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 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 a 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 to die 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 told me a lot good words. 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 absolutely mysterious mysterious person. 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. And lately, she 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 last days life of E. Dahl. - 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 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 Dal was an insanely talented actor, a pretty good screenwriter, and his poetry reading was simply mind-blowing. Crowds of people appreciated, and most importantly, respected his work. The artist is quite attractive, and what is not unimportant, charismatic. He played roles in such a way that it simply took his breath away, he could convey to the viewer all the feelings and emotions.

His wonderful game was often called perfection, which could not be said about his personal fate, which he personally ruined with his own hands. bad habits. But he had a great future, perhaps even world fame.

The artist sunk into the soul of a large number of admirers who remember and love him, and films with his participation are still being watched.

Height, weight, age. How old is Oleg Dal

The appearance of the artist is quite memorable, Oleg was slender, handsome and very young. By nature, the man was heavy on his feet, stubborn, in a sense, explosive and impulsive, this was especially true in the work team. But at the same time, he belongs to the type of people who are quite caring and affectionate in the family circle. And in the work, the artist simply dissolved and was perfection itself, one might even say an ideal for most viewers.

Many ladies were in love not only with his characters, but also with the actor himself. Therefore, it is not surprising that people were interested in him and are still interested in his parameters such as: height, weight, age. How old was Oleg Dal when he passed away.

Everything is elementary simple, the growth of the artist was 185 centimeters. Oleg Dal was young, one might say, a man in the prime of his life, but unfortunately, he did not live to see his fortieth birthday for only a couple of months, and died at the age of 39.

Biography of Oleg Dal

A boy was born on May 25, 1941 in the midst of the Great Patriotic War, in a simple working family. He was the second child, the boy also had an older sister. The boy grew up quite active and intelligent, already in early childhood his complex character was manifested, he constantly clashed with his peers. The guy studied well and after graduation decides to enter the Shchepkinsky theater. Parents for some time were against the choice of their son, saying that this is not a profession, but after a while they reconciled and even became proud of their boy.

The guy was very hardworking and already studying at the institute, he simultaneously began acting in films and theater, and it was from that moment that Oleg Dal's creative biography began.

Filmography: films with the participation of Oleg Dal

The filmography of the artist simply rolls over with the number of films shot with his participation and numerous theatrical performances.

In 1962, Oleg Dal's first role was played in the film My Little Brother, where he played leading role creative boy Alik Kramer. After that, he received several offers at once, but already at the very beginning, the artist carefully selected roles to his liking and did not waste time on trifles. Then he starred in the psychological film "The Man Who Doubts."

Already in 1967, Oleg became famous thanks to the film The Chronicle of a Dive Bomber, where the actor was in the role of a gunner-radio operator, it was this role that won the hearts of many fans, especially women.

In 1968, the artist starred in a wonderful production of "The Old, Old Tale", where he simultaneously played two completely different roles of a soldier and a cheerful puppeteer. Only the most talented people can play several characters in one plot, and according to critics, he succeeded in both roles excellently, he found his personal subtle approach to each and expressed the full power of the production.

Then the actor a large number of devoted time to the theater, he himself believed that he was primarily a theatergoer and it was this stage that was created for him, and the cinema stood in the background for him. Despite this, he continued to act in films.

The artist had his own understanding of beauty, and he often did not agree with the opinions of colleagues and directors, so Oleg had to change jobs.

Dahl considered the roles in the plots “Thursday and Never Again” and “Vacation in September” to be the most important participation in the film, which he played simply amazing, putting all his strength and feelings into them, conveying to the viewer all the most significant.

In the late 70s, the artist increasingly began to refuse filming offers and thus earned himself a not very good reputation. He began to drink more and more and move away from everyone. And on March 3, 1981, a great talent and idol of many fans passed away.

Personal life of Oleg Dal

Our actor treated this type of people as very explosive, like a hurricane, his character is heavy, and at the same time attracted with his charisma and incredible talent. The artist himself was often the very opposite of his characters, it seemed that this person was an incredibly happy and cheerful person, striving for self-development. However, all this was just a mask, and of course the insane talent of the artist.

The personal life of Oleg Dal is marked by a large amount of female diversity. There were three legal marriages in his life. Each of which was wonderful in its own way, the man for a long time tried to find the very one that could endure his quarrelsome character. This is exactly what he found, in his third marriage, Elizabeth Apraskina, who managed to brighten up his sad mood lately, and give him a desire for life itself, but she never weaned him from a bad habit, craving for alcohol.

Like all stars, there are crises in life, some cope and rise to the pedestal again, and some close in on themselves. Dahl is the type who could not cope with himself, and plus his addiction to alcohol made the final contribution to the life of a man. No one could imagine that the cause of death would be alcoholism. It was hard to believe in the death of such a wonderful talent, and many wondered: "Oleg Dal died for what reason." Not unimportant fact that influenced his death was that the young man was coded, and taking a large amount of alcohol provoked a hemorrhage and instant death. The funeral was held with great torment in the hearts of all fans, acquaintances and friends.

The funeral of Oleg Dal. Cause of death, for what reason?

The news of the loss of such a talent flew by instantly, everyone was shocked by what had happened. No one could even imagine such a quick loss of a fairly young artist, and they constantly asked questions: “The funeral of Oleg Dal. Cause of death, for what reason? After all, only the closest people of the star knew about addiction to alcohol.

Farewell to a brilliant talent took place on March 7, 1981 at Vagankovsky cemetery in the capital itself. To see the actor for the last time, a large number of fans, friends, colleagues and relatives came, everyone was saddened by such a loss, and some were at a loss from what had happened.

The memory of Oleg Dali will be with us forever, fans of his work constantly watch films with his participation and admire such talent to this day.

Family of Oleg Dal

The boy was born in the most ordinary family, his mother was a teacher at a local school, and his father worked as an engineer at railway. His appearance came at the very height of the Great Patriotic War, so the guy's childhood was not so hot. Oleg also had an older sister, Iraida, with whom he had a very warm relationship. The family of Oleg Dal was very friendly, despite all the events that had taken place in their lives.

The artist himself madly wanted a family, for a long time he was in search of the very woman who would make his soul shine from within. He wanted to find a woman who would appreciate the family hearth and at the same time be like-minded to him. For his beloved, he was ready for anything, if only she would give all her warmth, which the man needed so much. He had two not very successful attempts, and the third was successful, as the people say, "God loves a trinity."

Children of Oleg Dal

The artist considered his biggest brainchild to be the roles he played. He put his soul into them, along with the roles his professionalism grew and with them he studied all the new subtleties of the aspect of the ideal role.

Because of his very bad character and addiction to alcohol, the young man did not have successors of his kind. And also influenced by the fact of premature death, because the artist was still young and handsome. Fans believe that if he had heirs, then Oleg Dali's children would certainly become no less talented and successful people.

The ex-wife of Oleg Dal - Nina Doroshina

Oleg met his first lady of the heart at the Sovremennik Theater, where they both worked, her name was Nina Doroshina. The actress became famous for such films as "Love and Doves", where she played the main role, which became her calling card in the world of cinema.

The girl was young enough, attractive and talented, many of her just screamed her head, and our actor was no exception. The artist immediately fell in love and quickly began to court the girl, although she had an affair with Efremov at that time, but our hero managed to attract his attention to himself and the couple soon got married. Not even a day had passed since the wedding, as the ex-wife of Oleg Dal, Nina Doroshina, without hiding, began dating Oleg Efremov again. The first marriage ended in disappointment and a big failure. Nina herself said that their marriage was not destined to last long, since they were completely different and simply did not get along in character.

The ex-wife of Oleg Dal - Tatyana Lavrova

After the first unrequited love, after a short period of time, Oleg meets actress Tatyana Lavrova. She was pretty and also quite talented and smart. The man wanted simple family happiness so much that he did not hesitate to marry another chosen one. For Lavrova, this was already the second marriage, which also did not last a couple of three years. Having lived with her for two years together, Tatyana decides to leave the artist, explaining that he is not the one she needs. The young man was madly upset that again he did not have the family happiness that he so dreamed of, according to him, Tatyana was callous in a relationship, and he wanted more tenderness and affection.

Most friends and relatives believe that Oleg Dal's ex-wife, Tatyana Lavrova, pushed him onto the path of alcoholism. Since after the divorce, the man was very depressed and disappointed in his own life.

Oleg Dal's wife - Elizaveta Alekseevna Apraksina

The actor met his future wife Lisa in a restaurant where the woman celebrated her birthday surrounded by her colleagues on the set, because she worked as an editor. In a playful manner, she invited him to visit her in Leningrad. Without thinking twice, Oleg comes to her in the city, and after a couple of days he already offered her to marry him. Such an act was quite risky, because the young man had already had two unsuccessful experiences behind him, but this did not frighten Oleg in any way. They soon got married and lived in perfect harmony. The artist finally found the one that he had been looking for for so long, she was not only pretty, but also gentle, smart and very educated, the spouses always had something to talk about, it seemed to them that they even had the same view of the world. The couple was in seventh heaven with happiness, but the woman could not get rid of her husband's addiction. Oleg Dal's wife, Elizaveta Alekseevna Apratskaya, was with her husband until his last days, they lived together for a long 10 years. Death for a woman was a real tragedy and shock. According to Lisa herself, she died with her husband, and a piece of her soul and in the future she did not live, but existed.

Everyone is very sorry that a great artist left us so early, because he could please us with his game long years. It is simply impossible to forget such talents as Oleg Dal, he will live in the hearts of every admirer of his work.

Oleg Ivanovich Dal is a brilliant Soviet actor, with a subtle and vulnerable soul of a poet and the tragic fate of a great actor who burned to death. He did not manage to fully realize himself as an actor in those few years of life and work in the acting profession that fate took him, but many of his roles will forever remain in the memory of people, as being far beyond the bounds of ordinary acting. As a person and actor, Oleg Dal was absolutely unique, not tolerating any restrictions and not fitting into any of the systems. And in vain, Oleg Dal, at one of the meetings with the audience, when the presenter mistakenly introduced him as a people's artist, said: “I am not a people's artist, I am a foreign ...”. I think that this phrase most accurately describes Oleg Dal as a person and as an actor. He was absolutely unique, completely internally free and simply physically did not fit into the reality around him because of the special fine organization of his soul and nature. He was a tragic person, with a very great inner emotional tension and spiritual torment (as can be seen from his horoscope), which could find a way out only through selfless creativity (acting), alcohol or constant conflict with the reality around him. And the tragedy of Oleg Dal's fate lay precisely in the fact that he could not, due to so many subjective and objective reasons, fully realize himself in theater and cinema as an actor. Which, in fact, was the reason that Oleg Dal lived such short life and died young. His life flashed like a comet in the night sky, and lasted one brilliant moment, that very moment between the past and the future, about which he sang so penetratingly in “There is only a moment between the past and the future ...”.

I determined the time of birth of Oleg Ivanovich Dal as 6 hours 00 minutes (GMT +3 hours). The degree of position of the Ascendant is 4 gr. Cancer. Date of birth May 25, 1941 (Moscow). Rectification was carried out by the following methods: directing the solar arc, transits, solariums. House system - Placidus. The sign of the Ascendant was determined by me on the basis of the appearance, psychological portrait and personality traits of Oleg Dal.

I determined the ascendant of the actor and the position of the planets in the houses based on the following:

1. The main character traits of the actor.

I give a description of the main character traits of Oleg Dal according to the recollections of acquaintances and relatives.

Actor Valentin Gaft says:

“ Oleg believed: an artist is a secret. He must do his job and disappear, - He must not poke a finger in the streets. He must show his face at work, as Vertinsky his white mask- and then take off this mask so that they do not recognize him. “

From the memoirs of director A. Efros:

“There are actors - pawns. Oleg was not one of those actors. He combined a very serious personality, independent, proud, rebellious, and - acting flexibility, elasticity ...

He was a restless person. He constantly moved from place to place if he did not agree with something. He was a man of extremes. Some feelings of protest against his partners, towards the premises in which he worked, bubbled up in him. Because somewhere inside himself, he understood art very highly. Although this was mixed with a share of carelessness, which was also in him. But still, the roots of this disobedience went to the maximalism of his views on art. He hated himself in those moments when he betrayed this maximalism. He had high artistic demands. He made very high demands on himself. He understood that he often did not meet these requirements. And suffered from it.

Mockery, exactingness and at the same time some kind of irresponsibility, the ability to torment others and torment yourself even more - everything was in him.

He was a mysterious person. I confess that I never fully understood him. I don't think anyone really understood it until the very end. Sometimes it seemed to me that this mystery is a consequence of a hidden spiritual emptiness, and sometimes, on the contrary, that he feels so strongly that he protects himself from unnecessary experiences, somehow defends himself.

He was boyishly fearless and could throw himself into any creative task. By nature he was an improviser. The so-called "academism" did not threaten him at all. "Academism" is peace, stability, it is attachment to something frozen. There was nothing like this in the character of Oleg Dal. There was always some kind of rebellion in him. And if you try to figure out what he constantly raised this rebellion in his own soul, I would say - against all the absurdities of our life, against all its deformities.

He hated a lot, could not endure, could hardly endure. He was a scoffer, but behind many of his unkind sneers, there was pain.

He had such amazing, rare external data - a thin figure, a hard, sharp face, incredibly expressive eyes. He understood very well when they shot a close-up in a movie that nothing needs to be done - just change the expression of the eyes a little. Having given him a task, I went to the camera and from there I did not always see Dahl's face in close-up. But then, looking at the material, I was always amazed. In the same way, I was amazed when I looked at the duplicates of Smoktunovsky. But if Smoktunovsky admires the smallest game of the face, the many shades that turn into one another, then Dahl has such strict frugality, such a scalpel, sharp accuracy! Well, a little wider opened his eyes - so what? But Dahl did nothing formally, he filled everything with content, and what! I was in a hurry to shoot, I didn’t ask if Oleg understood any of my brief explanations, and then the film did not reflect an illustration for the explanations, but something independent and significant.

He was a born filmmaker. He could be motionless, but at the same time incredibly active internally. [...]

When he left the Theater on Malaya Bronnaya, he entered the Maly Theater, and I did not understand this step at all. I thought it was all the whim of an undisciplined actor. But now I think it was all throwing. He did not find his place, did not find himself in the modern theater, moreover, in our modern life.

He has always been a separate person. He always sat alone in the dressing room, curtained the windows, sat in the dark, and his cheekbones walked. He was so annoyed when he heard the artists chatting on extraneous topics behind the wall, telling where and with whom they were filming. He himself never spoke about his filming and generally spoke very little. And then he burst into some cynical phrase.

But for all that, he was very spiritually tall man. Very rigid, and behind this rigidity - an extraordinary subtlety, fragility.

It was wonderful when he was kind. Or when he was happy. These were very rare moments, but they were very warm, special. When the viewing of "Pechorin's Notes" ended, Irakli Andronikov praised Oleg very much, and Oleg was happy. He was literally sparkling - he began to say something affectionate to me and others, and his eyes shone ...

There are few actors about whom it can be said that they are unique. Everyone is a little like someone else. And Oleg Dal was unique. “

(EFROS A. Book Four. M., 1993.)

From an interview with Oleg Dal's wife, Elizaveta Dal:

“And how did you get married?

He wrote me letters, very lyrical, kind, I fell in love with him thanks to these letters. When he arrived, we went to the registry office. I remember, I froze for a moment, filling in the column about the change of surname, and looked at him. And I realized that he wants me to become Dal. After the registry office, we went to an ice cream parlor and drank champagne. On the marriage certificate| Oleg wrote boldly: "Oleg + Lisa = Love." We were given three days for our honeymoon. These were happy days, then very difficult everyday life began, which stretched out for two years ...

Oleg drank terribly. At the same time, he became like Zilov from Duck Hunt, even scarier. He was not capable of killing himself, but somehow he almost stabbed me. In Gorky, on tour, he began to drink heavily, such, you know, an unfinished state when a person is completely brutalized. It was very hot, I was lying in the room in one bathing suit. He ran a knife across my stomach and said: “So what! I don't care, I'm not going to live anyway. How subtle, intelligent, generous he was, just as terrible, dirty and cruel in drunken courage. I didn’t sleep, I suffered, I hid, when he came home drunk in the trash, Olya was busy with him. At the same time, he was unusually clean. Whatever stage I was in, the first thing I did was go to the bathroom. Olya was afraid that he would break the column, and always said: “Olezhechka, don’t throw a hook. Lie down in the bath, get some water and call me. I will help you". Once Olya enters the bathroom and sees a picture: Oleg Ivanovich lies in all his splendor in cold water with an extinguished cigarette in his mouth and sleeps in a blissful sleep, without even turning on the igniter. She turned off the water, yelled at him: “I am a woman, and you are lying in front of me in your natural form!” She helped him up, put on a dressing gown, and put him to bed. I slept on a cot that night. There was no money, we forgot what coffee was, and Olya and I were selling things that were sent to us from France. And somehow, when he almost strangled me and I, having escaped, sat up in the attic until evening, Olya, unable to stand it, told him: “Oleg, leave for Moscow” and gave 25 rubles for the road. I must say that he left very beautifully: he washed himself, dressed elegantly and went into our kitchen: “That's it. I went. Can I keep the key to the apartment? - "Yes". I already loved him again, my heart bled, I felt so sorry for him. But still she held herself and did not run after him. It was in March, and on April 1, suddenly a call: “Lizka, I’ve been sewn up for two years!” "This is no joke!" I cut him off sharply. But it was true, he, in company with Volodya Vysotsky, really screwed up. The next day I enter the apartment, Oleg stands at the window, makes a gesture with his hand, I stop. He turns his back, unbuttons his pants and shows a patch on his ass: "Here's my torpedo!" After the torpedo, the former Oleg disappeared for a long time, as if he had never existed. A real happy life began...

For the last ten years that we lived, he periodically drank when he was out of time, then again hemmed himself and did not drink for years. It was impossible to offer him to sew up; he himself had to decide on this. He said this: “Don’t let me out of the apartment for three days, I’ll cry, beg - don’t listen. We're going to the doctor in three days." He never arranged drinking parties at home - if he wanted to drink, he left home for the WTO, IDL, Cinema House. I could not stand drunk acting companies.

- They say that he started drinking at the Sovremennik Theater?

When Oleg appeared in the theater, he almost immediately married Nina Doroshina. Together they starred in the film "The First Trolleybus". Doroshina was Oleg Efremov's lover for a long time. When he and Nina became lovers, Dahl even got scared: “What am I doing?! I'm taking the woman away from my idol!" In the midst of their wedding, Efremov, who had already received well, said: “Well, Ninok, sit on my lap.” She sat down. In fact, that was the end of the wedding. And began his application to the bottle. In addition, in the theater at that time, everyone without exception drank very heavily. She and Nina lived for some time, she tried to commit suicide several times, he dragged her to Sklifosovsky, then married Tanya Lavrova, but also unsuccessfully. Once my mother asked him about the reason for the divorce, he answered briefly: "She was angry." And that's it, not a word more about Tanya. He was not a womanizer, although they fell madly in love with him.

Have you worked with him on all of his paintings?

Oleg, after he "sewn up", "removed" me from work. I often started talking about the service, but he always answered this: “The hundred rubles that you earn, I myself will bring to the house. I want you to always go with me to the shooting. It was so difficult for me in the beginning! One day at dinner, he noticed that I was not eating, asked: "What's the matter?" “I can’t eat someone else’s bread.” He replied: "Sick - get treated." After that I realized that good wife is also a profession. I went with him on all the expeditions, and he knew that hot tea and strong coffee were always waiting for him at the hotel. As one of our mutual friends joked: “You really are behind your husband.” Our house was clean and tasty, he wanted it that way. A completely outdated person in everything - in his attitude to life, to women. He was the head of the family: three of his women and he (his mother began to live with us). Oleg alone worked for everyone. When he brought back money from trips, he took it out of his inner pocket with a sweeping gesture and threw it on the floor like a fan. He knew how to leave behind the door everything that was not worth bringing into the house - it would get dirty. He wiped his feet and entered, throwing away all third-party troubles, resentments, unplayed roles, and the envy of colleagues beyond the threshold. If he felt that we had problems at home - money ran out, illnesses began, everyone around was getting gloomy - he cheerfully said: "Don't sigh, old women, everything will be fine." And in order to raise the spirit of his women, he invented a role for himself - he portrayed an old man. The whole evening was old, old, even when I was alone in the room (I peeped on purpose). He put on a shabby long dressing gown, slippers, shuffled his feet and coughed all the time. Hooligans like an old man, for example, we sit in front of the TV, he comes up, turns his back to him and “farts”. And for some reason I remember a piercing thought in my head: “He will never be old!”

Many were surprised: “It is so difficult to live with him!” Nothing like this! He was light, knew how to appreciate and love, knew how to sacrifice, never asked for anything in return. He rarely gave flowers, because he did not imagine himself walking down the street with a bouquet. I remember when we lived on Novatorov in Khrushchev, he forced the taxi driver to drive up to the house right across the field in terrible potholes - Oleg was with a bouquet and did not want to go through the yard with him.

How did he feel about fame?

He closed his house from everyone. When asked about fame, he replied that he dreamed of an armored door and an armored train to ride around Moscow. If he was stopped on the street by an old woman or a child with a request for an autograph, he could forget everything - that he had a performance, shooting, stopped and talked for a long time ... And if all sorts of girls ... He hated when he was recognized, he never used his fame , always walked in a cap pulled over his forehead and turned up his collar. One day we went to look for a warm coat for him. We came to the commission shop, digging, looking, and then the sales girls recognized him: “Oleg Ivanovich, why don’t you ask us? Let's help you - we'll call you when we have a coat." After a while they really called, we came and bought a nice fur jacket. Oleg made me give them money, they resisted, a whole story came out. And then I just ran around to wear counterfeits to the girls in Sovremennik.

- He was once called Mozart in his profession, how would he react to this?

He would agree, although he was demanding and ruthless to himself to the point of anger, all his life he was engaged in self-criticism. He ran ahead of time, and time never caught up with him. I never told him that he was a genius, but I think he knew it himself. He is characterized by unplayed roles, but by rejected ones. We had a huge stack of scripts in the closet that he turned down. He had a lot of proposals to play something party, Soviet, for which he would receive a lot of money, titles ... Everything was rejected in the bud. I am not ashamed of any of his roles now. No, he was not Matthew. Once, at one performance, Dahl was mistakenly called a people's artist. After that, Oleg went on stage and said: “You know, there was one mistake here. They called me a people's artist, but I'm rather a foreigner. He has only one award for a television film, and that is posthumous: a crystal goblet, very heavy and ridiculous. We put flowers in it. Oleg was a very shy person, modest and did not work for benefits and rewards. Misha Kozakov once told me one story about him. They ended up in the same hotel room with Dean Reed. Dean sang and played the guitar all evening and bragged about how many gold records he had. Then they drank, and Oleg told him: "Come on, give me the guitar." And he sang, plucking the strings with his uniquely long fingers: “Oh, roads, dust and fog ...” Reed rolled his eyes in admiration: “Excuse me, but how many gold discs do you have?” Oleg grinned good-naturedly: “Fuck you ...”

Did he foresee his own death?

From the article by I. Karasev “Chronicle of a diving artist”:

“In the graduation performance, Dal was seen by the artist of Sovremennik Alla Pokrovskaya and invited Oleg to the famous “entrance tours” to the Efremov Theater. Lyudmila Gurchenko, who was also among the applicants, recalled how, having heard a thunder of applause behind the doors, she looked in and saw Oleg completing a passionate monologue on a high windowsill, then flying in an unthinkable arc into the middle of the hall and a second later modestly stopping with a torn off window handle among general delight.

The next five years in Sovremennik, Dahl, despite the absence of the main roles, called best years lives spent in the indescribable aura of theatrical creativity.

However, the transition from an enthusiastic perception of life to a skeptical one was quite abrupt. The studio spirit of the theatrical experiment, which nourished Dahl's artistic talent, gradually gave way to "harsh everyday life."

To some extent, Kozakov explains the situation in his memoirs about Dal: “I still live in the memory of harmony in the theater - it was only in the early Sovremennik and never again. Everything coincided there - youth, time, the state of the theater. To Oleg, all the time he was unlucky. He seemed to fall "on the descent" And he came to Sovremennik and other theaters at a time when the theater was already essentially dying. Dahl was ready to fanatically serve the Theater, but he did not agree to the banal "serve in the theater".

In the yard, the "thaw" was replaced by "stagnation". The famous charter of Sovremennik and the studio fraternity became history. Dahl, who tried to play and exist "according to the charter", found himself alone.

The stigma of "loner", the label of "strange", the position of "alien". This is not a whim of fate, not a game of chance. There is a rigid predetermination in Dahl's life. Possessing by nature a subtle and hypersensitive apparatus of perception, Dahl could not coexist with the surrounding reality on the same aesthetic level. In his statements about the "achievements of socialist realism in the theater and cinema", about the dominance of ignoramuses and bastards, genuine physiological disgust comes through.

This is not an easy frontier, which many representatives of the creative intelligentsia then indulged in. In the case of Dahl, there was a pathological discrepancy between the person and the environment, people, systems (meaning the system of moral, ethical, creative stereotypes and standards).

Life in discord with space and time requires an incredible expenditure of energy. Could this be the source of the motif of the "boy with tired eyes" repeated in various memoirs about Oleg Dal? Dahl's only source of strength was Dahl himself. All questions that did not find an answer outside, he turned inward. The result, or rather a chronicle of searches and reflections, was his diary, which began in 1971.

This diary is not like an ordinary biography tied to days, months and years. It resembles an emotional, sometimes chaotic dialogue with oneself, written (or drawn) in letters, words, phrases different sizes and font. Sometimes entries are daily, sometimes one sentence covers six months or more.

From the diary: "January 72 FRIENDS "More painful than all wounds is an invisible wound, my friend is my enemy, oh vile age of deceit!" W. Shakespeare. My grief and my misfortune from my friends. Only now I understand this these bastards are going to have a terrible time. Maybe ONE? Maybe. But yourself! To protect yourself.

Reading the "diary", you catch yourself thinking that it resembles the logbook of a ship or plane crashing. And by analogy with the film "The Chronicle of a dive bomber", in which Dahl played one of best roles, his diary could well be called "a chronicle of a diving artist."

From my point of view, these descriptions absolutely fit a person with the following horoscope configuration: Ascendant in Cancer, most of the planets, including the Sun, Moon (ruler of the horoscope), Venus, Mercury, Jupiter, Saturn (ruler of the 7th and 8th houses) and Uranus (ruler of the 10th house) is in the 12th house, which is closed to outsiders and gives a strong tendency to loneliness, pride, strong individualism and the desire to know the inner essence of things, and not their front side. Strong closeness and a tendency to loneliness, due to the powerful influence of the 12th house of the horoscope, in the character of the actor is softened by the fact that Mercury, Venus and the Sun of Oleg Dal are in the sociable sign of Gemini. It was the fusion of the influence of the energies of the 12th house and the sign of Gemini that made Oleg Dal such a unique and bright actor and personality. Neptune, having major planets from almost all the planets in the 12th house, is in the 5th house and through it the powerful energy of the conjunction of the ruler of the horoscope of the Moon with Saturn and Uranus and the conjunction of the Sun with Jupiter finds an outlet. It was Neptune that was the planet through which the difficult and stormy energies of the luminaries and planets from the 12th house of Oleg Dal's horoscope found a way out in acting. And it was the powerful Neptune (“the king of aspects”) that was the reason that Oleg Dal periodically tried to get away with the help of alcohol from the reality that surrounded him, and from his internal crises, which were inevitable and regular due to the exact conjunction of the Moon ( ruler of the horoscope) with Saturn and Uranus in the 12th house.

2) According to the recollections of people who knew the actor personally, Oleg Dal was a very emotional person and a vulnerable person who could hardly cope with his intense emotions. But, both luminaries and personal planets (except for Mars in Pisces) are in the air and earth sign (Gemini and Taurus), which indicates a person who is not particularly prone to strong and deep emotional experiences. Only the conjunctions of the Moon with Uranus and Saturn and the strong aspect of Neptune could hardly form such a subtle and emotionally oversensitive nature, which, of course, was Oleg Dal. The location of the Ascendant in the water sign of Cancer and the powerful 12th house, together with the damage to the ruler of the horoscope of the Moon by conjunction with Saturn and Uranus, could well form such a person with a strong emotionality of the water plane.

3) Oleg Dal had a rebellious spirit, toughness and a strong tendency to emotional depression. In the horoscope, this is indicated by the conjunction of the Moon with Uranus and Saturn. But, just the conjunction of the Moon with Uranus and Saturn is clearly not enough for this. The moon must surely be the ruler of the horoscope and have a strong influence on the whole personality of the actor, and not just on his emotional sphere.

4) At the time of registration of marriage in November 1971, Oleg Dal with Elizabeth Dal, transit Saturn entered into conjunction with natal Saturn in the horoscope of Oleg Dal (the return of Saturn) and the natal Moon. This is a very powerful indication that Saturn or the Moon is the ruler of the 7th house of the horoscope or is in the 7th house. Another confirmation of Oleg Dal's version of the horoscope with Ascendant in Cancer.

5) According to the recollections of people who knew Oleg Dal well, he foresaw someone else's and his own death. In this version of Oleg Dahl's horoscope, the ruler of the 8th house, Saturn, is in exact conjunction with the ruler of the horoscope, the Moon in the 12th house, in exact trine with the ruler of the 11th house, Neptune.

6) Relatives and acquaintances claim that Oleg Dal had increased intuitiveness on the verge of clairvoyance. A powerful 12th house and multiple aspects from the luminaries and planets from the 12th house to Neptune can give such abilities.

7) The tension of the conjunction of the Moon with Saturn and Uranus and the square of Mars with the Sun and Jupiter found its way out through Neptune in the 5th house. Hence Oleg Dahl's choice of the profession of an actor. When Oleg Dal was not involved as an actor and was in a creative downtime, he either relieved excessive internal stress from the conjunction of the Moon with Uranus and Saturn through scandals with others or went into deep and prolonged binges (if at that moment he was not “hemmed” from alcohol intake).

8) In May 1978, when Oleg Dal's family was able, with the help of the directorate of the theater, where Oleg Dal then worked, to make an exchange and move into a 4-room apartment on Smolensky Boulevard in Moscow, transit Jupiter entered into exact conjunction with the natal Ascendant of the horoscope Oleg Dal (in my version of rectification), and transit Saturn was in conjunction with the cusp of the 4th house of Oleg Dal's horoscope. And just as Oleg Dal dreamed all his life of a separate office, which he received after improving his living conditions, moving into new apartment And overhaul in it, and after the realization of his dream, according to the stories of his wife, he was on a very high emotional upsurge, then this is a very serious additional indication that this variant of the horoscope configuration is correct.

9) In one of the letters to the director Efros, Oleg Dal bitterly wrote: “I am losing my I!”. And this is a very serious indication of the possible strong influence of the 1st or 12th house of the horoscope on the personality of a person.

======================

===============================

Here is a list of the main events in the life of an actor for which I carried out rectification with an indication of the years:

1) 1963 - marriage and divorce from actress Nina Doroshina.

2) 1965 - marriage and divorce from actress Tatyana Lavrova.

3) 1968 - the release of the film "Chronicle of a dive bomber", after which Oleg Dal became a famous and popular Soviet film actor.

4) 1970 - marriage to Elizaveta Eichenbaum (Dal).

5) 1973 - Oleg Dal "succumbed" to alcohol (the beginning of a 2-year favorable period in professional and family life).

6) 1978 - receiving a 4-room apartment on Smolensky Boulevard in Moscow.

7) 1979 - the beginning of the persecution of officials from the cinema and the beginning of serious health problems.

8) 07/25/1980 - the death of Vladimir Vysotsky and the strongest emotional depression of Oleg Dal, which led after some time to his death.

9) 03/03/1981 - the death of Oleg Dal from a heart attack

=====================================================

===============================

1963 - marriage and divorce from actress Nina Doroshina.

Directional Venus (ruler of the 5th house) conjunct natal Ascendant;

Directional Moon (ruler of the horoscope) in conjunction with natal Venus(ruler of the 5th house);

Directional MC square natal Venus (ruler of 5th house);

Directional Sun square natal Neptune in 5th house;

Transiting Mars in opposition to natal Uranus on the wedding day;

Transiting Pluto square natal Venus (ruler of the 5th house);

In December 1963, transiting Saturn in square with the natal Moon (ruler of the Ascendant) and natal Saturn (ruler of the Descendant) - most likely at this time Oleg Dal finally broke up with Nina Doroshina.

“Dal's first marriage was unsuccessful and fleeting. In 1963, after graduating from the Shchepkin Theater School, he entered the Sovremennik Theater and fell in love with one of the local actresses, Nina Doroshina. Their romance began not within the walls of the theater, but in Odessa - during the filming of the film "The First Trolleybus". Dal fell in love with Doroshina very much, and her heart was then given to another - the founder of Sovremennik, Oleg Efremov. But the circumstances were such that Efremov, having promised to come, did not show up in Odessa, and Doroshina was offended by him. That evening, she drank vodka, put on a dressing gown and went for a swim. However, in the water she suddenly became ill - she began to drown. Nothing would have saved Nina if her fellow actors had not been nearby. Dahl was among them. Hearing women's cries, young people rushed into the water, having managed to shout to each other on the run: "Whoever swims first, she will get it." Dal swam first. From that moment, their romance began.

After some time, Dahl was called to Moscow for the dubbing of another film. He promised to return in two days, but due to unforeseen circumstances he was delayed. Filming of The First Trolleybus could not continue without him, and Doroshina was asked to call Oleg from Moscow. When asked on the other end of the line who was calling, she replied: “Wife. Tell him to return to Odessa immediately.” On the same day, Dal broke from Moscow. When the next morning Doroshina looked out the window of the Krasnaya Hotel, the first person she saw was Oleg standing with flowers. When they returned to Moscow, Dahl made Doroshina a marriage proposal, and she accepted it. Since they didn’t have a lot of money at that time, wedding ring managed to buy only one thing - Dalia (for 15 rubles). The wedding took place on October 21, 1963, but it was at the wedding that everything ended. Efremov came there as a guest, who, being tipsy, did not find anything better than to sit the bride on his knees and say: “But still you love me more.” Dal shot out of the apartment like a bullet, and soon after that, he and Nina broke up.” (Fyodor Razzakov)

=====================================================

===============================

1965 - marriage and divorce from actress Tatyana Lavrova.

Directional Venus (ruler of the 5th house) trine natal Mars;

Directional Descendant trine natal Uranus (ruler of the 10th house);

Directional Saturn (ruler of the 7th house) conjunct natal Venus (ruler of the 5th house).

=====================================================

===============================

1968 - the release of the film "The Chronicle of a dive bomber", after which Oleg Dal became a famous and popular Soviet film actor.

Directional Uranus (ruler of the 10th house) trine natal MC;

Directional Ascendant in sextile with natal Jupiter.

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

The end of the 1960s was a good time for Oleg Dal. After several years of creative and personal troubles, everything turned out well for him. At the Sovremennik Theater, where he returned after a long break, Oleg received his first significant role - Vaska Pepel in Maxim Gorky's At the Bottom. The play premiered in 1968. In 1969, Oleg Dal brilliantly played the role of the Jester in the film G.M. Kozintsev "King Lear".

« Modern man- a man thinking, ”Grigory Kozintsev liked to repeat. And he associated the image of the Jester with modernity: “A boy with a shaved head. Art under tyranny. A boy from Auschwitz who is forced to play the violin in the band of suicide bombers; they beat him so that he chooses more cheerful motives. He has childish tortured eyes. Dahl suited Kozintsev perfectly. They admired each other. Kozintsev and Dahl were connected by something more than the relationship "director - actor" or "teacher - student". Kozintsev protected Dahl's talent as a fragile and priceless musical instrument. Merciless to any troublemakers on the set, Kozintsev only made exceptions for Oleg, forgiving his frequent breakdowns. The explanation sounded simple and prophetic: “I feel sorry for him. He is not a resident."

=====================================================

===============================

11/27/1970 - marriage to Elizaveta Eichenbaum (Dal).

Directional MC sextile natal Saturn (ruler of 7th house) and natal Moon (ruler of 1st house);

Directional Mercury (ruler of the 4th house) sextile natal Saturn (ruler of the 7th house) and natal Moon (ruler of the 1st house);

Directional Mars square natal Descendant;

Transiting Jupiter opposing natal Moon (ruler of Ascendant) and Saturn (ruler of Descendent);

Transiting Saturn conjunct natal Moon (ruler of Ascendant) and Saturn (ruler of Descendant).

Filming of King Lear took place in August 1969 in Narva. On August 19, 1969, Oleg met with his future wife, 32-year-old Elizaveta Eikhenbaum, who worked as an editor in the film crew. She was the granddaughter of the famous philologist Boris Eikhenbaum. All the time of filming, Dahl courted her, then invited her to Moscow. And when she arrived and called - did not know. Torn off from the rehearsal, he angrily threw: “What else is Lisa ?!”. She got offended and returned home. A few months later they met again at Lenfilm.

Elizaveta Dal said: “A few months later, when we met again at Lenfilm, it turned out that I then tore him away from the rehearsal. Touching Dahl at such a moment is a tragedy. But I didn't know about it then. On this visit, he stayed overnight with me for the first time. But I wasn't in love yet. The distance affected ... Oleg immediately became friends with my mother - Olga Borisovna and called her Olya, Olechka. Her father, my grandfather - Boris Mikhailovich Eikhenbaum - was a famous literary critic, professor, teacher of Andronikov and colleague of Tynyanov and Shklovsky. When my grandfather passed away, I thought that there were no such people anymore. And suddenly I discovered similar traits in Oleg. He rather old-fashionedly asked my mother for my hand. It happened on May 18, 1970. The next day, he flew with the Sovremennik Theater to Tashkent and Alma-Ata on tour ... The fact that I got to see the film King Lear played a huge role in my life. For me, there is still something mystical in this: if this film had not been shot by Grigory Mikhailovich, but by someone else, but Oleg had been filmed, we would not have become husband and wife. There was something here ... I remember the arrival of Grigory Mikhailovich for the next viewing of the material and his words addressed to me: “Liza, what Oleg was on the set with us yesterday !!!” I thought then - why does Kozintsev tell me about this, maybe he knows something more than me? Then I myself didn’t have any serious thoughts about Oleg and me ... Why did I marry Oleg, although I saw that he was drinking heavily? I was interested in him. I was already 32 years old, and I thought I could handle his weakness. I felt with some inner feeling: this person cannot be upset by a refusal ... ”The marriage between Oleg Dal and Elizaveta Eikhenbaum was concluded on 11/27/1970.

=====================================================

===============================

04/01/1973 - Oleg Dal "succumbed" to alcohol, the beginning of a 2-year favorable period in professional and family life.

Directional Sun conjunct natal Ascendant;

Directional MC in square with natal Mercury (ruler of the 4th house);

Directional Ascendant sextile natal Sun;

Directional Moon (ruler of the Ascendant) trine with natal MC;

Transiting Pluto trine natal Sun;

Transiting Pluto sextile natal Pluto;

Transiting Jupiter trine natal Sun.

From an interview with Lisa Dahl:

“Oleg drank terribly. At the same time, he became like Zilov from Duck Hunt, even scarier. He was not capable of killing himself, but somehow he almost stabbed me. In Gorky, on tour, he began to drink heavily, such, you know, an unfinished state when a person is completely brutalized. It was very hot, I was lying in the room in one bathing suit. He ran a knife across my stomach and said: “So what! I don't care, I'm not going to live anyway. How subtle, intelligent, generous he was, just as terrible, dirty and cruel in drunken courage. I didn’t sleep, I suffered, I hid, when he came home drunk in the trash, Olya was busy with him. At the same time, he was unusually clean. Whatever stage I was in, the first thing I did was go to the bathroom. Olya was afraid that he would break the column, and always said: “Olezhechka, don’t throw a hook. Lie down in the bath, get some water and call me. I will help you". Once Olya enters the bathroom and sees a picture: Oleg Ivanovich lies in all his splendor in cold water with an extinguished cigarette in his mouth and sleeps in a blissful sleep, without even turning on the igniter. She turned off the water, yelled at him: “I am a woman, and you are lying in front of me in your natural form!” She helped him up, put on a dressing gown, and put him to bed. I slept on a cot that night. There was no money, we forgot what coffee was, and Olya and I were selling things that were sent to us from France. And somehow, when he almost strangled me and I, having escaped, sat up in the attic until evening, Olya, unable to stand it, told him: “Oleg, leave for Moscow” and gave 25 rubles for the road. I must say that he left very beautifully: he washed himself, dressed elegantly and went into our kitchen: “That's it. I went. Can I keep the key to the apartment? - "Yes". I already loved him again, my heart bled, I felt so sorry for him. But still she held herself and did not run after him. It was in March, and on April 1, suddenly a call: “Lizka, I’ve been sewn up for two years!” "This is no joke!" I cut him off sharply. But it was true, he, in company with Volodya Vysotsky, really screwed up. The next day I enter the apartment, Oleg stands at the window, makes a gesture with his hand, I stop. He turns his back, unbuttons his pants and shows a patch on his ass: "Here's my torpedo!" After the torpedo, the former Oleg disappeared for a long time, as if he had never existed. A real happy life began...

For the last ten years that we lived, he periodically drank when he was out of time, then again hemmed himself and did not drink for years. It was impossible to offer him to sew up; he himself had to decide on this. He said this: “Don’t let me out of the apartment for three days, I’ll cry, beg - don’t listen. We're going to the doctor in three days." He never arranged drinking parties at home - if he wanted to drink, he left home for the WTO, IDL, Cinema House. I couldn't stand drunk acting companies.”

=====================================================

===============================

1978 - receiving a 4-room apartment on Smolensky Boulevard in Moscow.

Transiting Saturn has entered the 4th natal house;

Transiting Jupiter has entered the 1st natal house;

Directional Jupiter conjunct natal Ascendant.

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,” Lisa recalls. - Oleg, me, mom and a sense of humor. When someone unexpectedly came to us, I could not say that Oleg was not at home, because in the apartment from somewhere his leg, then his arm, then his nose always stuck out ... Oleg's mother lived in a two-room apartment in Lyublino. 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, he improved it in every possible way. A strange story is connected with this apartment in the very center of Moscow, which the artist adored. 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".

During the repair in the new apartment, they made an office for Oleg Dal from the hall, and his happiness became simply prohibitive. 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 at night. And then I’ll fall asleep on the couch, in the office. ” Olga Borisovna exclaimed: “Olezhechka! But the sofa is narrow. - “I am also narrow,” Dal reassured his mother-in-law.

=====================================================

===============================

1979 - the beginning of the persecution of movie officials and the beginning of serious health problems.

Transiting Uranus in opposition to natal Saturn and the Moon;

Transiting Uranus square natal MC.

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

By the time of the release in 1980 on the screen of the film "The Adventures of Prince Florizel"

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

=====================================================

===============================

07/25/1980 - the death of Vladimir Vysotsky and the strongest emotional depression of Oleg Dal, which led after some time to his death.

Transiting Uranus in opposition to natal Saturn and the Moon (exact aspect 07/25/1980);

Directional Uranus conjunct natal Ascendant.

During the filming of the film "Uninvited Friend" Oleg Dal learns about the death of Vladimir Vysotsky. According to eyewitnesses who saw Dahl at the funeral, he looked creepy and repeated: "Well, my turn is coming soon." After the funeral of Vysotsky, Dahl is increasingly visited by thoughts of death. Diary entry: “October, 1980. I began to think often about death. Disappointing worthlessness. But I want to fight. Cruel. If we leave, then leave in a frantic fight. With all the remaining strength, try to say everything that I thought and think. The main thing is to do it! The topic of death was also touched upon by Oleg Dal in a conversation with colleagues and relatives. L. Maryagin recalls: “Dal drank a glass of beer and did not touch anything else. We spoke with Anatoly Romashin about the difficulties with which the film was shot. Dal was silent, looking past us. And only half an hour later he asked A. Romashin: - Tolya, do you live there? (A. Romashin then lived near the Vagankovsky cemetery). - Yes, - answered Romashin. “I’ll be there soon,” Dahl said…”

On Vysotsky's birthday on January 25, 1981, Dal woke up in the morning and told his wife: “I dreamed of Volodya. He is calling me."

Dal and Vysotsky were not friends; rather, they were brothers in spirit and like-minded people. Their last meeting took place in May 1980. Then Oleg Dal came to Vysotsky's house, very drunk, he could not appear at home like that. V. Vysotsky sang his songs to him, and Oleg silently listened.

Poems by Oleg Dal after the death of V. Vysotsky:

V. Vysotsky. Brother

Now I remember...

We said goodbye ... Forever.

Now I understand... I understand...

Rupture of the trace

Beginning of May...

I stumble...

Words words words.

Magpie beats with its tail.

Snow falls, exposing

The naked coldness of the branches.

And here's the last chapter

Smelled like a rose bush

Longing and deceit, promising

And died in my chest.

Peace - peace ...

And loneliness and anger

And I cry in my sleep, and wake up ...

Resentment is a silver month.

Branding is a burning test.

And again I repent. I confess. I confess

Holding a broken heart...

=====================================================

===============================

03/03/1981 - Oleg Dal's death from a heart attack

Directional Uranus (ruler of the MC) conjunct natal Ascendant;

The axis of the directional lunar nodes entered into exact conjunction with the natal axis of the MS-IS;

Transiting Black Moon in opposition to natal Black Moon;

Transiting Uranus opposing natal Jupiter (ruler of the 6th house) in the 12th house;

Transiting Neptune square natal Neptune and opposition natal Mercury;

Transiting Mercury in square with the natal Moon (ruler of the horoscope) and natal

Saturn (ruler of 7th and 8th house) in 12th house;

Transiting Pluto trine natal Mercury in 12th house;

Transiting Sun square natal Venus in 12th house;

Solar Sun in the 8th house of solar;

Solar Pluto conjunct Solar Ascendant.

In early March 1981, Oleg Dal went to Kyiv to audition for the film "An Apple in the Palm".

On March 3, 1981, Dahl has dinner at a hotel with his film partner Leonid Markov, then leaves for his room with a gloomy joke - "I'll go to my place to die." In the morning, Oleg Dal was found dead in bed in his hotel room. Doctors diagnosed death from heart failure.

There are two versions about the cause of Oleg Dal's death. According to one version, Oleg Dal deliberately or out of desperation poured a critical dose of vodka into himself, realizing that the next sewn-in "torpedo" would react to it with a sharp jump in pressure. According to this version, Oleg Dal's departure from this world was quite conscious. According to another version, the actor's heart stopped on its own, unable to withstand the enormous psycho-emotional stress of the last two years of his life (the opposition of transit Uranus with the natal Moon-Uranus-Saturn conjunction in 1979-1980).

From my point of view, it could be either one or the other, because. on the one hand, in the directions, transits and the solarium there are strong indications of the death of Oleg Dal during this period, and on the other hand, the death of the actor occurred at the time of the exact square of transit Neptune to natal Neptune and opposition to natal Mercury, namely, on previous intense transits Neptune to natal sun and Venus, the actor went into long and deep binges. I think that by March 1981 Oleg Dal was so mentally and physically exhausted that he could at that moment forget about the mortal danger of a “torpedo” and drink very seriously (consciously or unconsciously striving for death) simply trying to get away from reality and his inner torments and experiences in alcoholic oblivion.

From the memoirs of Elizabeth Dahl:

“Did he foresee his own death?

Oleg was not going to die, but, as a person with a very subtle perception, for the last six months he subconsciously felt that he would die soon. He understood that it would be, that he was ready, that he knew. Sometimes he said things to me...

We were lucky at the end of his life - we rented a dacha in Monino on the cheap. Half of January and all of February we lived in a wonderful house. I somehow entered from the kitchen into a huge hall - he was sitting on the floor and watching some kind of cartoon on TV. Small and with such a sad, sad back of the head. I came up behind: “What is the matter with you, Olezhechka?” He didn't even turn around, "I feel so sorry for all three of you." I realized that he meant our mothers and me. This was literally two weeks before his death. Oleg, by the way, was very stingy with words. When we were leaving the dacha, my liver ached. He never liked to speak tenderness, although he was terribly tormented by pity. I tried to hide unnoticed. He suddenly asked, "Does it hurt?" - “Ah, nonsense! Now we'll come, I'll take you on a trip. I’ll find a boiler, cook raisins, croutons.” He suddenly interrupted me: “No, first you get into a hot bath, take a pill, put on a band-aid ... You need to be very healthy now.” And I didn’t even suspect that he knew how I was treated during attacks. It was two days before his death - on March 1, he left for Kyiv to shoot. Usually, to hide pity, he grumbled: “Well! She ate something or lifted something heavy. Will know!" Last month, he, being so stingy with words, spoiled me with attention, words and praises, which was not the case for all ten years.”

=====================================================

===============================

Lyrics of the song "There is only a moment (from the film "Sannikov Land")" (A. Zatsepin)

(In the film "Sannikov Land" Oleg Dal was not allowed to perform this song, and in his performance it came out only together with songs from films performed by Oleg Dal).

Everything is ghostly in this raging world.

That is what is called life.

Eternal peace is unlikely to please the heart.

Eternal rest for gray pyramids,

And for the star that gathered and falls

There is only a moment - a dazzling moment.

Let this world fly into the distance through the centuries.

But not always on the way to me with him.

What I value, what I risk in the world -

In one moment - only in one moment.

Happiness is given to meet, but still trouble

There is only a moment - and hold on to it.

There is only a moment between the past and the future.

That is what is called life.

Rectification (determining the time of birth) ==

Clarification of the time of birth (rectification) according to the most important life events that have already occurred and their dates (marriage or divorce, the birth of a child, periods drastic changes or the emergence of difficulties in partnerships, moving, emigration, significant career success, cardinal changes in family life, death of loved ones, etc.)

The cost of rectifying a horoscope with an uncertainty in the time of birth up to 6 hours - $ 80

"My rectifications of horoscopes of actors of Soviet and Russian cinema on the site Astro-Zodiak.ru" [email protected]

=====================================================

Dal Oleg Ivanovich

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“Modern man is a thinking man,” Grigory Mikhailovich liked to repeat. And he associated the image of the Jester with modernity: “A boy with a shaved head. Art under tyranny. A boy from Auschwitz who is forced to play the violin in the band of suicide bombers; they beat him so that he chooses more cheerful motives. He has childish tortured eyes. Dahl suited Kozintsev perfectly. They admired each other. Kozintsev and Dahl were connected by something more than the relationship "director - actor" or "teacher - student". Kozintsev protected Dahl's talent as a fragile and priceless musical instrument. Merciless to any troublemakers on the set, Kozintsev only made exceptions for Oleg, forgiving his frequent breakdowns. The explanation sounded simple and prophetic: “I feel sorry for him. He is not a resident." It was after talking with Kozintsev that Dal began to keep his diary-confession, in which a couple of years later he had to write: “Day 11.V.73 - BLACK ... GRIGORY MIKHAILOVICH KOZINTSEV is gone.”

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

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

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

From the diary of Oleg Dal:

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

INDIFFERENCE has begun!

My hatred has begun!

Hatred is real.

Fight for destruction.

And the greatest contempt and indifference! ..

MARCH. 1976. THE BEGINNING...

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

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

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

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

Iosif Kheifits in "Bad Good Man" Dahl played Laevsky.

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

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

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

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

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

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

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

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

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

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

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

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

SOCIALISM - AND WHAT OF THIS ...

The most hated definition for me.

Socialist realism is the death of art.

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

Social realism is a definition that has no definition.

Socialist realism is nothing, zero, emptiness.

Nature does not like emptiness.

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

Socialist realism involves various awards and titles!..

18.IV - 25.IV. 1976.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

But Maryagin nevertheless approved Dahl for the role of Sviridov.

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

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

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

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

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

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

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

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

Tolya, do you live there?

Romashin then lived near the Vagankovsky cemetery.

Yes, - answered Romashin.

I’ll be there soon,” Dahl said…”

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

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

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

Oleg Dal was buried at the Vagankovsky cemetery.

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

Your browser does not support the video/audio tag.

Text prepared by Andrey Goncharov

Used materials:

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

Filmography:

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

You can’t keep track of the marriage unions of celebrities: some get married, others disperse. No wonder, because their life is constant tours, shootings and new acquaintances. Today we will tell you about those marriages that you may not have known about, and if you knew, then you forgot.

Vladimir Basov and his women

Vladimir was fond of women instantly, he was not afraid of any obstacles, so he achieved everything he wanted. Basov chose women younger than himself as his wife. The first marriage, with actress Rosa Makagonova, did not last long. She starred in his films "The collapse of the emirate", "Extraordinary summer" and "School of courage". After the divorce, Rosa stopped acting in Basov's films, although she maintained friendly relations with him.

The second wife of the actor was Natalya Fateeva, the marriage with which lasted 5 years. Natalya gave birth to Vladimir's son, who later became a famous director.

The third marriage of the actor was the longest and lasted as much as 17 years. His wife was Valentina Titova, who was 19 years younger than Vladimir. In marriage, Valentina and Vladimir had two children: Alexander and Elizabeth. Interestingly, Valentina left Basov for cameraman Georgy Ivanovich Rerberg. The children stayed with their father during the divorce.

Evgeny Urbansky and his women

The first wife of Eugene was Olga Urbanskaya. The marriage was early and short, but still fruitful. From Evgeny Olga gave birth to a daughter, who was named Alena. While working at the Stanislavsky Theater, the actor met actress Tatyana Lavrova, their marriage ended in a break a few years later. They just didn't get along well because both were too confident and strong personalities.

Eugene met his third wife, Dzidra Rigenberg, at the Moscow Film Festival in 1960. Three weeks after the first meeting, Dzidra was admitted to the hospital, and after being discharged, Urbansky took his beloved to the registry office. Their marriage was happy and could have lasted forever, if not for the tragic death of Eugene on the set of the film "Director". In marriage, Eugene and Dzidra had one child.

Oleg Dal and his women

The personal life of the actor was as interesting as he was. At the Sovremennik Theater Oleg met his first wife, actress Nina Doroshina. Interestingly, when marrying Oleg, Nina loved another person, so their marriage did not last long. With his second wife, actress Tatyana Lavrova, Dal lived only 6 months, after which he divorced.

On the set of the film King Lear, the actor met Elizaveta Eikhenbaum, a woman who made him happy. It was with Elizabeth that Oleg lived until his death. The actress herself considered her husband a real treasure and after his death did not marry, because she did not see him a worthy replacement.

Alexander Zbruev and his women

The famous Russian actor was married twice. The first romance began with Alexander and Valentina Malyavina, they got married when they were both only 17 years old. Valentina even had to transfer to night school and get special permission from the district council. At first, everything was fine with Alexander and Valentina in family life, but the relationship gradually faded away. The reason was the unsuccessful pregnancy of Valentina, which ended in a miscarriage. After 4 years of marriage, the young people divorced.

Zbruev has illegitimate daughter Tatyana from actress Elena Shanina.

In 1967, the actor married actress Lyudmila Savelyeva, with whom he lived a long and happy life. But in the 90s, rumors appeared about the divorce of Alexander and Lyudmila, which the actor did not comment on. It is known that Lyudmila gave birth to Alexander a child. In addition, Zbruev has an illegitimate daughter, Tatyana, from actress Elena Shanina. Alexander is currently unmarried.

Lyudmila Tselikovskaya and her husbands

Lyudmila's first marriage took place in the second year of the theater school. Then she married her classmate Yuri Alekseev-Meskhiev, but their marriage did not last long. The second husband of the actress was the writer Boris Voitekhov, with whom she lived for several years, but ultimately also divorced.

In 1943, on the set of the film "Air cabman", Tselikovskaya met the famous comedian of the Soviet cinema, Mikhail Zharov, whom she married. By the way, Mikhail was 20 years older than Lyudmila, but this did not stop them from being together.

In 1948, fate brought the actress to the architect Karo Alabyan, as a result of which Lyudmila left her husband Mikhail. The comedian was inconsolable. From Karo, the actress gave birth to a son, Alexander, in whom she simply did not have a soul. It was marriage with Alabyan, despite all the difficulties in family life, that Lyudmila considered the happiest. But in 1959 Caro died. In the 1960s, Lyudmila married for the fifth time - to the chief director of the Taganka Theater, Yuri Petrovich Lyubimov. The marriage with the director lasted 20 years and was the most dramatic in the life of the actress.

Tatyana Samoilova and her men

Soviet actress Tatyana Samoilova was married four times (3 officially, 1 in a civil marriage). The first husband of the star was Vasily Lanovoy, whom she met while studying at the Theater School. Schukin. This marriage lasted two years.

Tatyana's second marriage took place in 1958, she married the writer Valery Osipov. The marriage lasted 10 years, but it is known that the actress cheated on Valeria with director Solomon Shulman.

The third husband of the actress was the administrator of the Studio Theater of the film actor Eduard Mashkovich, the marriage with which lasted 5 years. In marriage, Tatyana gave birth to a son, Dmitry. After the divorce, Edward did not see his son for 40 years, and their meeting took place in 2013 on the “Let them talk” program.

Liya Akhedzhakova and her men

The famous actress was married three times.

Leah's first husband was the actor of the Maly Theater Valery Nosik, with whom she worked at the Youth Theater. Valery and Leah did not have children, this was one of the reasons for the divorce. The second husband was the artist Boris Kochashvili, from whom the actress also had no children. What was the reason for this divorce is not known for certain.

In 2001, Leah married Moscow photographer Vladimir Persiyaninov. Vladimir became a real support and support for the actress, next to him she literally rejuvenated. The photographer is several years younger than Leah, and they almost never appear together in public. In an interview, Leah said that Vladimir is the man she has been looking for all her life. The only thing the actress regrets is that she has no children.

Anastasia Vertinskaya and her men

IN student years Anastasia met Nikita Mikhalkov (a famous director and actor), whom she immediately fell in love with. Young people got married in 1966, when they were 21. At first, the newlyweds had to live with Nikita's brother, Andrei Konchalovsky. Nikita and Tatyana have a son, Stepan, a well-known restaurateur.

The marriage lasted 3 years, after which the young people divorced by mutual consent, without reaching full understanding.

In 1976, Anastasia married the famous singer Alexander Gradsky. Marriage brought the actress neither disappointment nor joy. Anastasia herself did not consider Gradsky a real husband.

As for civil marriages, the longest companion in Anastasia's life was Oleg Efremov, whom she never married.