Sergei Soloviev Drubich. Unbearably independent Tanya Drubich

My own director

Intellectual, encyclopedist, optimist and laugher "SAS" - Sergei Aleksandrovich Solovyov - cult director

Intellectual, encyclopedist, optimist and laugher "SAS" - Sergei Aleksandrovich Solovyov - a cult director who directed such legendary films as "ASSA", "Alien White and Pockmarked", "One Hundred Days After Childhood", "Black Rose - the Emblem of Sadness, Red the rose is the emblem of love", "Tender Age" - has been working on the film adaptation of Leo Tolstoy's novel "Anna Karenina" for more than 10 years. IN leading role, of course, Tatiana Drubich, his permanent Muse. Someday, the paradoxical and beautiful novel of Solovyov and Drubich will certainly be transferred to film: this story is worthy of a film adaptation! ...They met during the filming of the film “One Hundred Days After Childhood,” directed by 28-year-old Soloviev, and 13-year-old Tanya Drubich played the main role. 15 years age difference married man and a schoolgirl, their passionate and tender romance against the backdrop of the sunset of such a morally observant Soviet Empire. The girl’s parents were in “quiet horror,” but ex-wife Solovyova did not remain silent, she complained about him to the city party committee. Alas, nothing helped: in their life, as in the movies, love won! Today the venerable Sergei Solovyov declares eternal love, and Tatyana Drubich, after divorcing him, in one of her interviews could not resist a bitter remark: “Thank God, it’s all over, I’m free”... But their creative tandem continues: like 30 years ago, Sergei Alexandrovich sees no one else as a performer leading roles in their films, except for Tatiana. His immediate plans include filming ASSU-2. Just be prepared - now it will be a completely different movie!

“I MADE “ASSA” TO SMOOTH OUT THE SHAMEFUL FIGURE IN MEMORY - 5.5 MILLION FROM THE RENTAL OF “ALIENE WHITE AND PITCHED”

- Having heard that you are going to shoot a sequel to "ASSA", I, prizeActually, I was shocked and surprised: after all, it was a film of that time. What will "ASSA-2" be like?

It will be a film called "ASSA-2, or the Second Death of Anna Karenina" - a theatrical novel about how I filmed the film "Anna Karenina". Everyone from the first "ASSA" who survived will participate in it: both Bashirov and Lesha Ivanov... Among the "heroes of our time" will be added Shnur, Bashmet, Zemfira... And believe me - everyone will coexist perfectly together! That’s why we all live together in life, and nothing! It’s just as good, very friendly and loving, everything comes together on the screen.

I will, of course, still think about the name; it’s “working”. You see, I just can’t forget the words of Vladimir Dostal, once the general director of Mosfilm, who always instructed us: “Comrades, I ask you - pay attention to the names of the films!” Recently they brought me a script called “Metastases”. Tell me which one normal people will say to his friend: “Have you seen “Metastases”? Let’s go take a look! Such, they say, interesting “Metastases”!..

Regarding the filming of the second "ASSA": you know, I thought for a long time whether it was worth entering the same river twice? Once Sergei “Afrika” Bugaev brought me a wonderful draft of the script, simply wonderful! Well, really, it would seem: “ASSA-2” - well, what could be better? Everyone, even the policemen on the street, just says to me: “Why are you all driving back and forth pointlessly - it would be better if they made a sequel to “ASSY”!” But at some point I realized: you can’t do this. It is forbidden! After all, how was the first film made? All the stars, all the circumstances, the era, the people just came together, you know?

"ASSA" was filmed for three and a half months, and all this time it was winter in Yalta, and the snow fell and did not melt. As I was later told, this never happened again, either after filming or before, no one will remember. It was some very special significant time...

But on the other hand, thinking about ASSU-2 almost all the time, I lived in my soul with one of the most vile feelings that life gave me - the feeling of a “cemetery of unrealized ideas”: what I did and what I could do. I will say this: on the one hand, my life is thrown into the trash - nothing has been done. But compared to others, we can consider that everything worked out. (Laughs).

- Is there a film in your filmography that you personally consider a failure?

Of course there is! “Alien White and Pockmarked” is a painting that I love very much, which in Venice received a big special jury prize and in general great success It was popular among intellectuals, but earned only 5.5 million rubles at the box office. I literally went crazy with misfortune then! I remember when I came to the premiere of the film, I saw several trucks with soldiers behind the Udarnik cinema: this made me very wary.

It turned out that the organizers of the premiere decided not to upset me with empty seats in the hall and let the soldiers in so that I would have a feeling of great success among the audience. I’ll tell you more: I made “ASSU” only in order to smooth out this shameful figure in my own memory - 5.5 million from the rental of “Alien White and Pockmarked”!

Therefore, it’s funny to me to see how today they are making such a fuss because of the 7 million received from the rental of Fyodor Bondarchuk’s “9th Company”! (In fairness, it is worth noting that the mentioned $7 million is the profit of “9th Company” for the first four days of screening! In just one week of release, including in Ukraine, Fyodor Bondarchuk’s film collected $9.8 million. - Auto.).

For example, I personally have a very good attitude towards Fedya, they even say that his picture turned out well (it cannot be otherwise, because he is not from slaves - he is a different person). But if his “9th Company” earned 7 million at the box office, that’s a ridiculous figure! 7 million at the Soviet box office were called nothing more than failure!

Judge for yourself: 460 thousand rubles were spent on the entire production of my two-part film "ASSA". It was released in April 1988, and by the end of the year the film was watched by 27 million viewers. The ticket cost 1 ruble 50 kopecks. Now calculate the final profit from this absolutely not the best box office picture! About 40 million rubles were returned! But next to me, Gaidai has always been a training genius! This is what an “unsuccessful, broken, hopeless” economy is Soviet Union!

Soviet cinematography, which was criticized for its imperfections, for its lazy cinema directors who sat and waited for Gaidai to make a film, and were too lazy to bother with others - in fact, it was a cinematography fantastic in its intelligence and economic calculations, which had as its interlocutor all spectators of the Soviet Union, without exception, of all nationalities, religions and ages. It was a movie for everyone! Andrei Tarkovsky worked for intellectuals, and everyone was waiting for Solaris to come out, and when it came out, there was a line four deep around the cinemas! And the patriots were waiting for Bondarchuk’s new film. And the grandmothers were waiting for the release of Matveev’s film, in the spirit: “Either the party card is on the table, or I love her!” Everyone came and looked at Gaidai! It was cinematography, grandiose in its success, focused on its own people, on dialogue with these people, on ensuring that everyone soviet man throughout the space I found my interlocutor in the cinema.

Have you noticed this thing: not a single foreigner even smiles in Gaidai’s paintings? (Screams). They don't understand! They think that we are a bunch of cretins and we have our own cretinous director!... (After a pause, in a low voice). And this is national cinema. But turning into a cretin in jeans with chewing gum in your teeth is a completely different task. Now we are solving it perfectly.

“GAIDAI SIGHED: “YOU WOULD KNOW HOW FUCKED ALL OF THIS FUCKED ME. I WANT TO DO SOMETHING PSYCHOLOGICAL! IN THE SPIRIT OF ANTONIONI!.."

- But who forces us to watch American movies?! And why then don’t we also force Americans to watch our films?

Understand: we are all victims of a colossal financial scam associated with American cinema. As a result of this gigantic adventure, Russia's national film distribution was deliberately destroyed. Probably for bribes. (Since I didn’t see who gave them to whom, I can’t say for sure. But I guess that’s exactly what happened). Because such an accident cannot happen, so that suddenly all of Russia - from Pacific Ocean to Baltic Sea- suddenly I started watching only American movies! Today, as a result of fooling several generations of Russian viewers, everyone is talking about the advent of the era of genre cinema - but this is all a perfectly planned adventure!

Once in Cannes I talked with the most important producer in America, Jack Valenti, whom I, being then the chairman of the Union of Cinematographers of Russia, invited to come to Moscow. He says: “I will come if you organize a meeting with Chernomyrdin for me.” I said: "Okay, I'll arrange it!" And he arrived. Chernomyrdin, then prime minister, received us. During the meeting, Valenti had a terribly sad face: “I came to stop this outrage with video piracy! We lose so many millions every year, damn it all!”

In the evening, already slightly tipsy, Valenti said to me: “Congratulations on the beginning of a new era in Russian cinema!” And I said to him: “Why did you sit for so long and none of you twitched when, from the first day of perestroika, cassettes with your films were copied in all our grocery stores!? Why didn’t you worry about being robbed before?” - “Because before it was necessary to fill your market with VCRs. We even had an agreement with the Japanese. How else to saturate your market if you had nothing to watch on video tapes? And you watched us. At that time we needed it, and we allowed you to steal our films..."

That is, they treat us like monkeys. They did and continue to do so! Now we are allowed to have independent cinema, but have their forms, their audience, brought up on blockbusters and popcorn. We must, by this design, become the successors of this standard of American cinema. And they do it brilliantly when they release this “Night Shame” on Channel One. ("Night Watch". - Auto.). This is a completely conscious and planned brainwashing campaign, believe me!

And you wouldn’t want, in defiance of the same “Night Watch,” to create a cult movie for current generation, how did you do it in your time, filming "ASSU"?

I have never made a movie for anyone other than myself and everyone. When I made "Tender Ages" - I did it for myself and for everyone. Because I myself was amazed by what was happening, by this real story, which formed the basis of the film. After all, in reality all this happened to my son Dmitry (son from the marriage of Sergei Solovyov and actress Marianna Kushnirova, who played the main role in his film ("The Station Agent". - Auto.). And moreover... (Suddenly cries). After all, the day before the premiere, this boy, Alexei Dagaev, who played a classmate in the film and played himself, was killed. Some scumbags took him and killed him for his old sins. And on the day of the Moscow premiere of the film, the whole film crew buried him.

So you say “cult cinema”... You see, our cinema is structured differently. Same Matveev: he didn’t specifically single out “his audience” - old women who still believe in Communist Party, - and only then made his films with a focus on this audience. Our That's not how movies are made!

Vasily Shukshin was right when he said: “Tie yourself in a knot, but don’t yell in an empty hall!” I remember one day I met him at the airport when he returned, having received a "Kalina Red" main prize some kind of festival. I have never seen him so happy in my life! In one boot, drunk, drunk and crying. I say: “Vasya, what’s wrong with you? We’ll find the boot!” - “What a boot! You should have seen how they looked at my picture! How they looked at it!!! I was at eight sessions - it was impossible to enter the hall!” He was absolutely happy man, who made non-redneck films taking into account the viewer and the genre.

I’ll tell you more: in Russia there has never been a “genre” in art! Tell me, what genre is "Crime and Punishment"? What genre is "The Inspector General"? Do you really believe Gogol’s signature that this is a comedy? This is the most phantasmagoric and tragic play of the Russian repertoire! There is no concept of genre for the Slavic consciousness! Or what genre are Gaidai’s films - this most complex, almost Ionesque combination? This is our laughter at ourselves, from which the intellectual core has been removed. “Whoever bought a pack of tickets will receive a water pump!” What This?! What genre?

(laughs). One day I was simply hysterical. Gaidai and I were installed next to each other at Mosfilm and often sat together in the smoking room during breaks. I was a very young director, and he was already famous. And so, I remember, Gaidai sits with a cigarette and is indignant (parodying in a gloomy philosophical tone):“You would know how much all this sickened me! Since Gaidai means someone’s pants have fallen off! Since Gaidai means someone is covered in green snot! I really want to do something. .. psychological! About unhappy love! Something in the spirit of Antonioni!..” (Laughs to tears).

I recently visited Venice with my daughter Anya and Tanya Drubich. There is, as always, a flood. We drank in some restaurant and returned to the hotel at night: full moon in the sky, all around the water is splashing ankle-deep, we are drunk and barely plodding along... And suddenly Anya (an adult girl, graduating from the Munich Conservatory, 21 years old) says: “Oh, what a pity that Gaidai died!” - "???". - “What a wonderful film he would have made “Death in Venice”!”

"TOGETHER LEO TOLSTOY AND I DIDN'T KNOW HOW TO MAKE A RATED FASHION MOVIE"

- Admit it, are Antonioni and Visconti still your favorite directors?

But of course! What could change here? It is not true that films must be watched new, immediately after their release. And the greatest painting for individual viewing of all time was made here - this is “Mirror” by Andrei Tarkovsky. Try watching it with no one, not in a cinema, but alone - it will be a different “Mirror”, and you will understand my words. It is not true that Tarkovsky is not a box-office director! Lies! Every year Mosfilm receives 250 thousand dollars in profit from the dead Tarkovsky! And all these “cash tapes” - in a year no one will even remember their names. You can't feed on this cheap movie that's on everyone's lips.

According to ratings television, we are a nation of hopeless cretins. But the situation is just the opposite... You know, one American producer, a serious, well-read man, told me: “I’ll give you as much money for Anna Karenina as you say, but I have one and only condition - this The American audience will not accept the ending!” - “Are you sick?!” - I tell him. “What you hear: Anna Karenina is a very good novel with a worthless ending!” Well, who is he after that? Who are his people if they do not understand such an ending? Who should heal whom?

We should let them slowly read Vasil Bykov, Vasily Shukshin, because life consists of other matter, and not from the chewed porridge that they offer us. There are, of course, examples of the opposite, amazing examples. For example, when I met director Peter Bogdanovich, I couldn’t believe that “Paper Moon” and “The Last Picture Show” were directed by this man. I couldn’t bring myself to believe it: well, I couldn’t He take off This!

- What are you working on now?

- (Quiet). Above "Anna Karenina". (And falls silent).

- Can you give more details...

And more details - from Leo Tolstoy! (laughs). Do you want to ask why it’s taking me so long to film it? Yes, because I quarreled to death with the producers who wanted to get a high-rated fashion movie out of my film. And they knew how to do it, but I, together with Lev Nikolaevich Tolstoy, we did not know. This battle has been going on for the past four months: we have been arguing about everything. In the end, I got tired of it, and I said: “Guys, it seems I didn’t hire myself to be the executor of your plans!” And he left, slamming the door.

This is an absolutely terrible element of today's Russian cinema - the so-called "introduction of producer cinema." Who is a producer in the world? A person who helps the director realize his vision. Who is the producer on the territory? former USSR? This is the same headless boss who, having hired a director, wants to realize his headless plans. And at the same time - under any circumstances - you can also earn money! Not realizing that there are things from which they make money, and there are those in which they invest money and also thank God for it.

That's why I bought the painting. This is a hell of a story: I had to get millions, buy the rights and become the general producer myself. The film is due to be released on February 2, 2007. And in it - alas! - there will be the most predictable ending to the story of Anna Karenina...

Although the options, of course, were different: director Roman Viktyuk once called me and shouted into the phone: “I found this for you! You’ll be stunned! Anna Karenina-2!” She jumped in front of a train, her eye was knocked out, her appendix was cut off, but she remained alive!...". I say: “I don’t need this!” Everything is written in the novel! No more words needed!

- Still, it’s curious why you took up the film adaptation of this famous movie. last word novel?

Because there are only a few books in the world that read like divination... You know, Nabokov, who was always very stingy and strict in his assessments, told his American students at the beginning of the lecture: “Today we will begin to talk about the best novel of Russian literature. .. Actually: about the best novel of world literature! Or Ivan Bunin, who treated the Russian word with the utmost severity, being already a laureate Nobel Prize in literature, suddenly made the following entry in his diary: “I re-read Anna Karenina.” God, how wonderful it is! But how terribly this novel is written! All these endless “if only”s are just barbaric! It’s terribly written!.. We’ll have to find time and rewrite everything in human terms.”

This is what I’m doing now: I’ve found the time and am rewriting the entire story of Anna Karenina into the language of visual images.

Or, in this regard, I remembered this story: the legendary pianist Leo Oskarovich Arnstam was friends with Dmitry Shostakovich from the time they studied at the conservatory: then they worked together as pianists in a cinema, playing through the session, and in general they were like brothers. And every time Shostakovich wrote a new work, he sent it to Arnstam first. And so the 15th symphony was written, he sent it to Arnstam, and he looked - there whole piece from Mahler, note for note... “Mitenka, you must have overworked yourself! What did you send me?” - “Are you talking about Mahler?” - “This is plagiarism!” - “But, Levushka, what a pleasure it was to rewrite this beautiful music: note by note, note by note...”

"AN ACTRESS WHO IS MORE LIKE ANNA KARENINA THAN DRUBICH IS NOT FOUND TODAY"

- Anna Karenina in your film is played, of course, by Tatyana Drubich?

You know, they often ask me: “What were you guided by when you cast Tanya Drubich for the role of Karenina?” I answer: “Similarity!” For example, I really love the previous “Anna Karenina”. Because Tatyana Samoilova looked fantastically like Anna. Looks like it! It was impossible to find a more similar actress than Tatyana Samoilova at that time. Smoktunovsky looked like Hamlet. What can you do here - it looks like that's all! An actress more similar to Anna Karenina than Tatyana Drubich cannot be found today. It was the degree of her similarity that inspired me for this project.

Remember, when the first films about Lenin were made, an actor was cast for the role based on the principle of similarity (and Lenin was played by Shchukin in 1937 for Mikhail Romm in the film “Lenin in October”, and then Strauch in 1938 for Yutkevich). And now, after the release of the films, all Soviet people discussed: “Strauch plays better, but Shchukin is more similar.” As if someone had seen Lenin - no one did! But in order to shoot these films, the directors first of all needed to have an actor similar to Lenin.

When I started filming “One Hundred Days After Childhood,” I met Tanya Drubich at the casting almost immediately, on the third or fifth day. But then I searched for the lead actress for another four months: it seemed to me that “young Irina Kupchenko” was supposed to star there. But Tanya was in no way fit to be a young Kupchenka. And this irritated me, and the fact that the entire film crew constantly shoved Tanya’s photographs into me in different pockets so that I would calm down. And I said: “No, look for young Kupchenko for me.” I was looking for a type. And next to me there was already a Personality that I did not want to notice because I was fixated on the type.

"Anna Karenina" is the very case when Tanya is unusually similar to the character. There is an initial “personal identification”. And I took on the film adaptation of the novel only because I already had Anna Karenina.

- Sergei Alexandrovich, why did the filming of this film last for almost a decade?

Indeed, we launched Anna Karenina for the first time in 1994: the most crisis year, the darkest times for cinema. But when I said these two words at Mosfilm - “Anna Karenina”, everyone immediately understood that this is exactly what needs to be filmed now, that this particular picture will give people at least the illusion of cinema. Initially, an agreement was signed to film a five-part television version and a two-part movie. And it was even solemnly proclaimed that this would be the last film to be closed. It was the last one to be closed. I closed it myself because I was then the chairman of the Union of Cinematographers of Russia and did not want to paralyze all film production in the country. This was the time of the “Chubais pruning”, when the entire budget was sequestered. And if I started working on a film with 150 characters, historical settings and costumes, then all the other films around the country would have to be closed.

And now many years have passed since that moment... Suddenly I received a call from Channel One: they say, Konstantin Ernst invites me to talk about the filming of “Karenina”. At first everything went smoothly, amicably. The first casting was like this: Anna - Tatyana Drubich, Vronsky - Alexander Domogarov, Sergey Garmash - Levin. Only regarding Karenin there was a painful choice between Alexander Abdulov and Oleg Yankovsky.

- And you chose Yankovsky, right?

For the role of Karenin - yes, Yankovsky. Abdulov plays Stiva. I couldn’t give him up completely, because Sasha is one of the most unique actors I’ve ever met, the most genuine! Sometimes people tell me: “Listen, talk to Abdulov so that he doesn’t act in TV series! He’ll ruin himself as an actor!” And I say: “Let him act wherever he wants: it’s not dangerous for him!”

- And who will be Vronsky?

We started filming with Serezha Bezrukov: an absolutely wonderful actor. He and I worked soul to soul, and I didn’t even have any small complaints against Seryozha - nothing except admiring words of surprise. But then circumstances began to develop in such a way that one job was followed by another, and the next by a third. And our schedule has gone wrong reverse side, against. And with great sadness we parted, and I spent a very hard time in search of a new Vronsky... And then I found Slava (Yaroslav Boyko. - Auto.) and calmed down!

I'll tell you another story related to this project. I’ve already told it a dozen times, but I’m not afraid to repeat it, it’s too funny. So, on the first day of shooting “Anna Karenina” we are all standing at the Kievsky station: Tanya in makeup, Seryozha Bezrukov in makeup. The police blocked everything off so that random people wouldn't be caught in the frame. And suddenly a man with a microphone on a long stick breaks through (it turned out to be a correspondent for some newspaper, either “Gudok” or “Zheleznodorozhnik”) and, nearly knocking out our Karenina’s eye with his microphone, shouts: “Tanya, tell me , please, do you think it is possible to call Lev Nikolaevich Tolstoy a “poet” railways"?"... It was already impossible to film further that day that day: the entire film crew was literally hysterical!

On May 31, the Mikhailovsky Theater will host the premiere screening of Sergei SOLOVIEV’s film “Anna Karenina”. At a press conference in ITAR-TASS, the director, together with the leading actress of Anna Karenina, actress Tatyana DRUBICH, spoke about how the film was made.

“I’m not involved in commercial cinema from the commercial end,” said Sergei Solovyov. — “Anna Karenina” is the first novel of the Russian Silver Age, and not at all a reason for a benefit performance. I hate the “popcorn” aesthetic. When the viewer is mocked with the help of special effects, shooters and farts, this is not art.
When I was making the picture, the shadow of the greatest Russian artist Mikhail Vrubel hovered over me all the time. He made the most brilliant illustrations for Anna Karenina. There are few of them, but this is an infinitely beautiful page of art. Tarkovsky, whom many consider an aesthetic gentleman, also made commercial films. Now his films cost 200 thousand euros.

From Anna Karenina came Tsvetaeva and Akhmatova. I have no other ambitions than to preserve unmutilated, uninvented Russian history.

Painful losses

The day after the press conference passed away People's Artist USSR Oleg Yankovsky, who played the role of Karenin in the film.
About Yankovsky’s role in the creation of the picture, Solovyov said:
“We started discussing the picture with him ten years ago. Yankovsky was its powerful “engine”. He brilliantly played the charm of Karenin's tragedy.
To the question, what is the main theme of the picture? Soloviev replied:
— The phenomenal image of Karenina, played by Tatyana Samoilova, shone before us all the time. But we were not going to repeat ourselves. Anna played by Drubich is different.
In Tolstoy's novel, the main thing is Anna's love for Vronsky. And the terrible price that was paid for it. Drama. But happy loves doesn't happen. My own life experience only confirms this rule. But, as you can see, Tatyana and I work together.

Our daughter Anna (Anna Solovyova was born in 1984. Her famous parents separated in 1989. But warm friendly relations support. They now have a beloved grandson - B.K.) - author of the music for Anna Karenina. She is currently finishing the introductory orchestral and vocal suite.

Laconic Drubich

Tatyana Drubich said about her attitude towards Karenina:
— I first read the novel at the age of fifteen. The most interesting Anna Karenina is Tolstoy's. She is the most correct and accurate. It is impossible to see from someone how to create this image. Anna Karenina is enough for a long time and for all actresses. Her soul is an abyss. You can only spy on yourself, in your soul. The most difficult thing for me was to love Karenina. For me, the only value in love is to love yourself. In life, I am a romantic, passionate person. I don’t know how to ask and refuse. And I understand how happiness right choice three things: the person nearby, the business and the place where you live.

REFERENCE
There are about thirty film adaptations of Anna Karenina in the world. The main roles were played by Greta Garbo, Vivien Leigh, Alla Tarasova, Tatyana Samoilova, Sophie Marceau.
Vladimir Nabokov called Leo Tolstoy's work " best novel peace."

Sergei Solovyov: I’m generally in a rather difficult position in front of you and the public, this is a very intimate sphere. In general, I will only talk about what can be talked about. I hope you will be in my position? In addition to public things, there are things that can be talked about, but I will not do so. And also, and a lot of other things that I just don’t want to talk about, yes.

Director, screenwriter, producer and People's Artist Sergei Solovyov does not always talk willingly about himself, let alone about his third wife Tatyana Drubich, and he is quite understandable. They have much more in common with Tanya Drubich than a simple relationship that can be described in standard words. He and she are not just a director and an actress, yes, they are a man and a woman, and even husband and wife, but... Tanya Drubich is the discovery of his whole life, rock, prophetic dream and inspiration. This discovery happened when Tanya was only 15 years old; she played by invitation in Sergei’s film “One Hundred Days After Childhood.” Back then, the teenage beauty Tanya shone in the sky like a little star, but did not dare to connect her life with cinema. Instead of playing the role of a movie star, Tanya tried on a white coat and rushed to medical school. Afterwards, she divided herself between two favorite activities, and every now and then she delighted her fans with new roles in the films of her now husband, Sergei Solovyov.

Today Tatyana turns forty-five years old, and anyone who does not recognize her as a movie star is clearly mistaken. Mysterious, enigmatic, meaningful, not fully understood by anyone, it is difficult to approach her, and even more difficult to get an interview. Therefore, we decided to ask her husband, Sergei Solovyov, questions about her.

About how Tanya chose her profession

Sergei Solovyov: Yes, it was I who advised Tanechka not to go to VGIK or any other acting, theater and film institute. But you shouldn’t think that it was an easy choice, especially since Tanya was immediately offered a place in the group of Bondarchuk and Sergei Fedorovich. His “workshop” just lacked such a young diamond; Tanya had not yet finished school. Then her parents came running to me and asked for advice on what to do, and then I answered what I thought. And I thought that Bondarchuk, of course, was a great opportunity to find mastery, his own direction, but I advised that such a choice be denied to him, albeit with gratitude. Still, Tanya wanted to go into medicine, she is that kind of person. I insisted: “Let him go to medical school.” Still, there was a rational grain in this, Tatyana could study cinema and learn everything in practice, on the set. But I didn’t intend to deprive him of the choice, because in the art of theater there is one quirk, it sounds like “I want to play...”, and then ascribes something different to everyone. I didn’t want Tatiana to lose her choice in life. Moreover, Tanya has grown since then and has become not only a professional actress, she has become a super-professional in her field, and the lack of specialized education did not hinder her at all. She had her own “university”, she starred in a dozen or two of my films and learned everything she needed. Just don’t think that I’m calling on all student actors to quickly leave their “alma mater” and rush into the maelstrom, cinema has many faces, and the one you see and the path you choose is the right one. Any place in cinema is important, the bulk of the roles must be played, you can find yours. It’s just that when I first saw Tanya, I immediately understood everything, she is still drowning in offers, but chooses only those that interest her, and that’s also right, she doesn’t waste her time.

About Tanya, who makes her choice

Sergey Solovyov: Tatyana followed her own path, was it difficult? Of course, it's just her personal the right way. She chose acting not as her main job; she has enough strength and desire to change the situation around her in the direction that she really likes. She decided that she would not be the person chosen. Tanya chose the path of the one who chooses herself. And the fact that she has additional education and a white coat really helped her in this. This made her truly independent, and not only from cinema, from fashion, from the family routine. And she was never just my wife, whom I forced to act in my films, this did not happen, simply because it was not for Tatyana Drubich. And medicine is always with her, she was a practicing doctor, now she is engaged in business, also related to medicine.

Watch the film “One Hundred Days After Childhood” from 1974 and the recent video by Valery Meladze “Dawn”. On the screen is the same gentle creature with a wreath of wild flowers on her flowing hair. Time seems to have no power over Tatyana Drubich.

Girl and master

Life was always in full swing around her. While still a student at a French special school, Tanya Drubich starred in the films “The Fifteenth Spring” and “One Hundred Days After Childhood.” A thin girl with very sad eyes, as in a beautiful fairy tale, received everything at once: all-Union fame, a prize at the Berlin Film Festival and a meeting with the man of her dreams - a director Sergei Solovyov.

It seemed that the career of a movie star was predetermined. But Tatyana chooses a different path. She dreams of not just giving to people, but saving them, and therefore, unexpectedly for everyone, she enters Medical Institute them. Semashko and in 1983 received a diploma as an endocrinologist.

But the movie doesn’t want to let her go. In the late eighties, Drubich starred in the films “Assa” and “Black Rose - the Emblem of Sadness,” which became truly cult films for her generation. In the media of those years, Tatyana Drubich is called nothing less than “Sergei Solovyov’s muse.” Soon she becomes his wife. She is not embarrassed by the fifteen-year age difference and gossip that she allegedly broke up the previous marriage of a venerable director for the sake of her own career.

Tatyana's father died early, and by her type she is probably a classic woman-daughter. And besides, she was so in love with the master of Russian cinema that she essentially idolized him, not hearing any conversations around her, nor seeing any flaws in him: neither his short, nor his greater selfishness. According to the actress, “I lived the first years of marriage as if in a cloud of happiness.” She acted in films not so much at will, how much because He wanted it so.

While Solovyov was creating, she gave birth to a daughter, Anya, completed her residency, and began practicing at the district clinic as a doctor. Her husband insisted that she forget “about Tsilya Moiseevna’s analyzes” forever and focus exclusively on his films. This went on for fifteen years, and then the girl Tanya became an adult and fluttered out of Solovyov’s nest into an independent life.

“Is it really the same Tatyana?!”

The early nineties became a time of collapse not only Soviet cinema, but also married couple Soloviev-Drubich. Tatyana focused on her medical work and raising her daughter. And then life took another zigzag. At a time when everyone around was focused on commerce, famous actress and the respected doctor Tatyana Drubich also decided to try herself in a new role.

This is how she first started the “Assembly Hall” club, which was extremely popular among the “new Russians”. Then she headed the Moscow representative office of a reputable German medical company. And then she began to realize her long-standing dream - to create her own clinic. At the same time, Drubich managed to act in films and no longer with Solovyov (the most famous films with her participation are “Ten Little Indians”, “Hello, Fools!”, “Moscow”). And play at the Maly Theater. And try out on television (there is an idea to create a medical program on NTV with Drubich as the presenter). And even star in a music video. And also build your own country house.

One gets the feeling that if such an opportunity had arisen, she would have flown into space. And - an amazing thing - no matter what Drubich does, outwardly she remains girlishly fragile, defenseless and young. It’s as if fate has gifted her with an endless supply of time, and neither age nor everyday problems have power over her.

Drubich about time and himself

She is often told that she doesn't change over the years. Like, she signed some kind of “agreement with time.” Of course, the actress herself sees changes, especially internal ones. It just looks good on the outside. But isn’t that what you should look like at forty-something?

Time is generally the biggest invention of humanity and, probably, its most important mistake. Any physicist will tell you this. Since ancient times, cases have been known when a person, through an effort of will, simply canceled the passage of time for himself and began to live, as if from scratch, canceling previous mistakes, crossing out .

Active creative people even now know how to turn off the day counter. Look around - scientists, musicians, conductors, ballerinas, writers... gray hair they work, make plans for the future, and most importantly, get tremendous pleasure from the process of life. Amazes physical activity Andron Konchalovsky, creative form Kira Muratova, common sense of an academician Vitaly Ginzburg.

Hence the conclusion: youth is the destiny of intelligent people. Why do we need time limits at all? If you vitally need children at forty-five years old, try! If you want to learn Chinese or write a novel at sixty - for God's sake! Either you are always young, or never. You can be born an old man, or you can remain young until last day. It sounds corny, but it's scientific fact.

Correct self-awareness, according to Tatyana, is the main component in preserving youth. But, of course, there are also special medical technologies. After all, old age is, in fact, a disease. And he is now treating her separate direction modern science- anti-age, or medicine against. She develops this young, promising concept in her own clinic.

Advice from Dr. Drubich

Tatyana is convinced: our life expectancy physical health and even psychological state more than a third depends on heredity, but the rest is in our own hands! The sooner you begin to understand this and organize your life correctly, the greater your chances of reaping the benefits of these efforts in old age. Low-calorie diet, complete abstinence from fatty foods, visiting the pool or other physical activity- this is a mandatory minimum for every reasonable modern man.

As an endocrinologist, she strongly recommends that her patients undergo a full medical examination at the age of 30-35, primarily a hormonal one. Determine your biological age, which, as a rule, differs from your passport data. And based on the results obtained, start taking medications that successfully neutralize the activity free radicals at the molecular level, which means they delay the aging process. At the same time, you should remember that antioxidants should not be taken according to your own understanding, but always according to a doctor’s prescription.

And, according to Drubich, by the age of thirty, all women need to acquire a personal cosmetologist, like any self-respecting European lady. And then the beauty will linger in your home for a long time!

Famous theater and film actress and at the same time a successful endocrinologist Tatyana Lyusenovna Drubich is, without a doubt, an outstanding phenomenon in our cinema. Her bright and extraordinary images and genuine natural beauty still do not leave viewers of different generations indifferent. Being the wife of the famous film director Sergei Aleksandrovich Solovyov, she was and remains his muse for decades. His book, based on the film about Tatyana Drubich from the series "Those with whom I..." for the TV channel "Culture", is imbued with a reverent attitude towards outstanding contemporaries with whom fate brought the author together film set and beyond. His verbal portraits of outstanding screen masters are devoid of banal features, well-known facts, they are warmed by the unique personal intonation of the author, who talks about his colleagues in art freely, relaxed, ironically, but also tenderly, with a lot of vivid details and details that are known only to him.