material gain. I shoot for eight days with Istvan Szabo in Hollywood and get a fee that is enough to replenish family budget a year and a half, or even two. Even my teaching in America is incommensurable in terms of money with filming with Western directors ...

My physical condition is enough for work, and for my wife, and for my youngest son. In the morning I wake up still early, to restore my strength I need five and a half hours of rest, no more. True, on the day of a difficult performance, you must definitely sleep for an hour and a half after dinner. When there is nothing urgent and extraordinary, I fall on my side. Right in the office, next to the toilet. Olga Semyonovna, my assistant, strictly guards my peace and sleep. If you manage to relax, it visibly affects the quality of acting work ...

Previously, amorous interests were updated regularly and quite intensively. And then how it cut off. Of course, you can make a certain trim for advanced years: they say, there was a horse, but he left; but this is not true. Twenty years ago, when I met Marina, I was forty-eight years old, and this is not age for a real man. And today I am not ready to explain the change in the cyclical appearance of new female images on my horizon only by age restrictions. It's not about that. Apparently, after a long search, I still managed to find a person with whom it is good, warm, comfortable. Why, one wonders, in this case, look further? And emotionally, I feel great. Pavlik, my youngest, contributes to this to a large extent ...

We try to spend at least half an hour together in the morning. Before he leaves for school. But the problem of time, of course, exists ... The first child, whom I, as they say, felt to the fullest, was Polina - a granddaughter, daughter of a daughter. In relation to her, he experienced, perhaps, the whole gamut of parental feelings, including those that he did not know with Anton and Alexandra ...

As for Pavlik... I understand that I am not eternal, but I try not to get hung up on such thoughts. It's too painful a subject. Although, on the other hand, how not to think about it? I constantly remember that I am 68 years old, and my son is eight and a half. I will help him as much as I can. But how much exactly ... My genetics seems to be quite good, but here it’s stupid and pointless to guess. Life cannot be begged, in my opinion, until the very last breath, it should be like a prize, like a reward.

I really want to teach Pavlik to be responsible for himself. I take my son seriously, I judge him, perhaps even too harshly. I already recognize some of my traits. We both get up in the morning good mood. Always! Regardless of how the evening ended the day before, whether the sun is shining outside the window or whether it is raining ...

Despite my severity, Pavlik is not deprived of affection and warmth. I try to spend as much time with him as possible, so I always take it with me on trips and on tour ... "

In April 2006, Tabakov and Zudina had a second child - daughter Masha (named after Tabakov's mother). Five months later, she was baptized in the same church that ten years ago Pasha Tabakov, Fyodor Stratilat. godmother girls became close friends of the family - Sergey Glinka and Larisa Novikova (she also baptized Pasha at one time).

In 2012, the son of Tabakov and Zudina Pavel graduated from school. And, of course, he continued his studies with his father - he entered the Moscow Theater School of Oleg Tabakov. By the way, Pavel made his debut on the professional stage at the age of 15 in the play “ moon monster» Moscow Art Theater A.P. Chekhov, which is led by ... again, his parent. Everything, as in that old joke. The son asks his military father: “Dad, will I be a captain?” “You will, son,” the father replies. "And the major?" - "You will." “And the colonel?” - "You will." "Well, what about the general?" - "But this, son, no - the generals have their own children."