Solovyov are those with whom I am Tatyana Drubich. Solovyov seduced Drubich by having a pregnant wife! What are you working on now?

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. The main role, of course, is Tatyana 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 main role performed by 13-year-old Tanya Drubich. 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 SPECTED”

- 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 have 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”! (To be fair, it is worth noting that the mentioned $7 million is the profit of “9th Company” in 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 went 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 whole 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 don’t we then force Americans to watch our films as well?

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 to 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 just 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 wrapped 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, the water splashes ankle-deep all around, we are drunk and barely trudge... 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! "Mosfilm" receives 250 thousand dollars in profit every year 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 are 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 best novel 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 wrote 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, I am often asked: “What were you guided by when you took Tanya Drubich for the role of Karenina?" I answer: "Resemblance!" It was impossible. Smoktunovsky looked like Hamlet. What can you do - he looks like that, and that’s it! Today you won’t find an actress more like Anna Karenina than Tatyana Drubich. 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 my 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 continued to work on a film with 150 characters, historical settings and costumes, then all other films around the country would have to be closed.

And now many years have passed since that moment... Suddenly I got 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 they 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, almost 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!

The guy was quite cheeky when communicating with the star. He touched the actress’s hands, looked into her eyes with a smile, without keeping a distance. But Drubich did not seem to be bothered by this. Covering her face with her collar from the evil wind, she listened favorably to the young man, and sometimes even openly laughed at his remarks. “Perhaps they are old acquaintances?” - we thought. But then Tatyana Lyusenovna got mobile phone and started typing the keys under dictation young man, obviously, write down its coordinates. And then it got even more interesting: the artist walked to the edge of the sidewalk and began to catch the car. The boy was impatiently stomping around to the side... Our driver (observation was carried out from a car) said sadly: “Well, here we go again, racing on the roads! When will I get home?!” Looks like she was expecting us sleepless night…

Economist's grief

...Our driver has already begun to warm up the engine in order to go in pursuit of the sweet couple. But suddenly a crowd of people poured out of the Rossiya State Central Concert Hall. A group of men in coats headed towards Tatyana Drubich. We were surprised to recognize Sergei Solovyov in one of them! It turned out to be difficult to capture their heated conversation on film; the crowd pouring out of “Russia” was in the way. As a result, Tatyana never got into the taxi, but was carried away by Solovyov and his friends towards the parked cars. Which we filmed in good faith. The blond boy was left alone, and we hastened to get to know him. The guy introduced himself as 23-year-old Maxim from Kyiv. He works as a freight forwarder at a distillery and studies as an economist in the evening department at a prestigious university in the capital.

Actually, I came here to rent a room with a girl,” Max admitted. - But here they charged as much as 500 bucks per night! I can't afford it. And while I was standing scratching my turnip, here she comes. The legs are chiseled, the eyes are lively... And, it seems, under a slight “degree”. I blurted out something, she smiled. He told her some nonsense. She agreed to take my phone number. Then, as if jokingly, he says: “Well, come with me!” And she started hailing a taxi. And then these men jumped out from somewhere and took her away... The whole thrill was ruined!

So you didn't even know famous actress Tatyana Drubich?! - we were amazed.

The guy's eyes widened.

Yes, you drive! What, really?! What a joke!

When we headed to the car, he was still standing there, lamenting out loud about missed opportunities.

Office romance

Tatyana’s first affair with a man had a clearly scandalous connotation. Director Sergei Solovyov, having approved young Tanechka for the main role in the film “One Hundred Days After Childhood” in 1973, immediately began an affair with her. He was 28, she was 14. (According to other sources - 13. See “By the way.”) In the cinema community they like to remember how Solovyov’s then wife complained about “this seducer of young children” in the city party committee.

Best of the day

We guessed about everything and whispered in our children’s company,” says actress Irina Malysheva, who played the second most important role in “One Hundred Days.” - In theory, during the film expedition we should have been looked after by female teachers, but since they “fermented” in black, then free time we did what we wanted. In the evenings they held dances and played shuras. And Tatyana was isolated from us. And while we were dancing, she, for example, was diligently washing Sergei’s car.

Drubich herself recalls her first man and her childhood feelings for him enthusiastically:

I just loved him. Now it is difficult to imagine that this was a completely different person. Young, thin, light, charming, cheerful! And the rarest mind, I’ve never seen anything like it in my life.

At that time, the director was married to actress Marianna Kushnirova, had a son, Mitya, from her (by the way, this was Sergei Alexandrovich’s second marriage, his first wife was actress Ekaterina Vasilyeva). For ten years, Tatyana “held the title” of the shocking director’s mistress. The situation changed dramatically when a friend of Sergei Alexandrovich, a certain talented violinist, proposed marriage to her. Fearing that Drubich would give his consent, Soloviev quickly divorced Marianna and married Tatyana. At that time she was 23 years old. Some time later, the happy couple had a daughter, Anechka.

Form of marriage

Seven years later, Soloviev and Drubich divorced. By that time, the acting community had long been gossiping that the hot-tempered director sometimes even raised his hand to Tanya. However, this was not the main reason for the separation. According to one version, Solovyov had an affair with an 18-year-old fan. Tatyana herself explained the breakup in a completely different way in the Domovoy magazine.

A man appeared in my life, a director, whose name is Ivan,” she admitted.

As one could understand from the interview, the actress even starred in his film.

And a year and a half ago, at a banquet in honor of the premiere of Sergei Solovyov’s film “About Love” (Tatyana Drubich played one of the main roles there), the hero of the occasion, drunk, admitted to those around him: “She had an affair. He's just like me - much older than her, married and famous director. Only I didn’t give this novel life!”

The only director with the name Ivan, for whom Tatyana starred, was Ivan Dykhovichny (the film “The Black Monk”). He is indeed much older than Tanya and was also married... It is possible that Solovyov’s affair with an 18-year-old girl took place parallel to Drubich’s affair with Dykhovichny. Be that as it may, now Sergei Alexandrovich categorically states in all interviews:

Tanya and I are not divorced at all. It’s just our form of marriage. Just think, they put their own squiggles in the divorce document! This does not prevent us from loving each other and being together.

Tatyana herself once, in response to a journalist’s question about Sergei Solovyov, suddenly stated:

Thank God it’s all over, I’m free!

By the way

Tatyana Drubich officially turned 46 years old this summer. Although her passport details, which we found in account housing stock of Moscow, year of birth is indicated in 1960. It turns out that Soloviev and Tatyana met when she was only 13.

Reference

Tatiana DRUBICH starred in the films: “One Hundred Days After Childhood”, Black Rose - the Emblem of Sadness, Red Rose - the Emblem of Love”, “Assa”, “Ivan Turgenev. Metaphysics of Love", "Ten Little Indians", "Hello, Fools!" etc.

Sergei SOLOVIEV’s film “Anna Karenina” will be released soon. The title role in it will be played by the director’s ex-wife Tatiana DRUBICH, whom the viewer will see naked in the frame. This is basically what there is a lively discussion about on Internet sites.

I talked about the controversial personality of Sergei Solovyov with the writer and screenwriter Alexander ALEXANDROV.

- Alexander Leonardovich, what do you think about the new “Anna Karenina”? They say Drubich will run around there naked...

Well, which of Drubich is Anna Karenina? And as for naked... I know these movie things.

Do you really expect to see Tanya’s real charms on the screen?! I remember we once filmed a young actress, one of her tits was almost ten centimeters longer than the other. The make-up artists pulled everything together so well, not a hitch, as they say.

I believe that after 60 years a person should not make films at all. His drive disappears. Soloviev fell into insanity long ago. And Drubich will turn fifty dollars next year. A 50-year-old aunt climbed naked onto the screen! Then there’s no need to lie that she doesn’t want to act. I know that Soloviev constantly persuades Tanya to return to him. They haven't lived together for more than ten years.

- Karenina performed by Tatyana Samoilova is considered a classic...

Of course, you believe her Karenina, such a deep image! Poor, drunk Tanya Samoilova...

- In one of his last interviews, Solovyov says that Drubich is “extraordinarily smart.”

Her mind is purely feminine and very, excuse me, f... twisted. There were many stories with men. Everyone knows that Drubich had an affair with Vanya Dykhovichny. Before she gave birth to Anka from Solovyov, she ran with huge bouquets of flowers to concerts with Vladimir Spivakov... In general, I have a great attitude towards her. You know, two years ago Drubich was adopted from orphanage little girl. Tanechka is a wonderful woman, the kindest soul. That's why she doesn't live with Solovyov.

High relationship

There are enough blank spots in Solovyov’s biography, says Alexandrov. - His second wife was film critic Marianna Kushnerova, whom he wrested from a cameraman who had gone to serve in the army. (Kushnerova played the main role in Solovyov’s film “The Station Agent.” - B.K.). On the set of “One Hundred Days After Childhood,” Soloviev began an affair with Drubich, and she was then 14-15 years old. We all understood perfectly well that the matter was under jurisdiction.

And just in September 1974, Marianna gave birth to a son, Mitenka. It turns out that Serenya started sleeping with Tanya in front of his pregnant wife. These are the “ high relations"! And I was the baby's nurse. Every evening, together with his wife, he bathed Solovyov’s son. True, I usually arrived drunk. Therefore, it was difficult for me to keep his head and ears covered. And Marianna kept repeating: “Sanechek, turn away! If you breathe, the little one might die!”

- Where was the happy father?

And at that time the happy father, under the pretext of editing a picture on some sofas, was, excuse me, lying around with the minor Drubich. Moreover, he “edited” the picture almost five times a day. I think it's a shame to have a close relationship with an actress you work with. Some kind of bestiality! She is dependent, like a horse, practically an animal.

And now a month and a half has passed. Nice but naive Marianna suddenly cautiously asks me: “Sanechek, you’re smart, tell me, can a person become impotent at the age of 30?” I became wary: “What, some problems?” She, of course, remained silent. And then I understood everything. I am still indignant: if a 30-year-old man cannot serve two women, the question arises, why have a mistress?!

Not enough brains

- Solovyov recently published a collection of scripts for his films. I know it didn't excite you.

Of course. Look what it says there: “One Hundred Days After Childhood” - author S. Soloviev. And here you go - a State Prize laureate diploma issued to me, the AUTHOR OF THE SCRIPT of this picture. And here is the agreement with me, signed by the general director of Mosfilm. And the story with such an exclusive title was also written by me. I abused it once and threw it away. And Solovyov read it. Together, we sketched out a complete outline of the script on restaurant napkins in literally an hour. Soloviev simply didn’t give a damn about Alexandrov! Because he is a pathological liar and a sick person. I wrote about this situation in detail on my blog grandbadger.livejournal.com. No one denies that Solovyov has talent. But it has already been proven that he is a thief. I have said and will continue to say - Alexandrov made Solovyov’s career! For the only time in his life he received prestigious award specifically for the painting “One Hundred Days...” - “Silver Bear” (Berlin Festival, 1975 - B.K.). So he went crazy.

Then I began to call Seryozha “the world’s largest Soviet dwarf.” But the entire film, from the selection of characters to the interiors and clothes of the actors, was put through me! After our creative union with Solovyov fell apart, we somehow met by chance and drank heavily in his kitchen. And a real hysteria happened to him: with white foam on his lips, screaming and moaning. “I needed your brains! And you betrayed me!” Just some kind of Salieri... This is what Karenina did for 15 years! He clearly doesn't have enough brains.

- Alexander Leonardovich, won’t people think that Alexandrov is grumbling because he has been out of work for a long time?

As one of my friends said: “You have an impeccable reputation as a brawler!” For your information, Pavel Lungin and I are currently working on the script. I won't reveal the plot. Let me just say that filming will take place in Jerusalem. As for fame... I have written 12 books, three plays, 20 staged films. Of course, you can steal text. But you can’t steal a name!

Tatyana Lyusenovna Drubich. Born on June 7, 1960 in Moscow. Russian actress theater and cinema.

Father - Lucien Izrailevich (Ilyich) Drubich (1932-1978), engineer, originally from Belarus.

Mother - Lyubov Vladimirovna Drubich (born 1933), economist.

Her father died when Tatyana was 18 years old; according to the actress, it was a big shock for her.

Her mother had an economic education, but in her youth she wanted to become an actress. One of family stories connected with the actor Mikhail Zharov: Tatyana’s mother collected a collection of photographs of artists, which included photos from the filming of the film “A Troubled Household,” where Mikhail Zharov and Lyudmila Tselikovskaya were captured - later the famous artist begged to sell him this photo, but she refused.

I never dreamed of becoming an actress. But already at the age of 11, Tatyana first came to the set: she was approved for the role of Alena in the film "Fifteenth Spring" directed by Inna Tumanyan.

The debut turned out to be successful and other directors paid attention to her. It was then that Sergei Solovyov decided to film his "One Hundred Days After Childhood". They showed him a photo of Tatyana. She was 14 when she was cast in the role of Lena Ergolina.

On film set burst out one day terrible rain. The girl managed to hide under the roof of one of the pavilions along with the director. “In this booth, under this rain, in some incomprehensible way, Tanya and I arose a strange feeling of a difficult to explain, but undoubtedly natural involvement with each other. It was as if we suddenly learned that we both knew one, perhaps even the most important, secret of life,” Soloviev said.

And the film “One Hundred Days After Childhood” was a huge success, winning several prizes, including the “Silver Bear” at the Berlin Film Festival.

Her work in Pavel Arsenov’s film turned out to be just as successful. "Confusion of Feelings", in which she played the role of Masha.

Tatyana Drubich in the film "Confusion of Feelings"

Despite her successful debut film roles, Tatyana Drubich, after graduating from school in 1977, chose the profession of a doctor. “I consider medical education to be the most valuable. It can replace acting and almost any other, if we're talking about about understanding a person, the motives of his actions, reactions. But most importantly, it gives a different – ​​full – perception of life. After all, nothing reveals and clarifies life... like death. And this is a medical fact,” she explained.

After graduating from the Moscow Medical Dental Institute named after. Semashko, Tatyana Drubich got a job as a doctor in a clinic, worked as an endocrinologist.

At the same time, Tatyana continued to act in films. She played with Sergei Solovyov in “The Rescuer”, then in “The Chosen” (at the end of filming they got married). Next were “Assa” (1987), “Black Rose - the Emblem of Sadness, Red Rose - the Emblem of Love” (1989).

Tatyana Drubich in the film "Assa"

Tatyana Drubich in the film "Ten Little Indians"

In the 1990s, she decided to try herself as a businesswoman. First, she opened a club called the Assembly Hall, which was popular, but did not last long. “What I received in two months, I have never received in my entire life: bandits, showdowns,” she recalled.

In 1999 she starred in the video “Rassvetnaya”.

Films with her participation were released in the 2000s "2-ASSA-2", film adaptation of the novel by Leo Tolstoy "Anna Karenina", fantasy film "Rita's Last Tale" and several others. In 2009, she received the Russian Film Actors Guild prize “For the best Anna Karenina in the 21st century on the world screen" for the film "Anna Karenina". In 2012, she won the Nika Film Award for Best Supporting Actress in the film “Rita’s Last Fairy Tale.”

Tatyana Drubich in the film "Anna Karenina"

She transferred her shares to management because, she said, “you can’t do business and star in Anna Karenina at the same time.”

Collaborates with, helping children with leukemia. Works at the Vera Vasilievna Millionshchikova hospice - is co-chairman of the Moscow board of trustees charitable foundation assistance to the Vera hospice.

She criticized the adoption of a law prohibiting the adoption of children by US citizens. Negatively assesses the situation in Russia. "After Dima Yakovlev's law, I realized that the country is at the moment dead. There is nothing more to wait here. Change is possible. All sorts of things. I'm not waiting for them. If someone can leave, there is no need to live here. If apathy controls you, overcome it. But Russia has one serious advantage. Here, where there is winter for six months and many other incidental circumstances, you need to be able to counteract them with something very serious in order to be happy. If you can do this, you have already succeeded. But you have to be able to. Because to live and never be happy is too great a luxury, a person cannot afford it,” she said.

Tatyana Drubich in the program "Looking at Night"

"Happiness is right choice three things. The person is nearby. Professions. Places where you live", says Tatyana Drubich.

Tatiana Drubich's height: 176 centimeters.

Personal life of Tatyana Drubich:

She was married to a film director who was sixteen years older than her. Their relationship began when Tatyana was a minor (14 years old) and at first her affair with Sergei Solovyov smacked of a criminal case: the girl was in the eighth grade.

On June 27, 1984, the couple had a daughter, Anna Drubich, a composer and pianist. Anna graduated in 2006 high school theater and performing arts in Munich - piano department. She has performed in concerts and collaborated with the Salzburger Mozarteum orchestra, the Moscow Virtuosi orchestra, the Crimean Symphony Orchestra, and the KREMLIN Chamber Orchestra. Three films by Sergei Solovyov - “2-Assa-2”, “Anna Karenina” and “Odnoklassniki” - received musical arrangement from Anna. Since 2013 he has lived in Los Angeles, composing music for films.

Divorced in 1989. “A man appeared in my life, a director, whose name is Ivan,” explained Drubich. According to media speculation, she meant Ivan Dykhovichny.

At the same time, daughter Anna said that after the divorce her parents did not separate, so the divorce process did not cause psychological trauma for the child. Anya was also surrounded by the love and care of her parents, who, in addition to their personal lives, continued to work together in cinema.

Tatyana Drubich, Sergei Soloviev and daughter Anna

Later, Tatyana Drubich had a second daughter, Maria (in the film adaptation of Anna Karenina, she appears in the frame as the one-and-a-half-year-old daughter of Anna Karenina and Vronsky). The actress hides who the father is. There were rumors that the possible father could be Sergei Soloviev. Among other versions, the child is adopted. Drubich herself answers all questions briefly: “No comment.”

Filmography of Tatyana Drubich:

1971 - Fifteenth Spring - Alena
1975 - One hundred days after childhood - Lena Ergolina
1977 - Confusion of feelings - Masha
1979 - Particularly Dangerous - Tanya Shevchuk
1980 - Rescuer - Asya Vedeneeva
1982 - Heiress in a straight line - Valeria
1982 - The Chosen - Olga Rios
1985 - Tester (film) - daughter of a tester
1986 - Guard me, my talisman - Tanya
1987 - Sunday Walks
1987 - Ten Little Indians - Vera Claythorne
1987 - Assa - Alika
1988 - Black Monk - Tanya (voiced by Marina Neyolova)
1989 - Black rose is the emblem of sadness, red rose is the emblem of love - Sasha
1991 - Anna Karamazoff
1994-2002 - Ivan Turgenev. Metaphysics of Love - Pauline Viardot (the film was not completed)
1996 - Hello, fools! - Ksenia
2000 - Moscow - Olga
2002 - Ice - woman in the elevator
2003 - About Love - Elena Popova
2009 - 2-Assa-2 - Alika
2009 - Anna Karenina - Anna Karenina
2009 - Volunteer - Storm's mother
2012 - Rita's Last Fairytale - Nadya

Tatyana was born in Moscow, into an intelligent Jewish family. Her dad was an engineer, and her mother was an economist. When Tatyana was very young, her dad died. His departure left an imprint on the fragile child's psyche.

For a long time the girl could not recover from the loss of such loved one, and later, as an adult, she said in an interview that the death of parents is always a disaster, after which a person begins to build his life differently.

The thin and vulnerable girl took her studies responsibly, studied diligently and easily achieved high results. Studying in high school, she didn’t yet know who she wanted to become, and fate itself whispered to her the path of an artist.

At the age of 11, Tatyana first came to the set. The girl was approved for the role of Alena in “The Fifteenth Spring”. The role turned out to be successful; the girl, who behaved skillfully on the set, was quickly considered by other directors. Therefore, when the young director Sergei Solovyov decided to film his “One Hundred Days After Childhood,” the film crew slipped him a photograph of this particular schoolgirl.

She was 14 when she was cast in the role of Lena Ergolina. One day there was terrible rain on the set. The girl managed to hide under the roof of one of the pavilions along with the director. According to him, it was there that Soloviev examined the cute features of the little beauty and even then realized that this was not only the main actress of his life, but also the main woman.

Scandalous romance

film “One Hundred Days After Childhood” (1975)

He was 28, she was barely 14. He had a wife and a little son, and she had a mother and school. Everyone around them whispered about their romance. Other actors who starred in this film as teenagers now say that teachers and educators were supposed to be assigned to minors, but they confused the set with a recreation center and had fun in the evenings.

And the children were left to their own devices. And while others eagerly ran to dances and dates within their teenage group, Tanya kept herself apart from the very beginning. Many times the little actress was caught, for example, washing the director’s car with love and pride.

She admits that she fell in love with the light, smart and cheerful Solovyov immediately and, as a youth, decided that this feeling would be forever.

The romance between the schoolgirl and the director had a scandalous and even criminal character - it smacked of the seduction of a minor. The couple tried not to talk about their feelings, but everything was clear to those who worked with them on the set, as well as to their families.

Solovyov’s wife, actress Marianna Kushnirova, even wrote a statement to own spouse in the city party committee, so that at least the mighty of the world this influenced “this seducer of young children,” but it was all in vain.

Contrary to expectations, after graduation collaboration the love affair was not interrupted, on the contrary, it grew stronger every day. The lovers brought their relationship from filming to Moscow, where they began to develop even more rapidly.

Marriage

Meanwhile, Drubich graduated from school with a good certificate and admitted first to her mother and then to her lover that she never wanted to become an actress. She entered medical school. The mother chose her daughter, but how Solovyov reacted is still unclear.

Some sources claim that the director was offended and insisted that Tatyana should pursue her film career professionally, and, therefore, apply to the theater. Others testify: it was her beloved who helped her choose a “real” profession.

In any case, Tatyana herself, commenting on her choice, emphasizes that the medical profession is the most important for humanity - both to save it and to understand it. After all main mystery existence is death, and death is a medical fact.

Despite the fact that Marianne was aware of what was happening, they did not divorce for another ten years. Sergei might never have decided to take this step if his friend had not suddenly proposed to Tatyana - not at all embarrassed by the fact that Drubich was, in fact, the director’s mistress.

And Solovyov realized that he would never forgive himself if he lost this woman - and Tatyana was already 23 years old. Sergei divorced his wife and proposed to his beloved. They got married.

Divorce

She continued to study - she still had a diploma and residency ahead, and also acted with her husband and other directors. And after some time, the couple had a daughter, Anechka. But the happiness lasted only seven years, after which the couple again attracted attention.

They officially divorced, having completed all the relevant papers. However, their daughter, now a grown woman turned composer, laughs at the breakup. He says that mom and dad were never able to separate. The documents were drawn up, but they continued to live together and loved each other as passionately as before this divorce.

However, the fact that in unusual family happened, all the gossips were gossiping. Allegedly, the director had an affair with an 18-year-old fan, and at the same time, Drubich did not remain in debt - she fell head over heels in love with the director for whom she was filming at the time. They even named him - Ivan.

Considering that Tatyana acted only with one Ivan, Dykhovichny, the public immediately again called this relationship scandalous: the director is married, and also much more older actress! But she never commented on this gossip.

Good movie

Solovyov himself told the press about Drubich’s novel at one of his birthdays. He admitted that Tatyana started a relationship, but he did everything to make sure it ended quickly and it seemed to work out for him.