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    Oleg was born in the city of Lyublino in the Moscow region. The family of his father goes back to the famous linguist, dictionary compiler Vladimir Dal, and the parent of the future actor himself served in railway and held an honorary position. Oleg's mother was a teacher, and in addition to a talented son, the couple raised his older sister IraidaDal grew up as an ordinary mobile boy. After the war (and he was born a month before the Nazi invasion of the USSR), he began to get involved in sports - he played basketball. At one of the classes, the child became ill, after which it turned out that Oleg had congenital heart problems. Doctors immediately forbade him to exercise.

    As a teenager, he became interested in the arts. Oleg was especially fascinated by literature, but the ardent young man also did not deprive the fine arts of his attention. On schoolwork the boy read "A Hero of Our Time" for the first time. Pechorin impressed him so much that Dahl wanted to become this famous hero himself. Did he know then that in 15 years he would fulfill his dream?!

    After some time, he realized that his fantasy, perhaps, can be realized. For this you need to become an artist! The young man shared his guesses with his parents, but they took his son's plans with hostility, saying that the earnings of people in this profession are too fickle, and besides, Oleg burrs!

    Therefore, he went to act after school, having quarreled with his family. I read Gogol and my adored Lermontov at the entrance to Sliver, and entered the first time. Oleg corrected the natural burr, which had haunted the guy since childhood, by stubborn speech lessons already in the junior years.

    Intellectual


    film "My little brother" (1962)He was one of the most talented students, which is why the Sovremennik artists who came to watch the graduation performance singled him out. Oleg was offered to appear to the chief director (then he was Oleg Efremov), and he took young actor to the troupe.

    Dal quickly joined in, because Sovremennik always promoted its isolation and at a distance felt the natural nobility of the artists. Innate intelligence, subtle features, blue eyes and graceful hands - this is what, in addition to talent, helped the artist get into this particular theater.

    However, for five whole years the actor was trusted only with supporting roles. Galina Volchek showed his dramatic charisma to the entire theatrical Moscow when she staged "At the Bottom" and invited Dahl to play the role of the thief Vaska Pepel.

    He prepared for her in a special way. For long evenings I wandered around Moscow with my partner Alla Pokrovskaya, discussing the subtleties, all the facets of the characters of their characters, and once said that she should play a shy goat.

    Alla was dumbfounded: it was at least strange to hear slang from the lips of such an intellectual. When Oleg began to explain himself, it turned out that he was not going to use slang. Dal really associates the heroine of Alla with this animal, so he asks to endow her with wild, animal manners.

    All life is theater


    film "Chronicle of a dive bomber" (1967)He has always been considered more theatrical than film actor. So changes in his personal life began to happen to him in the theatrical environment.

    Dahl's first significant love was Nina Doroshina. The actress, known to the viewer for one of the main roles in the film "Love and Doves", she played Nadezhda there, the mother of the family, which is at the center of the story.

    Dahl urgently decided to get married. The actress was introduced to the groom's family, the wedding is scheduled. But, according to the memoirs of the actor's sister, Nina disappeared somewhere right at the celebration, and Oleg Efremov disappeared with her.

    There was no doubt: they disappeared together and did not appear for a long time. For half the evening at his own wedding, the actor was alone, until the bride just as suddenly appeared again. Following her, Efremov suddenly showed up in the crowd of guests.

    Oleg did not doubt the betrayal of his beloved and, in revenge, he disappeared somewhere after the wedding for three whole days. After mutual disappearances, the young lived together for another week. Apparently, they did not succeed in clarifying their relationship, because after a week they simply parted.

    Not a walker


    film "Zhenya, Zhenechka and Katyusha" (1967)This incident was one of those that will break the artist and gradually make his character the way Dahl's relatives remember: heavy, inflexible, uncompromising.

    He had already starred in several films and became famous, he was already taking shape as a person with an irrepressible temperament and endless longing in his eyes, who seemed to be eating himself from the inside, as if he himself did not know what he wanted from life when he met his second wife, actress Tatyana Lavrov.

    With her, joint happiness also did not work. He has already begun to show his negative qualities and, little by little, apply to the bottle. She, also a creative and temperamental actress, could not tolerate this, moreover, she herself demanded increased attention. They dispersed quickly.

    There were not many women in the life of Oleg Dal. His friends remember: Dahl was not a walker. And growing up, indeed, rather sought to go home, to the family. Or maybe it was his third wife, Elizaveta Apraskina, whom he met while working on the set of King Lear.

    Happiness in personal life


    k / f "Bad good man" (1973)Lisa worked on the film as an editor. He immediately laid eyes on her, and it was completely impossible to refuse the swift handsome man, in whom, according to the recollections of the actor’s relatives, the masculine principle was always felt.

    After the wedding, the young people settled with Lisa - they lived with her mother in a very small apartment, and only much later the family received their own, more spacious housing. There is a whole story to this as well.

    According to the actor's widow, when he came home, he never started a conversation until he cleaned his shoes, he had such a fad. So on this day, he rubbed them with special care, and then said: “We are going to see a new apartment. Here's the warrant."

    The house where Dal brought his wife and mother-in-law was built for senior military officials. The apartments are huge, the windows - on the Kremlin, the district - you will admire. When the family first entered Oleg's last residence, the rooms were flooded with midday sun.

    Dahl's wife noted: in the new apartment, he became the best family man. Then he was already really drinking deeply, but even drunk, robbed to the skin by street hooligans or drinking companions (sometimes he came without shoes, without outerwear), late at night and early in the morning, always went home.

    Was he happy? In any case, with his Lisa, he is much happier than at other periods of his life.

    Went to die


    k / f "Shadow" (1971) Nervous and explosive, talented Dal was always as if broken somewhere deep inside, but most of all his Pechorin alienation, a sense of the meaninglessness of life began to manifest itself after the death of Vladimir Vysotsky.

    It was at the funeral that he predicted his own death: "I'm next," the actor said, laughing hysterically.

    They had a difficult relationship, but after the funeral of the great actor and musician, Dahl seemed to understand how close death was walking next to life. This thought changed him before his eyes. The eternal theatrical definition: "he is sick with a mania for perfection" now began to look like a real diagnosis.

    Oleg Ivanovich became more demanding of others, but he always tried to achieve the highest result from himself.

    After another binge, Dahl agreed to "sew in a torpedo" - to encode from alcoholism in the then accepted way. He was on tour in Kyiv, when, leaving a table in a restaurant, he explained: "I'll go to my place to die." The actors with whom Dahl toured decided that this was another portion of black humor from the maestro. Connect with us.

    On April 1, 1973, Oleg "sewn up", and the next two years, according to Lisa Dahl, were years of happiness and work. Dahl returned to Sovremennik, played four new roles, including the famous Sir Agyuchik. In the cinema, he realized "the age-old dream of every Soviet artist" - he played Soviet spy in the television movie "Option" Omega "(which in acting circles was immediately changed to "Oleg Option"). Filming ended in 1974, but the premiere for some unknown reason was pushed back by almost a year. But with this film, the artist, being restricted to travel abroad for ten years, went - still abroad for the festival "Golden Prague". Released, benefactors ...
    But in 1976, at the birthday party of Viktor Shklovsky, the "dry law" was violated. In March, dismissal from Sovremennik follows for violating labor discipline. Unable to exist normally in an atmosphere that was abnormal for him, Dahl again threw his fate at the peak.
    "Send me, Lord, a second one to stretch it out the way I did..." Vysotsky sang in "Song of Akyn" to Voznesensky's verses. Many (both then and now) put these names - Dal and Vysotsky - side by side. They met in the film by I. Kheyfits "Bad Good Man", based on Chekhov's "Duel". It was an "acting double", the perfect double hit in the role, the perfect duet interaction. Someone famously formulated: "Vysotsky is weak in his strength, and Dal is strong in his weakness."
    They were not friends for every day, they rarely talked, they were not friends at home, but the spiritual connection between them was the strongest. They understood and felt each other. Even in the movement towards death, both of them had some kind of diabolical synchronicity. In February 1980, Dahl said: "First Volodya will leave, then I will."
    In May, he spent three days at Vysotsky's, "listening without interruption to his poems." They didn't see each other again. Photograph dated July 1980: Dahl at Vysotsky's funeral. If you look into your eyes, you will see doom there. On January 25, 1981, on Vysotsky's birthday, Dal told his wife a dream: "I dreamed of Volodya. He is calling me." And he said to his doctor: "Nothing will help me now, because I no longer want to act or play in the theater." The poem "Now I remember ..." with a dedication to "V. Vysotsky. Brother" is also dated January 1981.
    March 3, 1981 Dahl on set in Kyiv. At the hotel, he has dinner with his partner in the film, Leonid Markov, then leaves for his room with a gloomy joke - "I'll go to my place to die." It seems that Oleg, having deliberately poured a critical dose of vodka into himself, understood: the next "sewn" torpedo "will react to it with a sharp jump in pressure. The vessels could not stand it, and Oleg Dal died from internal bleeding. It seems that his departure was quite conscious .
    Oleg Dal died in 1981. There was nowhere to bury the famous actor. The Novodevichy Cemetery refused to accept the actor, referring to the fact that all the places had long been "taken apart." There was no place for Vagankovsky cemetery. Then the theater management turned to the Union of Cinematographers. They went higher. Director Vagankov was instructed to build the actor's grave in the central alley of the cemetery at all costs.
    As a result, by decision of the WTO Commission, they decided to put Dal in the grave to the ballerina Imperial Theater Lyubov Roslavleva. She died in 1904, the grave was in the central part of the cemetery. Of course, for such a period this burial took on an unsightly appearance, because no one cared for it for many years, ”recalls Vladimir Borisovich. - When the workers were digging the ground, they stumbled upon the red sarcophagus of the deceased. They did not dare to take out and burn the coffin, they considered it blasphemy. As a result, a pit for Dahl's coffin was dug a little further away, and a marble tombstone with the name of the actor was installed next to the ballerina's cross on empty ground. All this was surrounded by a fence, but the real grave did not fit into the fence! The mound was covered with spruce branches, so that at least the people would not advance.

    You can buy films with the participation of the actor:


    1962 MY YOUNGER BROTHER (buy VHS)
    1963 FIRST TROLLEYBUS (buy VHS)
    1967 Zhenya, Zhenechka and Katyusha (buy DVD) (buy VHS)
    1967 DIVE-BOMBER CHRONICLE (buy VHS)
    1970 KING LEAR (buy VHS) (buy VHS)
    1973 SANNIKOVA LAND (buy VHS)
    1973 BAD GOOD MAN

    The last wife of Oleg Dal, Elizaveta Eikhenbaum (née Apraksina), was born in 1937 (died in 2003). She was the granddaughter of the famous Leningrad literary scholar Boris Mikhailovich Eikhenbaum, she lived in the same house with Anna Akhmatova. Mom Olga Borisovna Apraksina (1912-1999), was the wife of theater artist Alexei Apraksin (1901-1941). Lisa's father died of starvation in besieged Leningrad.

    Acquaintance and future husband and life with a great actor

    Elizaveta Eikhenbaum met her future husband on August 19, 1969 in a restaurant in the city of Narva, where she celebrated her 32nd birthday. It was during the filming of "King Lear" by the famous director Grigory Mikhailovich Kozintsev. The great master was a friend of her grandfather, was a member of the family, so the communication of the young woman with the director on the set was quite free. Lisa then worked as an assistant editor, and rushed around with the actor like a nanny: fed, made sure that he did not get tired. But they had no romance on King Lear. It's just that Lisa, laughing, invited Oleg to her place in Leningrad. And he arrived ... But not quite on time. Just at this time, Elizabeth met with Sergei Dovlatov, then still serving as a secretary at famous writer Vera Panova. That evening he was at Liza's house. Oleg called and asked if he could come. And the two men spent the whole evening trying to win the favor of their beloved woman. And she called Oleg into the hallway, suggested that he now leave with Sergei, and then return afterward. He did not like it terribly, he did not like and did not know how to cheat. But he came ... And early in the morning he had to urgently go to the airport - he flew off for the next tour ... Before leaving, Oleg asked to wake up Liza's mother, and said that he wanted to ask her for Lisa's hand. It was in May 1970, and on November 27 of the same year they officially became husband and wife. Lisa said that she was not going to change her last name, but in the registry office Oleg looked at her so sternly and shone all over, like Small child when she paused and agreed to become Dahl...

    She tried to please him in everything, there was always perfect order in their house, because Oleg was extremely pedantic. Before the wedding, Elizabeth never took care of the house, and after that she became an ideal hostess.

    Women's patience is not enough

    They lived together for 10 years ... And it all ended on December 31, 1980. Lisa was waiting for her husband at the entrance on the stairs. And when the elevator opened, Oleg just fell out of it - he was so drunk. The addiction of the famous actor to alcohol has previously become the cause of marital discord. It’s even strange, Oleg, like Liza, hated feasts, he had no friends. But, nevertheless, people constantly gathered in their house, drank, complained to each other about their problems, not understanding how and how to help. Liza put a mug behind the flower and poured everything that was poured into it, and the rest drank, the mug was filled more than once during the evening. Dahl was coded, went headlong into work, she always forgave, loved and hoped. But that New Year's "surprise" turned out to be the same last straw in the cup of her feminine patience.

    She never married again. The money accumulated with Oleg quickly ran out. year of the widow famous actor lived with her mother and mother-in-law on their two pensions. I couldn't find a job in my specialty. But she still managed to get a job at Soyuzsportfilm. The years of a long break had taken their toll, and Elizaveta Dahl's habitual craft had to be mastered anew - then an improved, 16-mm film appeared at the studio. But in less than a year she could head the sound editing department.

    Recent years have brought her many trials: in 1999, her mother passes away - the most close person, then had to endure clinical death. But the main pain remained there, twenty years ago, when they buried Him, and with it that Lisa, who had been with him for 10 years. “Now I’m not thinking about myself, but about Lisa and Oleg. He made me, but he also took me.” (E. Dahl)

    Dal Oleg Ivanovich

    “I am not a people, I am a foreigner ...” - Oleg Dal said about himself.

    Oleg Dal's childhood passed in the city of Lyublino, which at that time was a suburb of Moscow. His father, Ivan Zinovievich Dal, was a railway engineer, and his mother, Pavel Petrovna, was a teacher. Oleg had a sister, Iraida.

    As a child, Oleg dreamed of becoming a pilot or a sailor, but while studying at school, Oleg developed heart problems, and had to part with the dream of a heroic profession. Oleg was interested in poetry. After reading Lermontov's A Hero of Our Time, Dahl decided to become an actor, hoping one day to play Pechorin.

    After graduating high school in 1959, Oleg Dal applied to the Shchepkin Theater School, but the parents were categorically against this decision of their son, as they considered the profession of an actor to be frivolous. In addition, Oleg burred from childhood, and could fail at the very first exam. However, Oleg was not going to become a laughing stock in the eyes of the admissions committee, he corrected his burr in the shortest possible time, and forced his parents to come to terms with his desire to become an artist.

    At the exam at the school, Oleg Dal chose two passages for reading: Nozdrev's monologue from Dead Souls and a piece from Mtsyra by his favorite poet Mikhail Lermontov. During the performance of the first, there was loud laughter in the audience. Tall and thin Oleg, reciting Nozdrev's monologue with pathos, brought the examiners into a state close to fainting. Although Dahl himself at that moment thought that the case had failed, he decided to go to the end. When the laughter subsided, he began to read an excerpt from Mtsyri. The examiners looked at each other in surprise - instead of the boy who caused laughter a minute ago, they were faced with an enthusiastic young man with excellent speech. As a result, Oleg Dal was enrolled in the first year of the school, led by Nikolai Annenkov. Vitaly Solomin, Mikhail Kononov and Viktor Pavlov got on the same course.

    In 1962, two film directors immediately drew attention to Dahl - Sergei Bondarchuk and Leonid Agranovich. Bondarchuk invited Dahl to try out for the role of the younger Rostov in War and Peace, but Dahl did not pass the test, and Agranovich approved him for the main role in the film The Man Who Doubts.

    At the time of the release of this film on the screens in 1963, Dahl had completed his studies at the theater school. Actress Alla Pokrovskaya, who attended his graduation performance, invited him to Sovremennik. Before entering this theatre, a candidate had to pass a two-round examination. Oleg brilliantly played his roles in both shows, and he was enrolled in the troupe.

    Lyudmila Gurchenko, who was also among the applicants, recalled how, having heard a thunder of applause behind the doors, she looked in and saw Oleg completing a passionate monologue on a high windowsill, then flying in an unthinkable arc into the middle of the hall and a second later modestly stopping with a torn off window handle among general delight.

    Once in Sovremennik, Dahl did not play significant roles for five years. But from what he played, one can name the roles of Heinrich (the main role) in "The Naked King", Misha in "Forever Alive", Cyril in " big sister", Thursday's gnome in "Snow White and the Seven Dwarfs", Marquis Brisaille in "Cyrano de Bergerac", Igor in "Always on Sale", Pospelov in " Ordinary history”And an episode in“ The Decembrists ”.

    Arriving at Sovremennik, the actor married actress Nina Doroshina. She was seven years older than him, and their marriage lasted only one day. Oleg Efremov came to the wedding, congratulated the young, seated Doroshina on his knees and said: “But you love me, lapula, after all!”. All this happened in front of Dahl, who left with own wedding. The second time Dahl married actress Tatyana Lavrova. They divorced two years later. The actor, who was pestered with questions about the reasons for the breakup, once said: "She was evil" - and nothing more.

    The next picture with the participation of Dahl was the film directed by Isidor Annensky "The First Trolleybus". It was filmed in 1963 at the Odessa Film Studio. The film also starred Mikhail Kononov, Evgeny Steblov and Savely Kramarov. The film was released on the screens of the country in 1964 and was well received by the public.

    Over the next two years, Dahl starred in two more films - "From Seven to Twelve" directed by E. Narodnitskaya and Y. Fridman and "A Bridge Under Construction" by Oleg Efremov. The picture of Efremov was played by the actors of Sovremennik and talked about a youth team that was building a road bridge across the Volga. Oleg Dal played a small episode in it.

    At the beginning of 1966, Oleg was found by director Vladimir Motyl, who was going to stage a film based on the script by Bulat Okudzhava “Zhenya, Zhenechka and Katyusha”. The director did not have a performer for the main role, but two years earlier, when he was going to shoot "Kukhlya" based on the work of Yuri Tynyanov, his colleagues strongly recommended that he look at Dahl. Motyl Dal never saw him, but he remembered his last name. And now decided to meet. The director recalled: “The very first meeting with Oleg revealed that I had an outstanding personality, that the essence of the artist’s personality coincides with what is necessary for the conceived image. It was that rare case when the artist appeared, as if from an imagination that had already folded the character into a plastic sketch. In short, then it seemed to me that the shooting could be scheduled even tomorrow. In addition, it turned out that Dahl no longer works in the theater and therefore can devote himself entirely to cinema. He was wearing a defiantly flashy cherry corduroy jacket, an extravagant, fashionable rarity in those days. He was not yet twenty-five, but unlike his peers-colleagues with whom I met, and who tried very hard to please the director, Oleg behaved with great dignity, as if he was not at all interested in the work, as if without us he was bombarded with offers. He listened attentively, answered questions briefly, thinking over his words, behind which condescending overtones were guessed: “The role seems to be not bad. If we agree on positions, maybe I will agree.”

    As soon as the screen test with Dahl was filmed, there were opponents to the choice of such an actor at the studio. Dahl was accused of the lack of spontaneous charm, lack of brightness and inability to play an "intellectual boy." There was even an opinion that "... in his appearance there is not enough Russian national beginning."

    But the director and screenwriter managed to defend Dahl, and the shooting of the film began. They took place in Kaliningrad. According to the participants of those shootings, the center of the whole team was two actors - Oleg Dal and Mikhail Kokshenov. Their continuous jokes brought the whole group to colic. Vladimir Motyl recalled: “Dal and Kokshenov are driving in a filming car through the center of Kaliningrad. While they were working, they played tricks on each other all the time, and on this day some special rein fell under their tail. Dal suddenly jumps down onto the pavement and runs across the street towards some kind of fence, brandishing a fake machine gun and shooting from it from time to time. Kokshenov also jumps and runs after him with the same machine gun, yelling: “Stop, you bastard, stop!” Passers-by watch the scene in horror until a real military patrol appears. The officer in charge of it is sweating from the tension of thought: it seems that in Dal with Kokshenov, the Soviet military uniform, but not like that. "Who are they?" he asks the artists. “Naval cavalry, comrade major,” reports Kokshenov. “Railway fleet, comrade major,” Dahl reports. And this uncle was actually a captain of the 3rd rank, and they finished him off with a “major”. He did not know any artists and sent our guys to the guardhouse under escort. With great difficulty, we pulled them out of the clutches of army justice.

    At the beginning of 1967, the shooting of the picture was completed, but its rolling fate was sad. The premiere screening of the film at the House of Cinema was banned, and Bulat Okudzhava hardly managed to agree on the screening of the film at the House of Writers. Only two posters were printed. On August 21, 1967, the premiere caused a storm of delight among the audience. But even after such a reception, the attitude of officials towards the film has not changed. It was ordered to print minimal amount copies and be limited to the minimum rental in the province.

    At the time of the release of the film Zhenya, Zhenechka and Katyusha, Dal was filming in another film directed by N. Birman, The Chronicle of a Dive Bomber, in which Oleg played the role of pilot Yevgeny Sobolevsky. The image of a smart and charming guy created by the actor, who came up with a branded liquor called "chassis", was liked by the audience. After the release of the film on the screen, young people began to call strong drinks that way, and Dahl became one of the most popular actors in Soviet cinema.

    Actresses who knew Oleg said that he attracted women like a magnet. “On the set of any film, half of the group - from assistants to prims - was in love with Oleg,” Lyubov Polishchuk said. Not to mention the female fans who lashed out at their idol everywhere. The actor didn't like it. Once director Yevgeny Tatarsky went to Dahl's hotel room. Wet clothes were drying all around. "What's happened?" asked Tatarsky. “Yes, I was walking along the embankment, some women attacked me. They shout: “Oh, Oleg Dal, Oleg Dal!” I jumped into the sea, swam out near the hotel and went.

    The end of the 1960s was a good time for Oleg Dal. After several years of creative and personal troubles, everything turned out well for him. At the Sovremennik Theater, where he returned after a long break, Oleg received his first significant role - Vaska Pepel in Maxim Gorky's At the Bottom. The play premiered in 1968.

    Oleg wrote in his diary: “Do not work with directors who are trying to impose their will. But if he commands me, then we must have a common platform. And he certainly had this “common platform with Nadezhda Kosheverova and Grigory Kozintsev.

    Nadezhda Kosheverova recalled: “My first meeting with Oleg Dal took place while working on the film Cain XVIII in 1962. The second director, A. Tubenshlyak, once told me: “There is an amazing young man, either in the second year of the institute, or in the third, but who, in any case, is still studying.” And indeed, I saw a very funny young man who did a lovely test. But then it turned out that he was not allowed to leave the institute, and, unfortunately, he did not act in this picture. When I started working on the film "Old, old fairy tale”, Tubenshlyak reminded me: “Look at Dahl again. Remember, I already showed it to you. You said back then that he was very young.” Based on what I had already seen in the auditions, and on my idea of ​​​​what Oleg could do, although I didn’t know him yet, I invited him to the role. Despite all my assumptions, I was surprised. In front of me was an actor with a bright personality. He thought with interest, fantasized, sometimes completely unexpectedly revealed what was in the script. A peculiar, unlike anyone else's manner of moving, talking, looking. Extraordinarily lively, mobile.

    The artistic council was against Neelova, - recalled the actor Georgy Shtil, who played the princess's bodyguard. - Then the three of us - me, Kosheverova and Dal - decided to defend Marinochka. They came to the next meeting, and Nadezhda Nikolaevna resolutely declared: “Either Neelova is playing, or I won’t put this picture.” The old men scratched their heads and decided to give in to Kosheverova's insistence.

    It was Kosheverova who offered to shoot Dahl to her colleague in the director's shop Grigory Kozintsev in his film "King Lear" in 1969. Kozintsev then wanted to shoot Alisa Freindlich as the Jester, but she was eight months pregnant and could not act in the film. A test was made with Dahl, which Kozintsev really liked, and the actor was approved for the role, which turned out to be one of the best in his track record.

    « Modern man- a man thinking, ”Grigory Mikhailovich liked to repeat. And he associated the image of the Jester with modernity: “A boy with a shaved head. Art under tyranny. A boy from Auschwitz who is forced to play the violin in the band of suicide bombers; they beat him so that he chooses more cheerful motives. He has childish tortured eyes. Dahl suited Kozintsev perfectly. They admired each other. Kozintsev and Dahl were connected by something more than the relationship "director - actor" or "teacher - student". Kozintsev protected Dahl's talent as a fragile and priceless musical instrument. Merciless to any troublemakers on the set, Kozintsev only made exceptions for Oleg, forgiving his frequent breakdowns. The explanation sounded simple and prophetic: “I feel sorry for him. He is not a resident." It was after talking with Kozintsev that Dal began to keep his diary-confession, in which a couple of years later he had to write: “Day 11.V.73 - BLACK ... No GRIGORY MIKHAILOVICH KOZINTSEV.”

    Filming of King Lear took place in August 1969 in Narva. Shortly before this, Oleg met with his future wife, 32-year-old Elizaveta Eikhenbaum, who worked as an editor in the film crew. She was the granddaughter of the famous philologist Boris Eikhenbaum. All the time of filming, Dahl courted her, then invited her to Moscow. And when she arrived and called - did not recognize. Torn off from the rehearsal, he angrily threw: “What else is Lisa ?!”. She got offended and returned home. A few months later they met again at Lenfilm.

    Elizaveta Dal said: “A few months later, when we met again at Lenfilm, it turned out that I then tore him away from the rehearsal. Touching Dahl at such a moment is a tragedy. But I didn't know about it then. On this visit, he stayed overnight with me for the first time. But I wasn't in love yet. The distance affected ... Oleg immediately became friends with my mother - Olga Borisovna and called her Olya, Olechka. Her father, my grandfather - Boris Mikhailovich Eikhenbaum - was a famous literary critic, professor, teacher of Andronikov and colleague of Tynyanov and Shklovsky. When my grandfather passed away, I thought that there were no such people anymore. And suddenly I discovered similar traits in Oleg. He rather old-fashionedly asked my mother for my hand. It happened on May 18, 1970. The next day, he flew with the Sovremennik Theater to Tashkent and Alma-Ata on tour ... The fact that I got to see the film King Lear played a huge role in my life. For me, there is still something mystical in this: if this film had not been shot by Grigory Mikhailovich, but by someone else, but Oleg had been filmed, we would not have become husband and wife. There was something here ... I remember the arrival of Grigory Mikhailovich for the next viewing of the material and his words addressed to me: “Liza, what Oleg was on the set with us yesterday !!!” I thought then - why does Kozintsev tell me about this, maybe he knows something more than me? Then I myself didn’t have any serious thoughts about Oleg and me ... Why did I marry Oleg, although I saw that he was drinking heavily? I was interested in him. I was already 32 years old, and I thought I could handle his weakness. I felt with some inner feeling: this person cannot be upset by a refusal ... "

    The film "King Lear" was released on the wide screen in 1971 and won several prizes abroad at festivals in Chicago, Tehran and Milan. In the year the film was released on the screen, Dahl left the troupe of the Sovremennik Theater. When the theater was preparing for the production of The Cherry Orchard by Chekhov, Oleg got the role of Petya Trofimov in it. However, Oleg said that he would not play this role. But no one was going to offer him another role, and Oleg decided to leave the theater. Dal's tense relations with the management and part of the Sovremennik troupe periodically arose during all three years of his repeated stay in this theater. Moreover, the actor himself often provoked others. In 1975, during the play “Valentin and Valentine”, Dahl suddenly sat down on the edge of the stage and, turning to the man sitting in the front row, asked: “Give me a light!” The spectator gave, believing that there is such a scene in this performance. On this occasion, a general meeting of the troupe was convened, the actor was reprimanded for his "hooligan act".

    From the diary of Oleg Dal:

    With this viper, the relationship is over - the scores have begun! Silly!

    INDIFFERENCE has begun!

    My hatred has begun!

    Hatred is real.

    Fight for destruction.

    And the greatest contempt and indifference! ..

    MARCH. 1976. THE BEGINNING...

    Leaving the theater is finally and irrevocably decided! The brain is tired of the hopelessness of its own ideas and thoughts. It is impossible even for a short time to exist among mediocrity elevated to shameless impudence.

    From a letter to Efros dated March 7, 1978: “I passed various stages of its development in Sovremennik, until a completely natural, in my opinion, rejection of one (organism) from another took place. One decomposed into honors and titles - and died, the other - organically not digesting all this - continues to live.

    Dahl's debut could take place on the stage of the Moscow Art Theater, where he was invited by Oleg Efremov to play the role of Pushkin in the play "Copper Grandmother" based on the play by Zorin. Dahl rehearsed this role very actively, many who saw these rehearsals believed that the actor would have undoubted success in it, but at some point he did not like the production, and Efremov had to play the role himself. Soon Dahl left for Leningrad, where his wife lived, and joined the troupe of the Leningrad Drama Theater named after Lenin Komsomol. For two seasons, he played Dvoinikov in the play "The Choice" based on the play by Arbuzov with a complete absence of any interest in the role and called the play "the most ridiculous concoction."

    In the early 1970s, Dahl played several roles that he always remembered with great satisfaction. In Nadezhda Kosheverova's Shadow, he played two roles at once - the Scientist and his Shadow.

    Joseph Kheifits in "Bad good man» Dahl played Laevsky.

    On television in 1973, he played three notable roles at once: Marlow in Night of Errors, Carter in Dombey and Son, and his childhood dream came true - Pechorin in Through the Pages of Pechorin's Magazine.

    Then he played a role that he later did not like very much - the role of singer Yevgeny Krestovsky in the film "Sannikov Land".

    This picture was shot in 1972 at Mosfilm by two directors - Albert Mkrtchyan and Leonid Popov. Vladimir Vysotsky was originally chosen for the role of Krestovsky, but the film authorities forbade him to shoot, and then Dahl appeared in the field of view of the directors. He was sent a script to Leningrad, he got acquainted with it and agreed to act in film. However, during the filming, dissatisfaction increasingly covered both Dahl himself and the performer of another main role - Vladislav Dvorzhetsky. They believed that a serious script made a cheap spectacle with songs. Several times it came to the fact that both actors wanted to leave the set. They played to the end, but the relationship between actors and directors was completely ruined. As a result, the songs performed by Dahl were covered by Oleg Anofriev, as the director insisted that Oleg sing them differently, but Dahl refused.

    Despite the critical reviews of the film by the leading actors, "Sannikov Land" was greeted by the public with great enthusiasm. And Dahl himself wrote in his diary: “June. Joy of an IDIO. Dreams of an idiot. Dreams of idiots, etc. And my thoughts are about the current state of the Soviet cinematography. (“Sannikov Land”) X and Y are clinical noobs with meager reserves of gray matter infested with garbage green flies. Here treatment is useless. Complete isolation will help.”

    During 1973 and 1974, Oleg starred in three films - "The Star of Captivating Happiness", "Citizens" and "It Can't Be!".

    He also starred in two television films - "Military forties" and "Option" Omega ". The director of the film "Option" Omega "was a former Greek citizen Antonis Voyazos, interned in the USSR, graduated from VGIK and became a director of documentaries and musical films. By a strange coincidence, he was entrusted with shooting a five-episode film about the work of a Soviet intelligence officer in fascist rear. Actor Valentin Gaft was originally chosen for the role of the German intelligence officer Baron von Schlosser. However, the actor Igor Vasiliev was later taken instead. And Andrey Myagkov was offered the role of Soviet intelligence officer Sergei Skorin by the film director. However, the director began to object: "This role should be played by a person who least of all resembles our traditional intelligence officer," Voyazos expressed his objections. "Who do you mean?" - asked in response. “Is it Savely Kramarova?” - "Oleg Dal", - the director answered. Oleg was approved for this role. On June 2, he signed an agreement to participate in the filming of the film “Not for Glory” - that was the original name of the picture, and soon, together with the group, went to Tallinn for location shooting. Already on the second day of filming, Dahl wrote in his diary: “I had a conversation with the director and director about hack work. If this is the second “Sannikov Land”, I won’t act.” But the actor's fears were not justified.

    While working on the picture, Dahl gave one of the few interviews in his life to the journalist B. Tukh: “I made it my task to play myself, Oleg Dal, in 1942, in such circumstances as Skorin found himself in. Here all the actions are mine, the words are mine, the thoughts are mine... Skorin is interesting to me for its paradoxical nature. He's not superman. Just a person who defends his convictions ... In my Skaryna - that same charming stranger who attracts me in people.

    The Omega Option film was completed in mid-1974. However, its premiere took place only a year later - in September 1975. He was received very well by the audience, but the critics practically did not notice him. And Oleg Dal, after ten years of travel restrictions, in June 1977 went with a painting to the Golden Prague festival.

    Being a sought-after actor, Dahl starred a little in those years. After "Sannikov's Land" he approached the choice of working material very carefully. This meticulousness amazed many. For example, in 1974 - 1976, Dahl refused to cooperate with Eldar Ryazanov, Leonid Gaidai and Dinara Asanova, who invited him to play the main roles in their films. With Ryazanov, he was supposed to play Zhenya Lukashin in The Irony of Fate, but after reading the script, he immediately said that this was not his hero. The director had doubts and nevertheless begged the actor to make tests, after which he realized that Dahl was absolutely right.

    Gaidai wanted to see Oleg as Khlestakov in his film Incognito from Petersburg. Dahl initially agreed to shoot, but then refused to act. In his diary on December 17, 1977, he wrote: “I finally abandoned the dream of playing Khlestakov. Film Gaidai. Considerations of a fundamental nature. Not on the way!!!" Asanova invited him to the main role of a drunkard in the film "Trouble". But, after reading the script, Dahl did not agree with her in his views on the character of the main character - a chronic alcoholic, and refused the role. She was played by Alexei Petrenko.

    To the situation prevailing at that time in the domestic cinema, Dahl treated in his usual manner - with contempt and pity. Here are just a few excerpts from his diary:

    “YEAR 75 HAS COME. An operator from Mosfilm called - to make an order for my slide for the Art of Cinema magazine. THEY DON'T HAVE ART IN MOVIES, why should my face belong to their magazine? My mug is my mug, and no more! 3. I. 75...

    SOCIALISM - AND WHAT OF THIS...

    The most hated definition for me.

    Socialist realism is the death of art.

    Socialist realism is the devouring of art by boors, mediocrity, philistines, scoundrels, businessmen, dullards in high positions.

    Social realism is a definition that has no definition.

    Socialist realism is nothing, zero, emptiness.

    Nature does not like emptiness.

    Therefore, such a mediocre void as socialist realism was instantly filled with all sorts of shit and scum without honor and conscience. You don't have to be talented to suck a uterus like "sr." You just need to know what you need, and a number of passbooks will grow on the bookshelf!

    Socialist realism involves various awards and titles!..

    18.IV - 25.IV. 1976.

    Film festival in Frunze. I've never seen so many idiots gathered in one pile!!.

    Today's artists remind me of a huge herd of sheep, mad with stupidity, rushing after a goat provocateur to the abyss.

    I am standing on top of the hill and watching this picture. Someone wants to stop... But it's too late... Patience! Patience!

    Let everyone fly to hell in the abyss, at the bottom of which their “benefits”, titles, orders, medals, other pieces of iron, betrayal, meanness, violated principles, a swamp of lies and moral decay ... "

    Mikhail Kozakov wrote in his memoirs about Dal: “I still live in the memory of harmony in the theater - it was only in the early Sovremennik and never again ... Everything coincided there - youth, time, the state of the theater. Oleg was unlucky all the time. He seemed to fall “on the descent” ... And he came to Sovremennik and other theaters at a time when the theater was already essentially dying.

    Oleg was fantastically devoted to his profession. Elizabeth Dal once said: “The trouble happened during the play“ At the Bottom ”. We then lived in Peredelkino near the Shklovskys - I was waiting for Oleg at the gate. He got out of the taxi with difficulty and limped along beside me. I asked what happened. He replied: "First football." (There was a match on TV, Oleg loved football and took it seriously.) Climbing the stairs to the second floor with difficulty, he sat down on the sofa. During the break of the match, he said that during the performance, somehow the welt of his boot got into the gap of the stage floor. Oleg made a sharp turn. The whole body and the leg up to the knee turned, and the leg below the knee remained immobile. It felt like something hot was squirting down my leg. He finished the scene, managing to convey backstage about what had happened. They called an ambulance. The knee was incredibly swollen. But they were afraid to give an anesthetic injection - there was a danger of seriously injuring the leg. Oleg said that he would finish the performance, although the doctors did not believe in it. He finished playing so that after the performance no one remembered that he had to be taken to the Sklifosovsky hospital, and he fled to the dacha. When Oleg showed his leg, we were horrified. It was late in the evening, outside the city, without a phone. I sounded the alarm, but Oleg persuaded me and everyone that we could wait until the morning. He knew how to convince anyone. In the morning, from the first floor, where the writer Alim Keshokov lived, with a telephone, they got through to the polyclinic of the Literary Fund. There it turned out that Oleg had a damaged knee bursa. Then there was an operation at CITO, which I attended. Fluid was pumped out of the knee with a syringe. During the whole operation, Oleg smiled cheerfully at me. He was brought home in a cast from hip to foot. The next day, at his request, I went to the theater: “Find out what's going on with Twelfth Night. A performance was scheduled for the evening.

    But there were cases when Dahl from the very first offer gave his consent in principle to the shooting. So it was with the filming of the film “How Ivan the Fool went for a miracle” by Nadezhda Kosheverova, whom he greatly respected as a director and person.

    Kosheverova recalled: “We had a tragic story on this film. A very interesting horse was found for filming, his name was Fedka. He was kind and extremely smart. The whole group fell in love with him, including Oleg. During a break, the cameraman went looking for mushrooms and got lost, as a result of which the shooting had to be suspended. The horse, accustomed to the fact that shooting usually takes place at this time, became nervous. Actors, incl. and Oleg, began to leave the set. When transporting the horse, they forgot to tie it in the car and at the railway crossing, frightened by the horn of a train passing by, Fedka jumped out of the car and broke his legs. I had to shoot him. Everyone was terribly worried, and for the first time I saw how Oleg was crying. By the way, Oleg proudly told that he has a cat at home, which, when he comes home, jumps on his shoulder. Animals loved him...

    Dal did not refuse the director Yevgeny Tatarsky, who invited him to play the hardened criminal of Kosovo in the film "Golden Mine".

    When Dahl left Sovremennik, he decided to try his hand at directing and entered the Higher Directing Courses at VGIK in the workshop of Joseph Kheifits. But with directing, he did not work out. He regularly attended courses, but mentally picked up a new occupation for himself. At that moment, he began working with the director Anatoly Efros, whom he met in 1973 while working on the television show "Through the Pages of Pechorin's Magazine". Efros wanted to shoot at Mosfilm the feature film "On Thursday and Never Again" and offered Dahl the main role - Sergei.

    The film "On Thursday and Never Again" was completed in 1978, but was released in a small edition. The hero played by Dahl - a man who felt superfluous in society, did not like the officials much, and they did everything so that the picture was seen by as few spectators as possible. In Moscow, the film was shown for only two days.

    In July 1978, Dahl began work on another role, which can be called one of the best in his track record. In the film by Vitaly Melnikov "Vacation in September" based on the play by Alexander Vampilov "Duck Hunt" he played the role of Zilov. It was a role that Oleg had dreamed of since he first read the play. When he learned that a film adaptation was being prepared at Lenfilm, he was firmly convinced that he would be invited to the main role without any trials. But the director did not invite him. And Dahl was offended. So much so that even when he did get a call from the studio and offered this role, he categorically refused it. He was persuaded for several days, and agreed only when he was given to understand that no one else could play this role except him. Unfortunately, Dahl himself never got to see himself on the screen. The picture was called "decadent" and put on the shelf. Its premiere took place only in 1987, when the actor was no longer alive.

    Meanwhile, a meeting with Efros in 1976 briefly returned Dahl to the theater. He came to the Theater on Malaya Bronnaya directed by Efros. But Oleg did not last long in this theater group either. He played two roles there - Belyaev in "A Month in the Village" and an investigator in "Veranda in the Forest" - but frankly admitted that he did not like these roles. And the two roles that he wanted to play, he did not play.

    Edvard Radzinsky said: “On Malaya Bronnaya, two of my plays were being rehearsed at the same time: Efros was rehearsing “The Continuation of Don Juan”, and Dunaev was rehearsing “Lunin, or the Death of Jacques”. Oleg Dal played the main roles in both performances. Dahl was a unique, fantastic actor. He rehearsed "Lunin" on the verge of life and death, it seemed a moment - and he would die. The illuminators, fascinated by his game, forgot to shine... Oleg demanded the same maximum return from his partners, the partners could not stand it and left, it was difficult, impossible to play next to him. Oleg was nervous, broke down ... The premieres of Lunin and the Continuation of Don Juan were approaching. And I must say that by this time Oleg Dal had not played a single major role in the theater, but there was a legend about the brilliant theater actor Oleg Dal. And he understood how much was expected of him, how important these performances were for him - either all or nothing - he understood and was nervous. And shortly before the premiere, the following story happened: Anatoly Efros was invited to stage in the USA, and he roared without warning anyone, including Dahl. Oleg, who came to this theater to play with Efros (there was such a clause in the contract with the theater that he only plays in performances staged by Efros) was offended by this attitude and left the theater. Dahl was ill with one of the most beautiful and tragic diseases - the mania of perfection ... ".

    Here is what Dahl wrote in his diary in August-October 1977: “Efros is clear as a director and as a person. The casket just opened. As a person - unpleasant ... As a director - tolerant, but, I'm afraid, get bored ... On the one hand, he needs personalities, on the other - puppets. Or rather, like this: he dreams of gathering around him individuals who, having sacrificed their personal freedom, would act like puppets for the sake of his directorial "genius". He dreams not of a “commonwealth”, but of a dictatorship...”

    In May 1978, thanks to the efforts of the director of the Theater on Malaya Bronnaya I. Dupak, the Dahl family managed to get a new apartment in the city center on the 17th floor. And Dahl got his own, originally arranged office.

    Oleg came up with a wall of bookshelves in the apartment, in the center of which a door was built. Oleg spent a lot of time alone with himself, where he also recorded the solo performance “Alone with you, brother”, based on Lermontov’s poems.

    After leaving the Theater on Malaya Bronnaya Dal, he joined the troupe of the Maly Theater, where he was soon introduced to the role of Alex in the play "The Shore" based on the work of Y. Bondarev. But it didn't bring him much joy.

    The cinematic career of the actor in 1978-1979 developed floridly. Dahl was approved for the lead role in Alexander Mitta's The Crew, but at the last moment he refused to shoot. The refusal was peacefully discussed between the actor and the director, who found another performer for this role - Leonid Filatov. But the leadership of Mosfilm considered Oleg's act a violation of labor discipline and issued unspoken order within three years not to shoot an actor in the pictures of the film studio. Dahl did not know about this order, but he had to face its consequences.

    At the beginning of the same year, Dahl rejected another major role: in Mikhail Kozakov's TV movie The Nameless Star, he could play Marina Miroya. Kozakov really wanted him to play this role, but Dahl did not like the script, and Igor Kostolevsky played this role in the film. But Dahl accepted the offer of Yevgeny Tatarsky to star in The Adventures of Prince Florizel. Filming took place in Sochi. Elizaveta Dal said: “Sochi. Sea. Sun. Everything is in a pleasant relaxation - swimming, sunbathing. Filming in botanical garden- peacocks, flowers - everything is wonderfully beautiful. I came to the shooting on the second day - there is a strange atmosphere. Everyone is twitchy, everyone is nervous. Director E.Tatarsky takes me aside: “Lisa, Oleg is acting up on the bus - look what you can do.” I get on the bus. Oleg sits grey. Nothing can be done. You can't ask either. He himself returns to the site, and everything becomes clear: the suit has a pin in front, hunches in the back. And this is Prince Florizel, who is said to be the most elegant man in Europe. Oleg is trying to explain: the suit should be such that, after watching it on TV, tomorrow they will take this fashion. There was no such prince, the era is unknown, fantasize - as much as you want. Instead, everything from the selection, old, dusty, "played" things, not always in size. B. Manevich, the production designer of Lenfilm, who worked a lot with Oleg, came to the rescue. She showed the texture of Oleg, freeing her from being squeezed into clumsy, uninteresting and cumbersome things. Having calmed down, Oleg began to joke: “Do you want me to play the prince or Zhorzhik from Odessa?”

    Another participant in the filming, actor Igor Dmitriev, recalled: “Somehow we did one scene with the “eight”, when the dialogue is filmed from behind the shoulder, first of one, and then of another actor. They already filmed Oleg and started me - from behind his shoulder. I turn to Florizel-Dal and say: "Prince, I must avenge my brother's death." And he is in the frame, with the camera turned on, he answers me: “Igor Borisovich, did you buy anything for us for dinner? The shooting is over, we will have nothing to eat!” - "Stop! - says the director. - Amazing!" - "What's great? Didn't you hear what Oleg said? - I was indignant. “Igor Borisovich, your eyes sparkled so unexpectedly, otherwise you would never have played it,” Dahl replied slyly.

    Initially, the film was called "The Suicide Club, or the Adventures of a Titled Person." However, some of the management did not like this name, and the plot itself caused criticism. As a result, the picture was only released in 1980 under the title The Adventures of Prince Florizel.

    By the time the film was released on the screen, the artist was in a depressed mood. His persecution at Mosfilm continued, and his health began to fail - his heart let him down. V. Trofimov recalled: “Our last meeting is remembered with bitterness. In the spring of 1980, I came to him with a script about A. Blok. The door was opened by an exhausted man with sunken eyes, in whom it was difficult to recognize the radiant, always elegantly smart Dahl. The conversation was hard. “I really want to, but I probably won’t be able to take on that job ... I can’t do anything yet ... They finished me off ...” Word by word, I squeezed out of him an outrageous story of persecution by the acting department of Mosfilm. How vulnerable this proud man was ... "

    Elizaveta Dahl said that they had a huge pack of scripts in their toilet at home, which Dahl refused: “He had a lot of offers to play something party, Soviet, for which he would receive big money, titles ... Everything was rejected in the bud. I am not ashamed of any of his roles now. I don’t blush for a single film, and he wouldn’t blush.”

    In 1980, Mosfilm director Leonid Maryagin began work on the film The Uninvited Friend. The film was about two young scientists: Viktor Sviridov and Alexei Grekov. The first of them was uncompromising, the second - dodgy. The picture told about the conflict between them. Alexander Kaidanovsky was originally approved for the role of Sviridov. However, after reading the script, he refused the role, believing that a film with such a plot is obviously impassable. And the director decided to invite Dahl.

    Maryagin recalled: “I sent him the script to Leningrad, where he was then filming, with a note: “Please read the role behind the words and between the words.” Oleg agreed to audition, arrived and during the first meeting he said hostilely: “I always read the role between words. But I would like to know what you will make a picture about. I began to tell, and Oleg listened with an impenetrable face. It was difficult to speak. My explication probably looked like a subordinate's report to his boss. I finished and waited for Dahl's "sentence". But he did not talk for a long time, opened the script and immediately played the scene, as if he had caught the way of existence of his future hero - Sviridov. “If we are talking about a person who does not believe that a good deed can be done in his midst, and last time trying to verify this - let's try! But it’s unlikely that they will approve me for you! ”

    When the head of the acting department of Mosfilm, A. Gurevich, found out that Dahl was going to be shot in the next film, he immediately announced that he would not allow this. The actor went to see him. Elizabeth Dal said: “Gurevich began to insult the artist: “Who are you? Do you think you are an artist? Yes, no one knows you. Here Kryuchkov arrives in another city, so the movement stops. And you are a jerk. All you need is money." Oleg was silent, clenched his fists, because he understood - another minute, and he would strike. He came home with a whitened face, trembling hands, and sat down to write a letter to Gurevich, but all the time tore up what he had written. For a long time I could not recover from such a monstrous humiliation and rudeness.

    In those days, the following entry appeared in Dahl's diary: “What a bastard rules art. No, it’s not true, there is less and less art left, and it’s easier to rule it, because in it, inside, there is the same deceitful and greedy bastard ... ”And a little later a new entry appeared:“ Well, bureaucratic scum, let's see what will remain of you, and what of me!

    But Maryagin nevertheless approved Dahl for the role of Sviridov.

    Maryagin said: “Then “well-wishers” began to come to my room at the studio, pitying me: - What did you do ?! Do you want to shorten your life by working with this actor? And in support of the thesis, various stories were told about his unbearable character: he left the theater after a quarrel; I was waiting for the first day of shooting, as they are waiting, probably, for the execution of the most difficult sentence. Oleg came to the shooting minute by minute, independent, emphatically keeping his distance, forming a field of tension around him. I approached the actor, as one enters a tiger in a cage. But the tiger did not attack, gradually the feeling of discomfort passed, and a laconic, as it seemed to me, understanding arose ... "

    In the midst of filming in Moscow, a misfortune happened - Vladimir Vysotsky died, with whom Dahl had recently become close on the set of Joseph Kheifits' film "Bad Good Man".

    It was an "acting double", the perfect double hit in the role, the perfect duet interaction. Someone formulated: "Vysotsky is weak in his strength, and Dal is strong in his weakness."

    They were not friends for every day, they rarely talked, they were not friends at home, but the spiritual connection between them was the strongest. They understood and felt each other. Even in the movement towards death, both of them had some kind of devilish synchronicity. According to eyewitnesses who saw Oleg at that funeral, he looked terrible and kept saying: "Well, now it's my turn." Mikhail Kozakov recalled: “At the funeral, Galina Volchek came up to me and asked in my ear: “Maybe at least this will stop Oleg?”

    After the funeral, Oleg wrote in his diary in October 1980: “I began to think often about death. Disappointing worthlessness. But I want to fight. Cruel. If we leave, then leave in a frantic fight. With all the remaining strength, try to say everything that I thought and think. The main thing is to do it!

    On Vysotsky's birthday on January 25, 1981, Dal woke up in the morning in the country and told his wife: “I dreamed of Volodya. He is calling me." Literally a few days after that, in a conversation with V. Sedov, Oleg sadly remarked: “There is no need to heal me, now everything is possible for me - nothing will help me now, because I don’t want to act or play in the theater anymore.”

    Dahl spoke about the imminent approach of death not only to his relatives, but also to friends and work colleagues. Igor Dmitriev recalled: “We starred in The Adventures of Prince Florizel. The theme of approaching death in Oleg's conversations sounded constantly. Once in Vilnius, a mourning hearse with a driver in a top hat, with beautiful lanterns swinging, drove past our bus. “Look how beautifully they bury in Lithuania, and they will take me around Moscow in a closed bus. How uninteresting."

    Leonid Maryagin recalled: “We talked with Romashin about the difficulties with which the picture was shot. Dal was silent, looking past us. And only half an hour later he asked Anatoly Romashin:

    Tolya, do you live there?

    Romashin then lived near the Vagankovsky cemetery.

    Yes, - answered Romashin.

    I’ll be there soon,” Dahl said…”

    In early 1981, Dahl actively rehearsed the role of Yezhov in the Maly Theater production of Foma Gordeev. He liked the role, but Dahl intended to leave the theater after playing the premiere. At the same time, he received an offer from the Kyiv film studio to star in a lyrical comedy. It interested the actor, and he gave his consent to the tests.

    Oleg Dal went to Kyiv and died there unexpectedly on March 3, 1981. It happened in a hotel room. The last person who saw Dahl alive was the actor Leonid Markov, with whom they auditioned for one picture together.

    In this material, I will present the version of death from life that I personally heard from Lisa Dahl, with whom I was well acquainted. In his room, Oleg Dal took sleeping pills. In his sleep, he began to vomit, and his airways were blocked. The doctors who arrived at the scene were unable to do anything. The actor died in an accident.

    Oleg Dal was buried at the Vagankovsky cemetery.

    Director Julia Proskurnya-Zavyalova filmed a beautiful film about Oleg Dal documentary Oleg Dal. The movie that was. And Leonid Filatov spoke about Dal in one of his programs from the series “To Remember”.

    Your browser does not support the video/audio tag.

    Text prepared by Andrey Goncharov

    Used materials:

    Text of the article “I am not a people, I am a foreigner”, author R. Bolotskaya
    Text of the article "Chronicle of a diving artist", author I. Karasev
    The text of the book by Fedor Razzakov "Star tragedies: riddles, fates and deaths."
    The text of the article by L. Khavkina in KP
    Site materials www.peoples.ru

    Filmography:

    1962 My little brother
    1963 First trolleybus
    1963 The Man Who Doubts
    1965 Bridge under construction
    1965 Black Kitten (short story in film "From Seven to Twelve")
    1967 Zhenya, Zhenechka and "Katyusha"
    1967 Dive Bomber Chronicle
    1968 Soldier and queen
    1968 Old, old fairy tale
    1970 King Lear
    1971 Shadow
    1973 Sannikov Land
    1973 Bad Good Man
    1973 Fire in the wing, or a feat in the ice
    1974 Hero of our time. Pages of Pechorin's magazine
    1974 Dombey and Son
    1975 "Omega" variant
    1975 Citizens
    1975 Star of Captivating Happiness
    1975 It can't be!
    1975 Night of Errors
    1976 Ordinary Arctic
    1977 Thursday and never again
    1977 Golden Mine
    1977 How Ivan the Fool went for a miracle
    1977 Personal happiness
    1978 Islands in the Ocean
    1978 Schedule for the day after tomorrow
    1979 Vacation in September
    1979 The Adventures of Prince Florizel
    1980 We looked death in the face
    1980 Uninvited friend

    Oleg Ivanovich Dal (05/25/1941, Lyublino, Moscow region - 03/03/1981, Kyiv) - Soviet film and theater actor.

    Childhood

    Oleg Dal was born on May 25, 1941 in the Moscow region (the city of Lyublino). His father, Ivan Zinovievich, was a major railway engineer, and his mother, Pavel Petrovna, was a teacher. In addition to Oleg, the Daley family had another child - a daughter, Iraida.

    Dahl's childhood passed in Lublin, which was then a suburb of Moscow. Like every boy of the post-war period, our hero dreamed of choosing future profession something heroic, for example, the profession of a pilot or sailor. However, while studying at school, playing basketball, Oleg broke his heart and had to part with the dream of a heroic profession. Since then, he began to be fascinated by creativity: painting, poetry. After reading Lermontov's "A Hero of Our Time" at school, Dahl decided to become an actor in order to play Pechorin someday. Then, of course, he did not even suspect that in some 15 years this dream of his would come true.

    Shchepkinskoe school

    After graduating from high school in 1959, Dahl decided to apply to the Shchepkin Theater School. The parents were categorically against this decision of their son and they had their own weighty reasons for this. Firstly, the profession of an actor in the working environment has never been considered serious. Whether it's a driver, a doctor or, at worst, a librarian. These professions allowed their owner to feel confident in society, to have a fixed salary. Secondly, our hero had one significant flaw: from childhood he burred, which meant that at the very first exam in Theatre Institute he will fail miserably. "What do you want such a shame?", Father Ivan Zinovievich inquired sternly.

    However, Dahl, of course, did not want to become a laughingstock in the eyes of the admissions committee, so he decided: to correct his diction and still enter the theater school. And this stubbornness, as well as the fact that he still managed to cope with his burr, made his parents come to terms with his desire to become an artist.

    CONTINUED BELOW


    At the exam at the school, Dal chose two passages for himself: Nozdrev's monologue from "Dead Souls" and a piece from "Mtsyra" of his favorite poet. And already during the performance of the first passage, he literally struck the selection committee on the spot. True, in a somewhat different sense than it was required. The long and skinny applicant, reciting Nozdryov's monologue with pathos, brought the examiners into a state close to fainting. The laughter in the audience was such that almost the entire school ran to its doors. Dahl himself then, apparently, thought that the matter had failed, but he did not know how to retreat and therefore decided to go to the end. When the laughter subsided, he began to read an excerpt from Mtsyri. And then the examiners looked at each other in surprise: instead of the boy who a minute ago caused wild laughter, a young man with burning eyes and excellent speech suddenly appeared in front of them. In short, Oleg Dal was enrolled in the first year of the school he led (young people who were soon to become famous actors – , ).

    First roles

    In those thaw years, cinema, waking up from a long Stalinist hibernation, was looking for new heroes, consonant with the times. Among the heroes were three graduates of the school from V. Aksenov's story "Star Ticket", which was published in the magazine "Youth". In 1961, film director Alexander Zarkhi decided to make a film based on this novel and sent his assistants to all the capital's creative universities with the task of finding actors for these roles. Soon, several dozen students were selected, tests began, which revealed the lucky ones: from the school named after Shchukin and Oleg Dal from Shchepkinsky (he got the role of Alik Kramer). In the summer of 1961, the film crew went to Tallinn for location shooting.

    The film "My Little Brother" was released on the wide screen in 1962. The names of the three young actors first became known to the public.

    In 1962, two well-known directors of Soviet cinema immediately drew attention to Dahl: and Leonid Agranovich. The first invited him to try for the role of the younger Rostov in "War and Peace" (Dal did not pass the test), the second entrusted him with the main role in the film "The Man Who Doubts".

    This film was a psychological detective story and told how, after the murder of a tenth grader, the investigating authorities arrested an innocent - a friend of the deceased Boris Dulenko, whom the court sentenced to death. Dahl played him.

    There is such an episode in the film: the investigator, during the interrogation of Dulenko, asks him why he slandered himself. In response, he states: "And if you were kicked in the stomach?". This phrase seemed provocative to the consultants of the film from the Ministry of Internal Affairs (it turned out that the police beat the defendants!) And they ordered to withdraw it. Our hero had to re-voice this episode and insert another, more loyal phrase into the mouth of his hero.

    "Contemporary"

    At the time of the film's release (1963), Dahl successfully completed his studies at the theater school and for some time stood at a crossroads, wondering where to go. And then the unexpected happened: the actress of the Sovremennik theater A. Pokrovskaya, who had attended his graduation performance, invited him to her theater. True, before getting into this famous theater, the candidate had to pass an exam from two rounds. But Oleg played his roles in both shows with such brilliance that he was immediately enrolled in the troupe.

    Once in Sovremennik, Dahl did not play big roles for five years, being content with only minor ones. However, he almost did not worry about this, since one stay in the famous youth theater already sufficiently amused his pride. In addition, he was sometimes invited to act in films.

    The next picture of the young actor was the film directed by Isidor Annensky "The First Trolleybus". It was filmed in 1963 at the Odessa Film Studio. Its plot was ingenuous: factory youth every morning goes to work on a trolley bus, the driver of which is a young and pretty girl named Svetlana. Naturally, the young men like her, and the whole plot revolves around these relationships. In the picture, in addition to the already established actors, a whole group of young people was filmed: O. Dahl,. With, by the way, Dahl began a stormy romance at that time, which ended in a wedding in 1963. It just ended - family life The actors did not ask, and soon they decided to leave.

    The film was released on the screens of the country in 1964 and was well received by the public.

    Over the next two years, Dahl starred in two more films, but it is difficult to call them significant works. We are talking about the films of E. Narodnitskaya and Y. Fridman "From seven to twelve" and "A bridge is being built". The last picture was entirely staged and played by contemporaries and told about a youth brigade building a road bridge across the Volga. Oleg Dal played a small episode in it, which was quite understandable: his position in the theater troupe continued to remain the same - in the wings. Of the roles that he then played on stage, one can name the following: Heinrich in The Naked King, Mishka in The Forever Living, Kirill in The Elder Sister, the dwarf Thursday in Snow White and the Seven Dwarfs (all performances staged in 1963 year), Marquis Brisaille in Cyrano de Bergerac (1964), Igor in Always on Sale (1965), Pospelov in Ordinary History (1966), an episode in The Decembrists (1967). As you can see, from year to year, Dahl's position in the theater did not improve: there were fewer and fewer roles. And if earlier, in his youth, the actor took this for granted, then his attitude to such things changed. He began to "swing rights", broke down. It was during those years that he began to drink more and more. His family life did not go well either. His marriage to the Sovremennik actress, who became famous thanks to the role of Lely in the film Nine Days of One Year (1962), did not last long - only six months (they got married in 1965). It was during this period, at the beginning of 1966, that Oleg was found by the director from Lenfilm, Vladimir Motyl.

    Zhenya, Zhenechka and Katyusha

    V. Motyl was then going to stage the film according to the script "Zhenya, Zhenechka and Katyusha". The story of how this, in general, at that time, impenetrable scenario, was broken, deserves a short story. It was not allowed to put it into production for a long time, until V. Motyl did not resort to a cunning trick.He came to an appointment with the then head of the Central Committee department for cinema and threatened him with some compromising evidence, which could greatly spoil the relationship between the head of the department and the secretary of the Central Committee for ideology.The threat was so serious that the official backed up to the wall gave up and then agreed to take the trouble to break through the forbidden scenario.

    V. Motyl did not have a performer for the main role then, but two years ago, when he was going to shoot "Kukhlya" based on Y. Tynyanov (the film never appeared), his colleagues strongly recommended that he look at the actor Dahl from "Contemporary" . Motyl never saw him, but remembered his last name. And now I decided to get to know each other better. The director recalled: “The very first meeting with Oleg revealed that I had an outstanding personality, that the essence of the artist’s personality coincides with what is necessary for the intended image. This was that rare case when the artist appeared as if from an imagination that had already folded the character into a plastic sketch.

    In short, then it seemed to me that the shooting could be scheduled even tomorrow. In addition, it turned out that Dahl no longer works in the theater (later I found out that his affairs were useless: he left the theater after another scandal, and everything went wrong in his personal life) and therefore can devote himself entirely to cinema. He was wearing a defiantly flashy cherry corduroy jacket, an extravagant, fashionable rarity in those days. He was not yet twenty-five, but unlike his peers-colleagues with whom I met and who tried very hard to please the director, Oleg behaved with great dignity, as if he was not at all interested in the work, as if without us he was bombarded with offers. He listened attentively, answered questions briefly, thinking over his words, behind which condescending overtones were guessed: "The role seems to be not bad. If we agree on positions, maybe I will agree."

    In the positions, the director and the actor eventually agreed and soon the day of the first screen test was appointed. And then the surprises began. Oleg came to the test out of shape and, of course, tore everything off. A new test was scheduled, but it also failed due to the fault of the actor. Probably, for any other director, such a situation would have caused a legitimate feeling of anger and a desire to immediately part with the negligent actor, but Motyl found the strength to restrain himself. His assistants threw thunder and lightning at Dahl, and the director kept an enviable composure. A third test was scheduled (an unprecedented case in cinema) and this time the actor promised not to let the director down. Fortunately, he then kept his word and worked everything out as expected. However, the happy end was still far away.

    As soon as the screen test with Dahl was filmed, opponents of this choice were immediately found at the studio. Nevertheless, the director and screenwriter managed to defend Dahl and the shooting of the film began. They took place in Kaliningrad, where nature was filmed. According to the participants in those filming, the center of the whole team were two actors: O. Dahl and. Their continuous jokes brought the whole group to colic. V. Motyl recalled: “They are driving in a filming car through the center of Kaliningrad, Dal and. While they were working, they played each other all the time, and on this day some special rein fell under their tail. Dal suddenly jumps onto the pavement and runs across the street towards some fence, brandishing a fake machine gun and shooting from it from time to time, also jumps and runs after him with the same machine gun, yelling: “Stop, you bastard, stop!” Passers-by watch this scene in horror until a real military patrol appears. The officer in charge of it is sweating from the strain of thought: it seems that Dal has a Soviet military uniform, but something not like that. "Who are they?" He asks the artists. "Naval cavalry, comrade major," reports. "Railway fleet, comrade major," Dahl reports. And this guy was actually a captain of the 3rd rank, and they finished him off with a "major." He didn't know any artists and sent our guys to the guardhouse under escort. justice".

    This was not the only incident involving Dahl on those shoots. In another case, he made a scandal in the hotel and he was handed over to the valiant police. And she took the artist for 15 days. However, it was impossible to stop shooting, and Motyl personally begged the police authorities to let Dahl go to shoot in the morning.

    At the beginning of 1967, the film was completed and long ordeals began with its release on the screen. The first to rebel against him were high officials from the Committee on Cinematography. "Is this what you took off with public money?", they asked the director in surprise. - "What are these jokes in a movie about the war?".

    Almost the same thing was said by the first secretary of the Leningrad regional committee of the CPSU Tolstikov, who was given a viewing of the picture in the regional committee. As soon as the session was over and the lights came on in the hall, he got up from his seat and angrily said: "I will not accept such a picture!"(that's exactly what he said).

    These reviews were joined by high army ranks from the Main Political Directorate Soviet army who promised "wipe the creators of this concoction to powder". True, a little later it was from GLAVPUR that help came to the picture. As soon as their boss went on a long business trip, his place was taken by a progressive rear admiral, who requested the film to himself. During the session, he sincerely laughed at the plot and finally said: "Great movie! Must see".

    So the picture still hit the screen, but its rolling fate was sad. The premiere screening of the film in the House of Cinema was banned and with difficulty it was possible to attach the film to the House of Writers. Only two (!) posters were printed. On August 21, 1967, the premiere took place and caused a storm of delight among the audience. But even after such a reception, the attitude of officials towards the film has not changed. It was ordered to print a minimum number of copies and put them on a small screen, mainly in the provinces.

    Late 60s

    Meanwhile, at the time of the release of the film on the screen, Dahl was already filming in another film, which strengthened his popularity among the audience. We are talking about the film directed by N. Birman "The Chronicle of a dive bomber", in which Oleg played the role of pilot Yevgeny Sobolevsky. The image of a smart and charming guy created by the actor, who came up with a branded liquor called "chassis" (after the release of the film on the screen, the then youth only called strong drinks that way), fell in love with the audience. O. Dal turned into one of the most popular actors of Soviet cinema.

    The end of the 60s was a good time for Oleg Dal. After several years of creative and personal troubles, everything began to develop more or less successfully for him. At the Sovremennik Theater, where he returned after a long break, he received his first significant role - the role of Vaska Pepel in "At the Bottom" (the play premiered in 1968).

    In the cinema, he was increasingly offered cooperation by well-known directors. So, in 1968-1969, he immediately got to two luminaries of Soviet cinema: Nadezhda Kosheverova and Grigory Kozintsev.

    N. Kosheverova recalled: "My first meeting with Oleg Dal took place while working on the film "Cain XVIII" in 1962. The second director, A. Tubenshlyak, once told me:" There is an amazing young man, either in the second year of the institute, or in third, but who, in any case, is still studying. "And indeed, I saw a very funny young man who charmingly did the test. But then it turned out that he was not allowed to leave the institute, unfortunately, he was not filmed in this picture.

    When I started working on the film "Old, Old Fairy Tale", Tubenshlyak reminded me: "Look at Dahl again. Remember, I already showed him to you. Even then you said that he was very young." Based on what I had already seen in the auditions, and on my idea of ​​​​what Oleg could do, although I didn’t know him yet, I invited him to the role.

    Despite all my assumptions, I was surprised. In front of me was an actor with a bright personality. He thought with interest, fantasized, sometimes completely unexpectedly revealed what was in the script. A peculiar, unlike anyone else's manner of moving, talking, looking. Extraordinarily lively, mobile."

    It is worth noting that it was N. Kosheverova who "married" Dahl to her colleague in the director's shop G. Kozintsev in his film "King Lear". It happened in 1969. Kozintsev was then at a crossroads, since he planned for the role of the Jester was eight months pregnant and could not act in the film. Here Kosheverova turned up with her proposal to try O. Dahl for this role. A small test was made, which Kozintsev liked very much. So the actor got into the role, which would later be recognized as one of the best in his track record.

    Meeting with Elizabeth Eichenbaum

    Field shooting of "King Lear" took place in August 1969 in the city of Narva. And shortly before them, O. Dahl met with his future wife, 32-year-old Elizaveta Eichenbaum (Apraksina by her father), the granddaughter of the famous philologist Boris Eichenbaum (she worked as an editor in the film crew).

    She recalled: “Oleg took care of me all the shooting. Then he invited me to visit Moscow at Sovremennik. I took a chance, went. From the station I called directly to the theater, asked to call Oleg Dal. I was terribly offended, and so I went back to Leningrad without seeing the performance.

    A few months later, when we met again at Lenfilm, it turned out that I had interrupted him from the rehearsal. Touching Dahl at such a moment is a tragedy. But I didn't know about it then. On this visit, he stayed overnight with me for the first time. But I wasn't in love yet. The distance was...

    Oleg immediately became friends with my mother Olga Borisovna and called her Olya, Olechka. Her father, my grandfather Boris Mikhailovich Eikhenbaum, was a famous literary critic, professor, teacher of Tynyanov, Shklovsky, Andronikov. When my grandfather passed away, I thought that there were no such people anymore. And suddenly I discovered similar traits in Oleg. He rather old-fashionedly asked my mother for my hand. It happened on May 18, 1970. The next day, he flew with the Sovremennik Theater to Tashkent and Alma-Ata on tour ...

    The fact that I got to the film "King Lear" played a huge role in my life. For me, there is still something mystical in this: if this film had not been shot by Grigory Mikhailovich, but by someone else, but Oleg had been filmed, we would not have become husband and wife. There was something here ... I remember the arrival of Grigory Mikhailovich for the next viewing of the material and his words addressed to me: "Lisa, what Oleg was on the set with us yesterday !!!". I thought then - why does Kozintsev tell me about this, maybe he knows something more than me? Then I myself did not have any serious thoughts about Oleg and me ...

    Why did I marry Oleg, although I saw that he drinks heavily? I was interested in him. I was already 32 years old and I thought I could handle his weakness. I felt with some inner feeling: this person cannot be upset by a refusal ... ".

    And here is how Liza's mother Olga Borisovna recalls her first meeting with Dahl: “He came to our house after dubbing. I knew that he already had a close relationship with Lisa. That evening he found Sergey Dovlatov at Lisa’s and did everything to “sit out” the guest. to fly to Alma-Ata on tour. He and Lisa came to me at five in the morning and he very seriously asked for my daughter's hand in marriage. And I had to get up for work at six. I only remarked to him in response: "I could have waited another hour, nothing would have happened. "I liked him the first time. Amazing eyes ... When I first looked at him, I said to myself:" Well, my Lisa disappeared! and lived alone for five years. They were married only six months. I once asked: why did you part so soon? He replied: "She is evil." By the way, I did not have the impression that he fell madly in love with my daughter. True, absolutely charming letters from Alma-Ata convinced me of Liza's choice.Before leaving, he ordered Liza to urgently file a divorce from her first husband before his arrival. As soon as Oleg arrived, they immediately went to the registry office. He was a special person, so it was very easy for me to work with him. I didn’t love all of Liza’s admirers, so I wouldn’t be an easy mother-in-law at all ... ".

    Note that the film "King Lear" was released on a wide screen in 1971. Abroad, his success was weighty: at festivals in Chicago, Tehran and Milan, he won several prizes.

    Departure from Sovremennik

    Meanwhile, in the year the film was released on the screen, Dahl left the troupe of the Sovremennik Theater. How did it happen? The theater was then preparing for the production of The Cherry Orchard, and Oleg got the role of Petya Trofimov in it. However, apparently, he had other thoughts about his place in this production, and he said that he would not play this role. But no one was going to give him another role. Then he decided to leave the theater.

    In that year, his debut on the stage of the Moscow Art Theater could take place, where he was invited to play a role in the play "Copper Grandmother" based on the play by L. Zorin. Dahl rehearsed this role very actively, many who saw these rehearsals believed that the actor would have undoubted luck in it, but at some point he trembled. He suddenly didn’t like the production and he left it, he had to play this role himself.

    Soon Dahl left for Leningrad, where his wife lived, and joined the troupe of the Leningrad Drama Theater named after Lenin Komsomol. For two seasons he played Dvoinikov in the play "Choice" based on the play by A. Arbuzov. He played with a complete lack of any interest in the role. He himself then called this play "the most ridiculous concoction", and described his participation in it only as "You can't make candy out of g ... candy!".

    What was O. Dahl like in that Leningrad period? His wife E. Dahl recalled: “Next to him, I gradually became different. He didn’t tell me anything, didn’t teach me, but I suddenly realized that I didn’t need to do this. I saw how he put his things in. What order was on his table, on bookshelves! When I asked him for something, he, without turning around, held out his hand and took, without looking, the right thing. He never looked for anything. And gradually, after him, I began to do the same. And it turned out that it is very simple ... ".

    "Sannikov Land"

    As for the cinema, in the early 70s Dahl had several roles, which he later recalled with satisfaction. This is the same N. Kosheverova in "Shadow" (1972), where he played two roles at once - the Scientist and his Shadow, and Iosif Kheifits in "Bad Good Man" (1973) - where he played Laevsky. In addition, on television in 1973, he played three notable roles at once: Marlow in Night of Errors, Carter in Dombey and Son, and (his childhood dream came true!) Pechorin in Through the Pages of Pechorin's Magazine.

    But at the same time, he had a role that he later did not remember without gnashing of teeth. We are talking about the role of singer Yevgeny Krestovsky in the film "Sannikov Land".

    This picture was launched at Mosfilm in 1972 by two directors: Albert Mkrtchan and Leonid Popov. He was originally chosen for the role of Krestovsky, but his high film authorities forbade filming. And then Dahl appeared in the field of view of the directors. He was sent a script to Leningrad, he got acquainted with it and gave his consent to act.

    However, in the course of filming, dissatisfaction with what was obtained from a serious script (and according to Dahl, it turned out to be a cheap spectacle with songs), more and more covered both Dahl himself and the performer of the other main role -. Several times it came to the fact that both actors wanted to leave the set. But by some miracle they managed to stop. In the end, they played the film to the end, but their relationship with the directors was completely ruined. As a result, for example, Dahl was not even invited to record the songs that sounded in the film (he wrote these wonderful songs). That's why he sings them in the film. About the then state of mind Our hero is very convincingly told by the lines from his diary:

    And my thoughts are about the current state of the Soviet cinematograph ("Sannikov Land"). X and Y are clinical noobs with scant reserves of gray matter infested with green slop flies. Here treatment is useless. Complete isolation will help!

    The most surprising thing is that, despite such derogatory characterizations of the person who created the film, "Sannikov Land" was greeted by the public with great enthusiasm.

    Bad habit

    It is worth noting that many of the harsh actions of our hero were dictated by his long-standing addiction to alcohol. There were literally legends about Dahl's spree in the cinema crowd. He couldn't stop even when he got real family- married E. Eichenbaum. She herself recalled it this way: “I think that he began to drink at Sovremennik. Many people drank there: some more seriously, some in jest. weak person on the contrary, very strong. But this, unfortunately, turned into a disease ...

    Three years after the wedding passed like in a nightmare: when drunk, he was aggressive, rude, sometimes used his fists. I drank with random people at pubs, in squares. Then he began to drink everything on drink or just give it away. Oleg was a very kind person. But because of this kindness, my mother and I sometimes had nothing to eat for breakfast. In the end we parted ways. As I thought, forever.

    But soon (it was April 1, 1973) there was a phone call: "Lizonka, I sewed myself up. Everything is in order ...". "This topic is not for a joke," I replied and hung up. The next day Oleg rolled to Leningrad. As soon as he closed the door behind him, he showed a sticker made of plaster, under which the ampoule was sewn up.

    And our next two years passed under the sign of serene happiness and Olezhkin's work ... ".

    "Option "Omega"

    In mid-1973, Dahl finally left the troupe of the Leningrad Lenkom and agreed to return to Sovremennik. There he was promised "mountains of gold", which he immediately received: he was introduced into four roles. Among them were: Balalaykin in the play "Balalaykin and K °" (he played this role before, now burdened with the position of director of the theater), Guseva in "Valentin and Valentina", Kamaeva in "Provincial Anecdotes" and Magiasha in "The Princess and the Woodcutter".

    No less fruitful for Dahl were the years 1973-1974 in the cinema. He starred in five films: "Star of Captivating Happiness", "Citizens", "It Can't Be!", TV films "Military Forties" and "Omega Option".

    The last film became the most famous of this list in the biography of the actor, so we will tell about it in more detail.

    It was put into production in the spring of 1973. The film was directed by former Greek citizen Antonis Voyazos. At one time he was interned in the USSR, where he graduated from VGIK and became a director of documentaries and musical films. Now he had to shoot a five-episode film about the work of a Soviet intelligence officer in the fascist rear.

    An excellent actor was chosen for the role of the German intelligence officer Baron von Schlosser. However, someone from the high authorities did not like his nationality and disappeared. Instead, they took the actor Igor Vasilyev, whose nationality was all right.

    Sergei Skorin was chosen for the role of Soviet intelligence officer. However, the director objected here. "Such a role should be played by a person who is the least like our traditional intelligence officer", Voyazos expressed his objections. "Who do you mean?", they asked in response. - Isn't it?". "Oleg Dal", the director replied.

    The leaders of the creative association "Screen", where the film was to be shot, knew this actor very well. True, mostly for some reason on the bad side. They knew that he drinks and often disrupts filming because of this. But the director fends off these doubts with fresh information: Dal got "sewn up" a month ago and leads a completely respectable lifestyle. In short, Oleg was approved for this role. On June 2, he signed an agreement to participate in the filming of the film "Not for Glory" (as the film was originally called) and soon, together with the group, went to Tallinn for location shooting.

    Already on the second day of filming, Dahl wrote in his diary: "I had a conversation with the director and director about hack work. If this is the second "Sannikov Land", I will not act in film". Fortunately, the actor's fears did not come true and he never left the filming.

    While working on the painting, Dahl gave one of the few interviews in his life to journalist B. Tukh. Here is just an excerpt from it: "I made it my task to play myself, Oleg Dal, in 1942, in such circumstances as Skorin found himself in. Here all the actions are mine, the words are mine, the thoughts are mine... Skorin is interesting to me because of his paradox. He is not a superman. Just a person who defends his convictions... In my Skaryna, there is that very charming stranger who attracts me in people".

    The film "Option" Omega "was completed in the middle of 1974. However, for some unknown reason, its premiere took place only a year later in September 1975. It was received very well by the audience, but critics practically did not notice it. But Oleg Dal's film nevertheless, it brought undoubted practical benefits: after ten years of travel restrictions, in June 1977 he went with him to the Golden Prague festival.

    Roles not played

    It is curious to note that, being an actor in high demand, Dahl did not act much in those years. There can be many explanations here, but one of them is worth mentioning: having injected himself on Sannikov Land, from now on he was very careful in choosing his working material. And this meticulousness amazed many. For example, in 1974-1976, Dahl refused to cooperate with three well-known Soviet film directors who invited him to star in their films. We are talking about, and D. Asanova.

    But in those same years, there were cases when Dahl from the very first offer gave his consent in principle to the shooting. So it was, for example, in the case of N. Kosheverova, whom he greatly respected as a director and person (the film "How Ivan the Fool went for a miracle", 1977). The director recalled: "A tragic story happened to us on this film. A very interesting horse was found for filming, beautiful, kind, unusually smart. The whole group fell in love with her, including Oleg. And one day, when we changed nature, the car transporting this horse , stopped at the crossing in front of a train passing by. The sudden horn of an electric locomotive frightened the animal. The horse jumped out of the car and broke its legs. I had to shoot it. Everyone was terribly worried and for the first time I saw how Oleg was crying.

    By the way, Oleg proudly told that he has a cat at home, which, when he comes home, jumps on his shoulder. Animals loved him...

    In another case, he did not refuse the director Yevgeny Tatarsky, who invited him to play the hardened criminal of Kosovo in the film "Golden Mine" (1977).

    To the situation prevailing at that time in the domestic cinema, Dahl treated in his usual manner - with contempt and pity. Here are just a few excerpts from his diary:

    "The year 75 has come. The operator from Mosfilm called - an order to make my slide for the magazine Art of Cinema. They have no art in cinema, why should my mug belong to their magazine? My mug is my mug and more draw! 3.I.75...

    Socialist realism - and what of it ...
    The most hated definition for me.
    Socialist realism is the death of art.
    Socialist realism is the devouring of art by boors, mediocrity, philistines, scoundrels, businessmen, stupid people in high positions.
    Social realism is a definition that has no definition.
    Socialist realism is nothing, zero, emptiness.
    Nature does not like emptiness.
    Therefore, such a mediocre void as socialist realism was instantly filled with all sorts of shit and scum without honor and conscience. You don't have to be talented to suck a womb like "sr." You just need to know what you need, and a number of passbooks will grow on the bookshelf!
    Socialist realism involves various awards and titles!..

    18.IV - 25.IV.1976.

    Film festival in Frunze. I've never seen so many idiots gathered in one pile!

    Today's artists remind me of a huge herd of sheep, mad with stupidity, rushing after a goat provocateur to the abyss.

    I am standing on top of the hill and watching this picture. Someone wants to stop... But it's too late... Patience! Patience!

    Let everyone fly to hell in the abyss, at the bottom of which their "benefits", titles, orders, medals, other pieces of iron, betrayal, meanness, violated principles, a swamp of lies and moral decay ... ".

    Re-leaving Sovremennik

    After Oleg Dal stopped drinking in April 1973, his personal life gradually returned to normal. He became more restrained and attentive to his wife, mother-in-law. If sometimes he broke down, then he immediately tried to make amends for his guilt. In May 1975, Oleg's family finally managed to reunite: having exchanged an apartment in Leningrad, the three of them moved into an apartment at the end of Leninsky Prospekt. And although the new living space was tiny and uncomfortable, the very fact of the long-awaited reunion made the new settlers rejoice at this event.

    In the same year, Dahl, by an absurd accident, landed in the hospital. E. Dal told: "The trouble happened during the performance" At the Bottom ". We then lived in Peredelkino at the Shklovskys - I was waiting for Oleg at the gate. He hardly got out of the taxi and, limping, walked next to me. I asked what happened. He answered:" Football first" (there was a match on TV, Oleg loved football and took it seriously.) Climbing the stairs to the second floor with difficulty, he settled down on the sofa. into the gap of the stage floor. Oleg made a sharp turn. The whole body and the leg up to the knee turned, and the leg below the knee remained motionless. There was a feeling that something hot gushed down the leg. He finished the scene, having managed to convey backstage about what had happened. "Ambulance". The knee was swollen incredibly. But they were afraid to give an anesthetic injection - there was a danger of seriously injuring the leg. Oleg said that he would finish the play, although the doctors did not believe in it. He played it out so that after the performance no one remembered that he had to be taken to the Sklifosovsky hospital, and he fled to the dacha. When Oleg showed his leg, we were horrified. It was late in the evening, outside the city, without a phone. I sounded the alarm, but Oleg persuaded me and everyone that we could wait until the morning. He knew how to convince anyone. In the morning, from the first floor where the writer Alim Keshokov lived with a telephone, they got through to the polyclinic of the Literary Fund. There it turned out that Oleg had a damaged knee bursa. Then there was an operation at CITO, which I attended. Fluid was pumped out of the knee with a syringe. During the whole operation, Oleg smiled cheerfully at me. He was brought home in a cast from hip to foot. The next day, at his request, I went to the theater: "Find out what's going on with Twelfth Night. A performance was scheduled for the evening".

    This production, in which Dahl played Andrew Aguecheika, premiered in 1975. But O. Dahl did not have long to shine in this role: at the beginning next year he was fired from Sovremennik. Moreover, the chronology of those events was as follows. On January 24, 1976, being at the birthday party of V. Shklovsky, O. Dal violated the "dry law". And in early March, he was fired from the theater for systematic violations of labor discipline.

    Dal's tense relations with the management and part of the Sovremennik troupe periodically arose during all three years of his repeated stay in this theater. And in many cases, the actor himself was to blame, who never learned to restrain his emotions. Here is just one case. In 1975, during the play "Valentin and Valentina", Dahl suddenly sat down on the edge of the stage and, turning to the man sitting in the front row, asked: "Give me a light!". He, of course, gave, reasonably considering that in this performance such a scene is in the order of things. On this occasion, a general meeting of the troupe was convened, the actor was reprimanded for his "hooligan act". There were other cases of this kind on his part.

    Did the theater management have the right to dismiss the actor from the theater for such actions? Without a doubt. However, the basis for his dismissal was quite different. Read excerpts from the actor's diary:

    "February 19. I received a terrible charge of hatred for the Sovremennik Theater ...
    With this viper, the relationship is over - the scores have begun! Silly!
    The indifference has begun!
    My hatred has begun!
    Hatred is real.
    Fight for destruction.
    And the greatest contempt and indifference! ..

    March. 1976. Beginning...
    Leaving the theater is finally and irrevocably decided! The brain is tired of the hopelessness of its own ideas and thoughts. It is impossible even for a short time to exist among mediocrity elevated to shameless arrogance.

    From a letter to A. Efros dated March 7, 1978: “I went through various stages of my development in Sovremennik until a completely natural, in my opinion, rejection of one (organism) from another occurred.

    One decomposed into honors and titles - and died, the other, organically not digesting all this, continues to live.

    Cooperation with A. Efros

    After leaving Sovremennik, Dahl suddenly decided to devote himself to directing and entered the Higher Directing Courses at VGIK in the workshop of I. Kheifits. Why he decided to become a director, apparently, it is not necessary to explain: it became more and more difficult for Oleg to endure the dictates of various mediocrities. But something did not work out for him again in this field. He regularly attended classes, but mentally he was already choosing another place for himself. And then fate again brought him together with the director A. Efros (in 1973 they met in the TV show "Through the pages of Pechorin's magazine"). This time the director decided to shoot the feature film "On Thursday and Never Again" at Mosfilm and offered the actor the main role of Sergei. How did O. Dal remember A. Efros during the filming? The director recalled: "We lived in the reserve on the Oka when they were filming" Thursday ...", and biologists gave a banquet in our honor. And we sat at the table together. Dahl was there too. Dahl played the guitar and sang wonderfully, and then he saw in front of him and began to laugh at him. - despite the fact that you also do not touch him, a well-known and quick-tempered personality - he was terribly confused. Dal laughed mercilessly at his roles, so ruthlessly that I could not stand it and left. The next day I simply could not look into his eyes. It seemed to me that he was going through. And Dahl didn’t even remember ... ".

    The film "On Thursday and Never Again" was completed in 1978, but made its way to the screens in a small edition. The hero played by Dahl (and this was not a hero of labor, but a person who felt superfluous in society) was not liked by the film officials and they did everything so that the picture was seen by as few viewers as possible. For example, in Moscow the film was shown for only two (!) days.

    "Duck Hunt"

    In July of the same 1978, Dahl began work on another role, which can be safely called one of the best in his track record. We are talking about the role of Zilov in the film by V. Melnikov "Vacation in September" based on the play "Duck Hunt". It was the same role that our hero had dreamed of since he first read the play. When he learned that a film adaptation was being prepared at Lenfilm, he was firmly convinced that he would be invited to the main role without any trials. But the director did not invite him then. And Dahl was offended. So much so that even when he did get a call from the studio and offered this role, he categorically refused it. He was persuaded for several days, he broke down, stretching out the pause; when the situation escalated to the limit he needed, he gave his consent.

    Looking today at Dahl in this role, we can safely say that this is the very case when an actor does not play a role, but lives in it. It looks so natural on the screen. Unfortunately, Dahl himself never got to see himself on the screen. The picture was called "decadent" and put on the shelf. Its premiere took place only in 1987, when the actor was no longer alive.

    Theater on Malaya Bronnaya

    Meanwhile, a meeting with A. Efros in 1976 again returned Dahl to the bosom of the theater. He came to the Theater on Malaya Bronnaya directed by Efros.

    The most surprising thing is that Oleg did not last long in this team either: only two years. Moreover, his behavior defied any logic. He played two roles there - Belyaev in "A Month in the Village" and an investigator in "Veranda in the Forest", but frankly admitted that he did not like these roles. But the two roles that he wanted to play, he personally ruined. E. Radzinsky told: “On Malaya Bronnaya, two of my plays were being rehearsed at the same time: Efros was rehearsing “The Continuation of Don Juan”, and Dunaev was rehearsing “Lunin, or the Death of Jacques”. Oleg Dal played the main roles in both performances. Dahl was a unique, fantastic actor. He rehearsed "Lunin" on the verge of life and death, it seemed a moment - and he would die. The illuminators, fascinated by his game, forgot to shine... Oleg demanded the same maximum return from his partners, the partners could not stand it and left, it was difficult, impossible to play next to him. Oleg was nervous, broke down ...

    The premieres of Lunin and the Continuation of Don Juan were approaching. And I must say that by this time Oleg Dal had not played a single main role in the theater, but there was a legend about the brilliant theater actor Oleg Dal. And he understood how much of him they are waiting for how important these performances are for him - either all or nothing. He understood and was nervous. And shortly before the premiere, Dahl "broke down" and, like Gogol's Podkolesin, jumped out the window and ran away. On the eve of the performance's release (autumn 1978), he left from the Theater on Malaya Bronnaya Forever.

    I came to his house. I humiliated myself, I asked him ... We were not friends, but at the time of rehearsals, probably the closest people are the author, director and actor who plays the main role. We were all for each other then ... He was explaining something to me in a tongue-tied way. He talked about some disagreements with one director, but he had complete agreement with another ... No, everything was pointless. But I understood - I did not want to understand, but I understood. He was ill with one of the most beautiful and tragic diseases - the mania of perfection ... ".

    Why did Dahl leave this theater as well? Some people are inclined to see intrigues inside the theater here, for example, in the confrontation between Oleg Dal and actress O. Yakovleva. They told such a case. Efros was going to stage "Hamlet", promised O. Dahl the main role, but he said that he did not want to participate in this, since the performance would still be about Ophelia (it was clear who should have played this role).

    You can try to find the answer to this question in Dahl's diaries. Here is what he wrote in it in August-October 1977: "Efros is clear as a director and as a person. It was just a chest opening. As a person - unpleasant ... As a director - tolerant, but, I'm afraid, get bored ...

    On the one hand, he needs personalities, on the other, puppets.

    Or rather, like this: he dreams of gathering around him individuals who, having sacrificed their personal freedom, would act like puppets for the sake of his directorial "genius". He dreams not of a "commonwealth", but of a dictatorship..." .

    In May 1978, thanks to the efforts of the director of the Theater on Malaya Bronnaya I. Dupak, the Dahl family managed to get a new apartment in the city center (on the 17th floor). Our hero's dream came true: he got his own office!

    Maly Theater

    After leaving the Theater on Malaya Bronnaya Dal, he joined the troupe of the Maly Theater, where he was soon introduced to the role of Alex in the play "The Shore" by. But it didn't bring him much joy.

    In his diary he wrote: "I'm in Maly. It seems to have returned to an unloved house. What does unloved mean? Here is a house in the forest on the banks of a quiet river, and I was born there, and grew up, and good people it is inhabited, but the soul is uncomfortable. There is no fermentation of feelings ... And you think - don't you live in a cemetery? .. ".

    Film roles in 1978-79

    The cinematic career of the actor in 1978-1979 developed, as in previous years, ornate: from rise to fall. For example, he was approved for the lead role in Alexander Mitta's "The Crew", but at the very last moment he suddenly refused to shoot. Moreover, this refusal was quite peacefully resolved between the actor and the director, who found another performer for this role -. However, the leadership of Mosfilm considered Oleg's act a violation of labor discipline and issued an unspoken order: for three years not to shoot the actor in the films of the film studio. Dahl did not know about this order then, but very soon he had to face its consequences.

    At the beginning of the same year, Dahl rejected another major role: in the TV movie "Nameless Star" he was supposed to play Marina Miroyu. I really wanted him to play this role, but Dahl did not like the script. He played this role in the picture.

    Meanwhile, the actor did not reject the proposal of his long-time acquaintance of the director from Lenfilm, Yevgeny Tatarsky (they made the Golden Mine together). In his new TV movie, Dahl was to play Prince Florizel of Bacardia. Filming took place in Sochi. Elizabeth Dahl said: "Sochi. Sea. Sun. Everyone is in a pleasant relaxation - swimming, sunbathing. Shooting in the botanical garden - peacocks, flowers - everything is wonderfully beautiful. I came to the shooting on the second day - there is a strange atmosphere. Everyone is twitchy, everyone is nervous. director E. Tatarsky: "Liza, Oleg is acting up on the bus - look what you can do." I get on the bus. Oleg is sitting gray. Nothing can be done. You can’t ask either. He returns to the site and everything becomes clear: the suit has a pin at the front and hunches at the back. And this is Prince Florizel, who is said to be the most elegant man in Europe. Oleg is trying to explain: the suit should be such that, after watching it on TV, they would pick up this fashion tomorrow. There was no such prince , the era is unknown, fantasize as much as you want. Instead, everything from the selection, old, dusty, "played" things, not always in size. B. Manevich, the production designer of Lenfilm, who worked a lot with Oleg, came to the rescue. She showed Oleg's texture, freeing it from being squeezed into clumsy, uninteresting and cumbersome things. Having calmed down, Oleg began to joke: "Do you want me to play the prince or Zhorzhik from Odessa?".

    Another participant in the filming - an actor - recalled: “Somehow we did one scene with the “eight”, when the dialogue is filmed from behind the shoulder, first of one, and then of another actor. They already filmed Oleg and started me - from behind his shoulder. I turn to Florizel-Dal and say: " Prince, I must avenge my brother's death." And he answers me in the frame with the camera turned on: "Did you buy something for us for dinner? The shooting is over, we will have nothing to eat!", "Stop!", - says the director. - "Wonderful!". "What is wonderful? Didn’t you hear what Oleg said?” I was indignant..

    Originally the film was called "The Suicide Club, or the Adventures of a Titled Person". However, some of the management did not like this name, and the plot itself caused criticism. As a result, the picture was pickled for a year and only in 1980 it was released on the screen under the title "The Adventures of Prince Florizel".

    By the time the film was released on the screen, the artist was in a depressed mood. His persecution at Mosfilm continued, and then his health began to fail: his heart, lungs ... V. Trofimov recalled: “Our last meeting is bitterly remembered. In the spring of 1980, I came to him with a script about. The door was opened by an exhausted, sunken-eyed man, in whom it was difficult to recognize the radiant, always elegantly smart Dahl. The conversation was heavy. “I really want to, but, probably, I won’t be able to take on that job ... I can’t do anything yet ... They finished me off .... Word by word, I squeezed out of him an outrageous story of persecution by the acting department of Mosfilm. How vulnerable this one was proud man...".

    Last film role

    In 1980, the director from Mosfilm, Leonid Maryagin, began work on the film The Uninvited Friend. The film was about two young scientists: Viktor Sviridov and Alexei Grekov. The first of them was uncompromising, the second - flexible, resourceful. The picture told about the conflict between them.

    The role of Sviridov was originally approved. However, after reading the script, he refused the role, believing that a film with such a plot is obviously impassable. The director began to go over in his memory the names of other "neurasthenic" actors and, in the end, opted for Dala. L. Maryagin recalled: “I sent him the script to Leningrad, where he was then filming, with a note: “Please read the role for the words and between the words.” Oleg agreed to audition, arrived and during the first meeting said hostilely: “I always read the role between the words. But I would like to know what you will make a picture about".

    I began to tell, and Oleg listened with an impenetrable face. It was difficult to speak. My explication probably looked like a subordinate's report to his boss. I finished and waited for Dahl's "verdict". But he did not talk for a long time, opened the script and immediately played the scene, as if he had caught the way of existence of his future hero - Sviridov.

    "If we are talking about a person who does not believe that a good deed can be done in his midst, and is trying to make sure of this for the last time - let's try! But it is unlikely that they will approve me!" .

    He knew what he was talking about. As soon as the head of the acting department of Mosfilm, A. Gurevich, found out that Dahl was going to be shot in the next film, he immediately announced that he would not allow this. The actor had to go to him for an audience (it was in early May). E. Dal told: “Gurevich began to insult the artist: “Who are you? Do you think you are an artist? Yes, no one knows you. Here he comes to another city, so the traffic stops. And you are a jerk. You only need money. "Oleg was silent, clenched his fists, because he understood - another minute and he would hit. He came home with a whitened face, shaking hands and sat down to write a letter to Gurevich, but all the time tore up what he had written. For a long time he could not recover after such monstrous humiliation and rudeness".

    It was in those days that the following entry appeared in Dahl's diary: "What a bastard rules art. No, it's not true, there is less and less art left, and it's easier to rule it, because in it, inside, there is the same deceitful and greedy bastard ...".

    A little later, this post appeared: "Well, bureaucratic scum, let's see what's left of you and what's left of me!".

    And again, the memoirs of L. Maryagin: “Using tactical tricks, I nevertheless approved Dahl for the role of Sviridov. Then “well-wishers” began to come to my room at the studio, pitying me: “What did you do ?! Do you want to shorten your life by working with this actor?". And in support of the thesis, various stories about his unbearable character were told: he left the theater after a quarrel, left one picture in the midst of filming, the other - until the end of filming he did not talk to the director, doing the role on your own.

    I was waiting for the first day of shooting, as they are waiting, probably, for the execution of the most difficult sentence. Oleg came to the shooting minute by minute, independent, emphatically keeping his distance, forming a field of tension around him. I approached the actor, as one enters a tiger in a cage. But the tiger did not attack, gradually the feeling of discomfort passed and a laconic, as it seemed to me, understanding arose ...

    There is no need to think that Dahl had a cloudless relationship with all the partners in the picture. The performer of another leading role in the film - - was the director of the Sovremennik Theater at the time when Dahl left there. He left peacefully. I anxiously awaited their first scene together. The actors met on the set outwardly correctly, but as if expecting a dirty trick from each other. It suited me, it fell on the relationship of the characters according to the script. However, there was an inconvenience - neither Dahl nor wanted to take my comments in the presence of a partner. I had to rehearse their paired scenes individually ... ".

    In the midst of filming in Moscow, a misfortune happened - he died, with whom Dahl had recently become close. According to eyewitnesses who saw Oleg at that funeral, he looked terrible and repeated: "Well, now it's my turn". recalled: “At the funeral, she came up to me and asked in my ear: “Maybe at least this will stop Oleg?” It didn’t stop ....

    It is worth noting that after these funerals, Dahl increasingly began to think about death. In his diary in October 1980 he wrote: “I began to think often about death. Worthlessness is depressing. But I want to fight. It’s cruel..

    On his birthday - January 25, 1981 - Dahl woke up in the morning in the country and said to his wife: "I dreamed. He is calling me".

    Literally a few days after that, in a conversation with V. Sedov, Oleg sadly remarked: “You don’t need to heal me, now everything is possible for me - now nothing will help me, because I don’t want to act or play in the theater anymore”.

    Dahl spoke about the imminent approach of death not only to his relatives, but also to friends and work colleagues. Here are just two examples of these "prophecies." The first refers to the summer of 1978.

    Remembered: “We filmed in The Adventures of Prince Florizel. The theme of impending death in Oleg’s conversations sounded constantly. Once in Vilnius, a mourning hearse with a driver in a top hat with beautiful swinging lanterns drove past our bus. “Look how beautifully they bury in Lithuania, and me will be taken around Moscow in a closed bus. How uninteresting".

    But the case that occurred just a few days before the sudden death of the actor. L. Maryagin recalled: “When the film “The Uninvited Friend” was completely ready at the beginning of 1981, we took it to the Polytechnic Museum. Before it began, Dahl went on stage and said: “I’m soon forty, I’m twenty years old in cinema. I don't have any titles." He said this not without intent, knowing that the deputy chairman of the USSR State Film Committee was standing in the wings, on which his honorary title largely depended.

    The review was successful. The organizers gave us a car to take us home, but Dahl suggested that we go to the WTO restaurant on the former street and celebrate the viewing. We agreed. He ordered insanely many drinks, food.

    "Why?!" - I knew that Oleg was "wired". In my picture, he did not drink, which was a big sin, as they said, before. Yes, and I was not going to change my regime - a year earlier I had a heart attack. For one ordered it was a lot.

    "I'm drinking today!" Dahl answered somehow meaningfully and explained - "The sewing is over!"

    "But after the holidays - classes at VGIK," I became worried (Dal taught acting there).

    "I'll overcome myself mentally," he famously poured beer into a glass. - And now I want everyone to remember how I walked here. ", - he turned to the actor, who was sitting at the next table. - Do you remember how I went out into the street through this window?".

    I remembered (the restaurant was located on the first floor.) Dahl drank a glass of beer and did not touch anything else. We spoke with about the difficulties with which the picture was shot. Dal was silent, looking past us. And only half an hour later he asked: "Tolya, do you live there?" lived then at the Vagankovsky cemetery. "Yes," he answered. "I'll be there soon," Dahl said..." .

    Care

    In early 1981, Dahl actively rehearsed the role of Yezhov in the production of the Maly Theater "Foma Gordeev". He liked the role, but he had already clearly decided for himself: he would play the premiere and leave this theater too.

    At the same time, he suddenly received an offer from a Kyiv film studio to star in a lyrical comedy. Apparently, it interested the actor and he gave his consent to the tests. On March 1, he left Moscow for the capital of Ukraine. But he did not live there for long - on March 3, death overtook him in a hotel room. According to who starred in the same film, everything looked as follows. That day they met with Dahl in the hotel and he uttered a mysterious phrase: "I'm going to die". The actor took it for another gloomy joke of his colleague, grinned and immediately forgot about it. And Oleg went up to his room, opened a bottle of vodka and poured a lethal (since another "torpedo" was "sewn in" into him) dose of alcohol. As you know, after that, strong pressure rises in the "wired" person and the vessels do not withstand - they burst. There is an internal hemorrhage and the person dies. If this version is indeed true, then it turns out that Dahl deliberately brought his death closer. Knowing how in the last months of his life the actor toiled from hopelessness, one can believe that this is true.

    The funeral of the actor took place a few days later in Moscow, as he expected, at the Vagankovsky cemetery (his grave is located in the same fence with the ballerina Sadovskaya).

    Elizabeth Dahl said: “When he died, we started having big problems. There were long litigation with his sister because of the apartment. They helped us, we paid a lot of money to lawyers. This story went on for two years. He has 1,300 rubles left in his savings account. With this money, my mother and I were able to live for a year. I did not want to go to work at Mosfilm, where there are so many acquaintances around, and went to the Soyuzsportfilm studio. I worked there for 11 years. Now my mother and I live on our two pensions. We are alive only thanks to Charitable Foundation...".

    Photos by Oleg Ivanovich Dal

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