Oleg Dal biography personal life of his wife children. The tragedy of the superfluous. Before Oleg's death, even the back of his head was sad

Oleg Dal is considered the brightest and most controversial actor. His talent delighted numerous fans, and his behavior on the set or stage infuriated colleagues. You could hear good and bad things about him, he himself was a man who went to extremes. The immediate character helped the actor to be at the top of fame, he was forgiven a lot, and he moved on - forward to his dream.

Glory to Oleg Dal came after the release of the painting "The Chronicle of a dive bomber", although before that he already had enough successful work to the cinema.

Childhood

Oleg Dal was born on May 25, 1941 in Lyublino near Moscow. Father - Ivan Zinovievich - was a major railway engineer, Mom - Pavel Petrovna - worked as a teacher. In addition to the son, the family also had a daughter, Iraida.

Oleg did not have any special problems with studying at school. He loved sports, especially basketball. But one day it turned out that he had a heart condition, and the doctors forbade the boy to play.

Oleg easily found a replacement for sports - he became interested in poetry, literature and painting. When it came to choosing life path, then he said that he wanted to connect his biography with the sky and learn to be a pilot. These dreams remained dreams - because of a sick heart, the road to the flight school was closed.

At school, he became interested in creativity, one of his favorite works was "The Hero of Our Time." Oleg decided that he would be an actor and play his favorite character on stage. How could a boy who grew up in the post-war famine time know that some 15 years would pass and he would be able to make his dream come true.

Youth

In 1959, the school was left behind, and the guy announced to his parents that he was going to enter the theater school. The family reared up, because there was not a single artist in the family. All my mother's relatives were teachers and philologists, my father was an engineer, a party member, so no one even wanted to hear about any theater. The acting profession seemed to them very unstable in terms of earnings, and then, since childhood, my son had a burry speech.

Photo: Oleg Dal in his youth

Oleg Dal was very persistent and achieved everything he had in mind. Therefore, he did not listen to his parents and went to the exams. The guy prepared well, learned an excerpt from Gogol and Lermontov and successfully passed all the tests. He was lucky to enter the first time and ended up in the workshop of N. Annenkov, in the famous "Sliver". Dahl studied together and, who also became famous actors.

Movies

In 1961, the film adaptation of the story "Star Ticket", which he wrote, began. Director A. Zarkhi was looking for a performer for a long time leading role in this film. He looked at many candidates - students of theater universities, selected a couple of dozen applicants and invited them to audition. Luck smiled at Oleg Dal - he was supposed to play Kramer. Filming began in 1961 and took place in beautiful city– Tallinn. The painting was titled "My Little Brother".

After the film went on sale, the young actor came to the attention of two already famous directors: L. Agranovich and. Agranovich offered Oleg a job in the film "The Man Who Doubts", and he was supposed to play the main character. According to the plot of the film, Dahl's hero Boris Dulenko is arrested and charged with the murder of a schoolgirl.

The picture was released in 1963, just in time for Oleg to graduate from the theater school. The graduation performance of the graduate Dahl came to see the actress of Sovremennik, who really liked the game of the talented young man. She invited Dahl to come to the theater with them. To become a full-fledged actor, one had to pass a qualifying competition consisting of two stages. Oleg brilliantly coped with the task and got into the troupe. This success did not affect his career in any way - he is trusted only with secondary roles.

Dahl was again called to the cinema. This time in the picture "The First Trolleybus", which the audience saw in 1964. The plot was simple and uncomplicated, but cinema lovers really liked it.

The next two years cannot be called productive, because Dahl starred in only two projects, and his roles were inconspicuous. In 1966, V. Motyl, director of the Lenfilm studio, drew attention to Oleg Dal. He was just looking for an actor for the leading role in the film "Zhenya, Zhenechka and Katyusha". Seeing Oleg, the director did not even doubt that this is exactly what his hero should have looked like. The picture was not approved by art officials, so it was not shown often, although the audience liked the film.

After showing the picture, Oleg Dal's career began to gradually grow up. He is invited to star in the project about the war "The Chronicle of a dive bomber", where the pilot Sobolevsky became his hero. The rental of this picture made Dahl an all-Russian hero, and brought his career to the highest level.

Things improved in the theater, where he began to go on stage again. This time the role was significant - Vaska Pepel in the production of "At the Bottom".

In the late 60s, Oleg Dal was offered cooperation by directors N. Kosheverova and G. Kozintsev. The latter called the actor to portray the Jester in King Lear - a role that was later called the most significant in creative biography artist. The picture was released in 1971 and was awarded honorary international awards at the Chicago, Milan and Tehran film festivals.

Oleg Dal was invited to work at the Leningrad Drama Theater, so he settled in the northern capital.

The 70s became very successful, and brought the actor interesting roles in cinema. In 1972, Oleg was offered a role in the film Sannikov Land. He first caught fire, and then came the disappointment. The artist was sure that the plot was interesting, but it was gradually being turned into a cheap farce. He refuses to shoot and after that he selects his roles with great care.

Once in childhood, Oleg dreamed of playing Pechorin, and in 1973 he had such an opportunity. He was invited to shoot the film "Through the Pages of Pechorin's Magazine", where he was entrusted with the main role. In the next two years, five more films with his participation were released.

Personal life

In the personal life of Oleg Dal, there were three official marriages, but the actor did not have children in any of them. He first married in 1963. The actress of Sovremennik became Oleg's chosen one, but the marriage did not last long.

The second wife was called, she was also an actress.

Photo: Oleg Dal and his wife

The third wife of Oleg Dal was Elizaveta Apraksina, who was the granddaughter of the literary critic Boris Eikhenbaum. They met on the set of King Lear in August 1969, where the woman worked as an editor. She was the only one of Dahl's three wives who managed to cope with his difficult character. The lovers got married and lived together until the death of the artist. Dal was proud and loved his wife, Elizabeth surrounded her husband with female attention and care. She seemed to have found the key that opened the hidden doors of his soul, and this helped the spouses to live in peace and harmony, despite the complex nature of the beloved.

Cause of death

In the late 70s, the actor stopped spending so much time on the set. One of the most significant works of that period was the painting "Vacation in September", filmed in 1979. Oleg Dal began to drink heavily, while refusing to fight bad habit. Health was thoroughly undermined by children's heart problems and constant showdowns with directors.

Photo: Grave of Oleg Dal

Oleg Dal died on 03/03/1981 in one of the hotels in Kyiv, where he arrived on a business trip. Death was the result heart attack caused by alcohol consumption. Oleg Dal in recent years said that he would die soon, he even felt that this would happen in the near future. The resting place of Oleg Dal was the Vagankovskoye cemetery in Moscow.

Selected filmography

• 1962 - My little brother
• 1963 - First trolleybus
• 1966 - Bridge under construction
• 1967 - Chronicle of a dive bomber
• 1968 - Old, old fairy tale
• 1970 - King Lear
• 1971 - Shadow
• 1973 - Fire in the wing
• 1974 - Star of captivating happiness
• 1975 - "Omega" variant
• 1977 - Golden Mine
• 1978 - Schedule for the day after tomorrow
• 1979 - The Adventures of Prince Florizel
• 1980 - Uninvited friend

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Oleg Dal"

Born May 25, 1941 in Lublin near Moscow in the family of a major railway engineer and teacher.

In 1963 he graduated from the Theater School named after M.S. Shchepkina (teacher Nikolai Annenkov).
In 1963-1969, 1973-1976 he was an actor at the Sovremennik Theatre.
In 1971-1973 he was an actor of the Leningrad Theater named after Lenin Komsomol.
Since 1976 - actor of the theater on Malaya Bronnaya in Moscow.
Since 1980 he has been an actor at the Maly Theatre.
In 1980-1981 he was a teacher at VGIK.

The first work in the cinema was the role of Alik Kramer in the film directed by Alexander Zarkha "My Younger Brother" (1962) based on the story "Star Ticket" by Vasily Aksyonov, where Dahl played the hero of the 1960s, a young intellectual from a Moscow gateway. Most of Dahl's heroes in the early period of his creative activity were his peers. He gave them many of his traits. First of all, of course, the appearance of a thin, but very elegant young man, with clear big eyes, expressive, peculiar plasticity and amazing, only he has a slyly tender, slightly sad charm. In the young Dal there was something that did not depend in any way on the texture and external data. Trembling, poetic inspiration helped the actor to express the time, manifested in the passion for art, gravitation towards disputes and faith in life.

In 1966, Vladimir Motyl offered Dahl the role of Zhenya Kolyshkin in the film "Zhenya, Zhenechka and Katyusha". "It was that rare case when the artist appeared as if from an imagination that had already folded the character into a plastic sketch," the director of the film later recalled. The premiere took place on August 1967 and aroused great interest among the audience.Nevertheless, the picture did not hit the wide screen then: the minimum number of copies was printed, rental was allowed only in the provinces.

An important stage in the creative destiny of Oleg Dal was the performance of the role of Yevgeny Sobolevsky in the film by Naum Birman "The Chronicle of a Dive Bomber" (1967). Thanks to the image he created of the smart and charming guy Zhenya Sobolevsky, the 27-year-old Dal became one of the most popular actors in Soviet cinema.

The role of the Dollmaker and the Soldier in "The Old, Old Tale" (directed by Nadezhda Kosheverova, 1968) further strengthened the love of the audience.

In the same year, at the Sovremennik Theater, Oleg played Vaska Pepla ("At the Bottom" by Maxim Gorky, director G.B. Volchek), playing brightly and unexpectedly. Dahl saw a man in the thief. Vaska Pepel in Dahl's interpretation is a single and impetuous impulse to happiness and beauty.

Oleg Dal continues to work in cinema. He plays the role of the Jester in the film "King Lear" directed by Grigory Kozintsev (1970). This character was built by Dahl from some sharp corners: a bare skull, protruding ears, sunken cheeks. Tragic and wise eyes. Instead of a jester's attire - a dilapidated rags. His task is not to entertain, but to reopen wounds.

In 1971, Dahl starred in the film directed by Nadezhda Kosheverova "Shadow", playing two roles at once: the Scientist and his Shadow. The scientist is a kind, sweet loser in a shabby velvet suit, an eternal youth, waiting for a meeting with a fabulously beautiful love, with adventures. But suddenly the adventure turns into a split personality, and Shadow-Dal rushes about among Andresen's scenery with long breaking fingers, with a face-mask, with wild animal habits.

Since 1974, four performances with the participation of Oleg Dal have been going on at Sovremennik:
"Valentin and Valentina" by Mikhail Roshchin,
"Provincial jokes" by Alexander Vampilov,
"From Lopatin's Notes" by Konstantin Simonov,
"The Princess and the Woodcutter" by Mikael Mikaelyan and Galina Volchek.

Such directors as Valery Fokin, Iosif Reichelgauz, Galina Volchek work with him. And the play "The Princess and the Woodcutter" was Oleg Dal's first experience as a director.

In 1975, Anatoly Efros makes Oleg Dal's old dream come true, offering him to star in the television play "Through the Pages of Pechorin's Magazine". While still a schoolboy, having read "The Hero of Our Time" by M.Yu. Lermontov, Dahl decided to become an actor in order to someday play the main character of the story.

Meeting with A.V. Efrosom again returned Oleg Dal to the bosom of the theater. He came to the "Theater on Malaya Bronnaya", where he played various roles, including Alexei Nikolaevich Belyaev ("A Month in the Country" by I.S. Turgenev), who, like the wind, burst into the immobility and languor of the Islayevs' house.

In 1977, Oleg Dal filmed with Anatoly Efros in the film "On Thursday and Never Again" in the role of Sergei. Their last joint work was the painting "Islands in the Ocean" (1978). "He was very spiritually A tall man. Very tough, and behind this rigidity is extreme subtlety and fragility, ”said A.V. Efros.

Shooting in the film "Vacation in September" (based on the play by Alexander Vampilov "Duck Hunt", directed by Vitaly Melnikov, 1979) became a significant event in Dahl's work.
On Zilovo-Dal lay the seal of high talent. He could write wonderful poems, compose songs. But from the first seconds of his appearance on the screen, he knew that he would die. In the very ritual of duck hunting, in anticipation of it, something convulsive, absurd was captured, how absurd this countdown is no longer days, not hours, but minutes.

November 11, 1980 Dahl was enrolled in the troupe of the Maly Theater, where he only once (December 31, 1980) had a chance to play the role of Alex ("Coast" by Yuri Bondarev, director V. Andreev).

Last work in the movie was the role of Viktor Sviridov in the film "The Uninvited Friend" directed by Leonid Maryagin (1981).

Oleg Dal usually thought over the task of the role himself, his drawing, fantasized, improvised. Dahl prepared for rehearsals, and especially for performances, as a surgeon, on whom the outcome of a complex operation depended. Actors and directors loved to work with him. His spiritual, psychophysical apparatus, when creating images, was a subtle, jewelry instrument. Extremely flexible and internally very mobile, Dahl could play in completely different rhythms in one performance or film.

The usual state of almost all Dahl's heroes is restlessness. They cannot find themselves in the world around them, and most importantly, they cannot find themselves in themselves. They are characterized by contemplation and self-deepening.

In all roles, Dahl was trusting and open, had a special, tragic perception of the world. He began to think about death very early, as if he had a premonition of it. Departure from life largely determined his life itself. From the diary: “With all the remaining strength, try to say everything that I thought and think about. The main thing is to do it!!!”. He was afraid not to have time to say, to do ... He was always in search.

Dahl recited poetry wonderfully, slightly “pulling out” the sound, thoughtfully living it, and not reciting it. In Oleg Dal, both hidden tenderness, and dissatisfaction with himself, and spiritual insecurity were guessed. He knew what deep sadness and deep sound were. He fell into them like into a deep well. Hence its uniqueness and uniqueness.

Oleg Ivanovich Dal died on the morning of March 3, 1981 at the age of 40 in a hotel room in Kiev.

The life and work of the actor is devoted to chapter 11 of the cycle "To be remembered" by Leonid Filatov.

theatrical work

1963 - "The Naked King" - Heinrich
1963 - "Big Sister" - Cyril
1963 - "Snow White and the Seven Dwarfs" - Dwarf Thursday
1963 - "Forever Alive" by Viktor Rozov - Misha
1964 - "Cyrano de Bergerac" by Edmond Rostand - Marquis of Brisaille
1965 - "Always on sale" - Igor
1966 - "Ordinary History" based on the novel by I.A. Goncharova - Pospelov
1967 - "Decembrists" - episode
1968 - "At the Bottom" by Maxim Gorky. Director: Galina Volchek - Vaska Pepel
1969 - "Taste of Cherry" - man
1972 - "Choice" - Dvoinikov (Leningrad Theater named after Lenin Komsomol)
1973 - "Balalaykin and K" - Balalaykin
1974 - “Valentin and Valentina” by Mikhail Roshchin - Gusev
1974 - "Provincial Jokes" by Alexander Vampilov - Kamaev
1974 - "From Lopatin's Notes" by Konstantin Simonov - Gursky
1974 - "The Princess and the Woodcutter" by M. Mikaelyan and G.B. Volchek. Director: Oleg Dal - Magiash
1975 - "Forever Alive" by Viktor Rozov - Boris
1975 - "Twelfth Night" by Shakespeare - Andrew Agyuchik
1977 - "A Month in the Village" by I.S. Turgenev - Alexei Nikolaevich Belyaev (theater on Malaya Bronnaya)
1977 - "Veranda in the Forest" - Cheloznov
1980 - "Coast" - Alex (Maly Theater)

prizes and awards

Prize for the best male role in the film "Vacation in September" - XII All-Union Television Film Festival, Minsk, 1987 (posthumously).

Elizabeth Eichenbaum

At Lenfilm Soviet years among the employees of the editing workshop there was an unwritten law: do not fall in love with actors! But Elizabeth Eichenbaum broke this law and fell in love with the artist - Oleg Dal. She fell in love, feeling and accepting in him what others - his colleagues, relatives, close ones - maybe could not or did not want to see in this person in full: tenderness, sensitivity, vulnerability, defenselessness ... “A man without skin ”, - said Elizabeth Dahl about her beloved. Together they lived ten difficult, tragic and happy years, in which there was everything: joy and peace, quarrels and insults, meetings and partings ... It is always not easy to be the wife of a talented artist, especially an artist of such a warehouse as Oleg Dal.

He was an "uncomfortable" actor and person - too honest, too principled, too direct. Dal did not get along with anyone, left theaters and directors, interrupted filming, drank. He was not marked by any of the cinematic awards. With bitter irony, Oleg Dal called himself not a folk, but a "foreign" artist. But the woman destined for him by fate did not love "in spite of something" and not "for something" - she simply loved and was happy that her love was mutual. The years spent with Dahl, Elizabeth considered "the greatest gift of Destiny."

They met on August 19, 1969, when Elizaveta Eichenbaum was celebrating her thirty-second birthday in a restaurant. It was in Narva, on the set of the film directed by G. M. Kozintsev "King Lear". Oleg Dal played the role of the Jester in this film, and Liza worked as an editing rum. “The fact that I got to the film “King Lear” played a huge role in my life,” Elizaveta Dahl later recalled. - For me, there is still something mystical in this: if this film was shot not by Grigory Mikhailovich, but by someone else, but Oleg would have 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 ... ”. They did not have any romance on King Lear. But strangely, as soon as they met, Lisa there, in Narva, suddenly said to Oleg: “Come to me in Leningrad, I will show you what happiness is.” And then she surprised herself. Why did she suddenly say those words? Where did she get the confidence that she could create family, domestic happiness for this person? However, that is what happened. Dal came to her, and they were together until his death.

About how they met in Leningrad for the first time after the filming of King Lear, Elizaveta Dal recalls: “Just at that time I had an affair with Serezha Dovlatov, who was then the secretary of the writer Vera Panova. One evening he was sitting at my house, we were roasting meat and drinking vodka. Oleg called and asked permission to come. I invited him. And so my two admirers tried to sit each other out all evening. At some point, I called Oleg into the corridor and suggested that he leave with Serezha, and then return himself. He looked at me so angrily, but obeyed ... I saw in his eyes that he did not like it terribly. Then, when I got to know Dahl well, I realized that he did not love and did not know how to cheat. Never and in nothing. Even in small things. So: Oleg Dal and Serezha Dovlatov left together, and then Dal called me from a machine. He asked very sternly: "Well, what do you say?" I just said, "Come." He came ... Early in the morning he had to go to the airport - he flew with the Sovremennik Theater to Tashkent and Alma-Ata on tour ... Before leaving, Oleg offered to wake up his mother, saying that he wanted to ask her for my hand . “We have to register, as we will travel a lot and live in hotels. I don’t want us to be accommodated in different rooms,” Oleg said. This was in May 1970, and already on November 27 of the same year, Oleg Dal and Elizaveta Eikhen-baum (after Apraksin's father) became husband and wife. Lisa was not going to change her maiden name, but in the registry office Oleg looked at her so sternly and shone like a child when she agreed to become Dal ...

“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 kind of inner feeling: this person cannot be upset by a refusal ... ”said E. Dal. The first years of their family life were especially difficult: Dal drank very heavily, then he began to “sew up” and could not drink for a long time, then he broke down again ... “Then Oleg drank seriously, and I could not get used to it, not I could handle it,” Elizaveta Alekseevna recalled. - My mother coped mainly, who adored him from the very first day - and he did it too. There was a moment when I simply could not go to work - he did not come to spend the night or was robbed, they took off his watch, hat ... I had to go to the sobering-up station for him. And at the same time, there were wonderful months when he did not drink and everything was wonderful ... Oleg understood perfectly well that our lives were falling apart, he really wanted to get rid of this habit. All this is recorded in his diary. He understood, but he couldn't do anything. Although he was a man of very strong will.

But in spite of everything, Oleg and Lisa almost did not quarrel - largely thanks to Liza's patience, her ability to forgive. Only at first she was offended when her husband, even being sober, in a rage took out his anger on her! Then she realized that all this anger did not apply to her, that Oleg just needed to throw out emotions, to get rid of them. She learned to be patient. And learned. And having remained silent, without answering him in the same way, immediately, after five minutes, she received from him such, even if not expressed in words, gratitude for taking everything upon herself, smiling, not at all offended ... Liza felt the main thing: It is very important for Oleg to know that he can come home the way he is, and he will be understood. He did not have to spend extra energy on pretending, acting, acting at home too. “Living with Oleg, I changed every day, remade myself. I lived his life,” said Elizabeth Dahl.

Before meeting each other, both Lisa and Oleg already had experience of family life. Dal was married to actress Tatyana Lavrova, their marriage did not last long - only six months, and Elizaveta was married for four years to Leonid Kvinikhidze, who later became a famous film director (viewers know him from the films "Straw Hat", "Sky Swallows" ). These were early, student marriages. Family relationships for various reasons, we did not work out. “It is not surprising that nothing came of it,” said Oleg Dal about his first marital experience.

Two years after Oleg and Lisa got married, they moved to Moscow, exchanging a luxurious Leningrad apartment in a writer's house for a two-room "Khrushchev" at the end of Leninsky Prospekt. The apartment was tiny, the audibility was terrible, the old woman living on the floor below was quite seriously indignant: your kittens are stomping and disturbing my sleep ... However, the newcomers did not lose heart. “The four of us lived there,” recalls Lisa. - Oleg, me, my mother and the feeling of pestilence. When someone unexpectedly came to us, I could not say that Oleg was not at home, because somewhere in the apartment his leg, then his arm, then his nose were always sticking out ... Oleg's mother lived in a two-room apartment in Lubli no. At this time, Oleg moved from Sovremennik to the Theater on Malaya Bronnaya, the director of which was Dupak at that time - a very enterprising person.

Oleg asked him to help exchange our two apartments for one in the center, otherwise he threatened to leave the theater, since he had to travel very far. Dupac helped us. In 1978 we moved to a four-room apartment on Smolensky Boulevard. Oleg fell in love with this apartment of his, in every possible way improved it. With this apartment in the very center of Moscow, which the artist adored, is connected strange story. Once Oleg Dal with actor Igor Vasiliev drove past this house - it was still under construction - and said: "I will live here, this will be my home." Said and forgot. I remembered it only ten years later, when I came here with a viewing order. Dahl was happy in this apartment. Previously, he often called himself a vagabond and said that he did not like the house, now everything has changed. “This is not an apartment,” he said. - This is a dream". But the feeling of home warmth and comfort came to him not only and not so much thanks to the new house, but mainly due to the spiritual closeness that existed in their family. “Oleg immediately became friends with my mother ....

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 features in Oleg, ”says Elizaveta Alekseevna.

Dal adored his mother-in-law Olga Borisovna, and she reciprocated. “I liked him at first sight. Amazing eyes ... - said O. Eichenbaum. - When I looked at him for the first time, I said to myself: "Well, my Lisa is gone!" I knew that he had been a bachelor for a long time, divorced Tanya Lavrova and lived alone for five years ... By the way, I did not have the impression that he had fallen madly in love with my daughter. True, the absolutely charming Letters from Alma-Ata convinced me of Liza's choice ... 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 ... ”. Dal called his beloved mother-in-law Olya, Olechka. She began to call her mother and Lisa the same way. Oleg Dal also called his women Elder and Younger Kangaroo. He called without malice and anger - in a kind way. "Why kangaroo?" - Elizaveta Alekseevna was once asked. She laughed in response: “Probably because we were carrying very heavy bags.”

Then they made an office for Oleg from the hall, and his happiness became simply beyond. He could, when he wanted to, be alone with himself. Read, write, draw, listen to music. Now he was saying to Elizaveta Alekseevna seriously and ceremoniously: “Madame! You are free for today. I will write but whose. And then I’ll fall asleep on the couch, in the cabin.” Olga Borisovna exclaimed: “Olezhechka! But the sofa-chik is narrow. “I am also narrow,” Dal reassured his mother-in-law. Oleg later brought his mother to Smolensky Boulevard. Both mothers - both Oleg and Lisa - did not work, being already pensioners. And Lisa didn't work. That's what Dahl wanted. He said: “When you serve me, you bring more use to cinematography than sitting at an editing table. They can replace you there."

And Liza began to serve Olegu. And never regretted it. The wife of one actor once said to Lisa: “Of course he loves you! And why not love ... You tell him every day from morning to evening that he is a genius. Lisa laughed. If she told Dahl that he was a genius, then only as a joke, seriously, he would not allow her to do this ... Maya Kristalinskaya, with whom Dahl once introduced Liza, looking carefully at her, said: “You probably very happy". Elizabeth thought about it and after a short pause agreed: "Yes." But since then, this question has been answered without hesitation.

Elizaveta Alekseevna Dal once said that it is very important to know that you are happy at the very moment when you are really happy; not later, not later, when everything will pass and you suddenly catch yourself and start killing yourself: oh, it turns out that I was happy then and did not know, did not guess about it; no, you need to know about your happiness at the moment of its birth, at the moment of existence. Elizaveta Dal often recalled how in 1973, on her birthday, Oleg gave her a bucket of roses on the set of the film "Option "Omega"" in Tallinn. Exactly thirty-six pieces, and in the same place, in Tallinn, introducing her to Rolan Bykov, he said proudly and significantly: “Lisa Eichenbaum, she is Countess Apraksina, she is now Dal.” Such bright flashes of happy moments that happened in their lives, they both greatly appreciated and cherished in their memory. These memories helped Elizabeth to survive when Oleg was no longer around. Of course, they brought not only consolation, but also pain and suffering.

“Strange: when I remember our life, I see THEM together, HIM and THAT Lisa. Not me. TU Liza was buried together with Oleg, and I remained as some kind of witness, - E. Dal recalled. - This is not a fictional image, but my feeling. I always see not myself with him together, but the two of them. I do not know why...". Dahl was alone in the acting environment. Lisa understood this like no one else. She introduced him to wonderful writers - Shklovsky, Andronikov, Kaverin. The distance adored these great old men. And they loved him dearly. But still, Oleg Dal did not have really close friends. He was closed person, and it often seemed to those around him that he was gloomy and unsociable, although this was not so. “Oleg seemed to many a gloomy person, but at home he was always cheerful and kind,” says Elizaveta Alekseevna. - He had a cherished dream - to play a comedic role. Once Oleg portrayed an old man in a very funny way, and I suddenly felt scared: I realized that he himself would never be an old man.

I have never left the feeling that he is connected with life by a thin thread that can break at any second. Oleg Dal did not have a chance to fulfill his old dream. It seemed that it had almost come true - the artist was invited to Kiev to play in the long-awaited comedy, but three days after his arrival in Ukraine - March 3, 1981 - Oleg Dal passed away. He foresaw his departure - in the artist's diary there are thoughts about death. In October 1980, he wrote: “I began to think often about death. Depressing nothingness. But I want to fight. Cruel. If we leave, then leave in a frantic fight.

Try my best to say everything I thought and think about. The main thing is to do it." His Diary, which the artist has kept since 1971, he never showed to anyone. Only sometimes he called his wife and mother-in-law to his office and read small excerpts from his notes. “I read the full diary only after he was gone,” recalled E. Dal, “And I was horrified. I knew how difficult it was for him, how he suffered, not fitting into the existing system. But I didn’t even suspect how his heart was breaking.”

“I am next,” said Dahl at the funeral of Vladimir Vysotsky, who was not his friend, but who is very close to him spiritually. Actor A. Romashin, who lived near the Vagankovsky cemetery, at about the same time he said the following phrase: “Tolya, do you live there? I'll be there soon." And yet, although thoughts of death haunted him, the actor did not strive for it, as many of his colleagues believed. Some of them even thought that Dahl had committed suicide. The fact that Oleg Dal did not want death is also confirmed by the artist's widow:

“Oleg loved life very much. All these are dirty rumors that he drank a lot and died because of drunkenness. I haven't been drinking much in recent years. He was in poor health. Oleg himself imposed a ban on alcohol. There were rumors in Moscow that he had committed suicide. And he died just in his sleep from cardiac arrest, he had a weak heart since childhood. For the last few months we have been living in Monino, a dacha near Moscow. During this time, he said a lot of good things to me. Once he came to the kitchen in the morning and said that he dreamed of Volodya Vysotsky, who called with him. I answered: "Volodya will rain, Olezhek, he is not bored there."

Already “after everything”, one friend said to Lisa Dahl: “Now he will seem to you all the time. You will leave the house, and suddenly someone's gait, someone's turn of the head, someone's facial features will remind him. But no one, ever, anywhere, and nothing reminded her of him. “Even before meeting Oleg, when I was just watching him in the cinema, he struck me with some kind of otherness. He remained so alien, ”said E. Dal. It was no coincidence that Dal called himself not a “folk”, but a “foreign” artist. It really felt some foreignness. At the same time, he was very demanding of himself, of art and of his colleagues. E. Radzinsky very well said that Dahl was ill with a wonderful disease - a mania for perfection. It was she who, perhaps, did not allow him to do more than he did. He left from one theater to another, from one director to another.

At the same time, Dahl played with brilliance in a variety of films - from classics to fairy tales and adventures. He loved almost all his roles and was dissatisfied with only one of his work - the painting "Sannikov Land". The rest he and Diza liked to watch together - it "was almost a family ritual." When her husband passed away, Elizabeth Dahl watched films with his participation even more often. “This is a meeting for me every time. One-sided, but a meeting, she said. “In addition to what is shown on TV, I also have cassettes, I watch when I want, and this is a joy for me.”

After the death of her husband, Elizaveta Alekseevna did not make any attempts to re-arrange her personal life. “I could not replace Oleg with anyone. After all, I never really knew him. It was an absolutely mysterious, enigmatic man. I could guess any of his desires, understand his condition, forgive anything, but as a person and as an artist, he remained a complete mystery to me.

Elizabeth Dahl survived her husband by twenty-two years. For twenty-two years she kept the memory of him. No tantrums, no anguish, no public suffering. She just loved him. Like he didn't die. Her love for him was quiet, restrained, lively, warm, delicate. Lisa Dahl has never played the part of an inconsolable widow. I wasn't looking for the right contacts. A Lately hardly left the house. She often sat in her husband's office, where everything remained the same and reminded of him: theater posters, photographs, books, a record player and favorite records on the table. “I will always love and remember Oleg,” said Elizaveta Alekseevna. “I feel like I was buried with him. And now I live only in order to have someone to tell about the actor and man Oleg Dal ... "

The widow of the great actor died five days before his birthday. May 25, 2003 Oleg Dal would have turned 62 years old. The years without a husband were not easy for Elizaveta in every way. She had no children, but Lisa had to take care of two mothers - her own and Oleg. After a long break, she went to work at the Soyuz-Sportfilm studio - at Mosfilm, where there were many acquaintances. She did not want to go. When, a few years later, both mothers, one after the other, passed away, Liza was left completely alone. But in the early 90s, fate gave her a meeting with a then very young girl - Larisa Mezentseva Childless Elizaveta Alekseevna fell in love with her like a daughter, and she became a second mother to Larisa.

“Liza was very sick,” L. Mezentseva recalled about the last days of E. Dal's life. - She was tormented by bronchial asthma and ischemia. We bought the necessary medicines, but her pension and my salary, even if we didn’t eat anything for a year, would not be enough to pay Lisa for good treatment. Her death was unexpected, sudden. In the morning, leaving for work, I asked: "Well, how are you?". She replied: "You know, today I'm much better!". I calmly worked, and when I returned home, I found her already dead. She left a few hours before I returned home.” She went to the one whom she remembered and loved all her life. Probably, her soul yearned so much that there was simply no more strength left ...

The writer Viktor Konetsky, who was a neighbor of Elizaveta and Oleg in the house on the Petrogradskaya side in Leningrad, has a story "The Artist" dedicated to Oleg Dal. It is impossible to read without tears. There are such lines: “I end with the words from a letter from Oleg’s wife: “Our orphaned neighbor! I remember how he came to your men’s council through your unlocked door. His soul is with you now. The road to you is open to her. You tell me that I love him, as souls love God. Find the words - I don’t know them now, always loving him like an earthly woman. "

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 he would fail miserably at the very first exam at the theater institute. "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 excerpt, he literally struck admission 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. It's about about the films of E. Narodnitskaya and Y. Fridman "From Seven to Twelve" and "A Bridge is Being Built". last picture was entirely staged and played by contemporaries and told about the youth brigade that was 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 "Forever Alive", Cyril in " big sister", the dwarf Thursday in "Snow White and the Seven Dwarfs" (all performances staged in 1963), Marquis Brisaille in "Cyrano de Bergerac" (1964), Igor in "Always on Sale" (1965), Pospelov in " Ordinary history"(1966), an episode in" The Decembrists "(1967). Apparently, 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 towards such things changed. He began to "pump rights", broke down. It was in those years that he began to drink more and more often. His family life did not go well either. His marriage to the actress "Contemporary", 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, in early 1966, that Oleg was found by the director from Lenfilm, Vladimir Motyl.

Zhenya, Zhenechka and Katyusha

V. Motyl was then going to stage a film according to the script "Zhenya, Zhenechka and Katyusha". The story of how this, in general, at that time, impenetrable scenario, deserves short story. They did not let it go into production for a long time, until V. Motyl resorted 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 material, 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 to the wall gave up and immediately 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, given word he then restrained and worked out everything as it should be. 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 officials from the Main Political Directorate of the 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. famous 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 Dal 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. Played with total absence 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 film 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 preterms with scant supplies 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 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 director was chosen by a 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 Soviet spy 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.

Leaders creative association"Screen", where the film was to be filmed, 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: "On this film, we had tragic story. A very interesting horse was found for filming, beautiful, kind, unusually quick-witted. The whole group fell in love with her, including Oleg. And once, when we were changing nature, the car carrying 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 his legs. I had to shoot her. 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 crack of the stage floor Oleg made flip flop. 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".

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 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.

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 spectators 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 management 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 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. 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 - 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 behind 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 converged on the site 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, on Vagankovsky cemetery(his grave is 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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