When will the merger of the FSB FSO and the SVR take place? The Ministry of State Security can be created on the basis of the department. Two FSB reforms did not work out


At Lenfilm Soviet years There was an unwritten law among the editing shop employees: don’t fall in love with actors! But Elizaveta Eikhenbaum 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, loved ones - perhaps could not or did not want to fully see in this person: tenderness, sensitivity, vulnerability, defenselessness... “A man without skin “,” Elizaveta Dahl said about her beloved. Together they lived ten difficult, tragic and happy years, in which there was everything: joy and peace, quarrels and resentments, meetings and partings... Being the wife of a talented artist is always not easy, especially for an artist of such a type 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, and drank. It was not awarded any film awards. With bitter irony, Oleg Dal called himself not a folk artist, but a “foreign” artist. But the woman destined for him did not love “in spite of something” and not “for something” - she simply loved and was happy that her love was mutual. Elizabeth considered the years she lived together with Dahl to be “the greatest gift of Fate.”

They met on August 19, 1969, when Elizaveta Eikhenbaum celebrated her thirty-second birthday in a restaurant. It was in Narva, on the set of the film “King Lear” directed by G. M. Kozintsev. Oleg Dal played the role of the Jester in this film, and Lisa worked as an editor. “The fact that I got to see 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 had been directed not by Grigory Mikhailovich, but by someone else, but Oleg had acted, 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 like at our shoot yesterday!!!” I thought then - why is Kozintsev telling me about this, maybe he knows something more than me? Then I myself did not yet have any serious thoughts about Oleg and me...” They did not have any romance on King Lear. But it’s strange - 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 I surprised myself. Why did she suddenly say these words? Where did she get the confidence that she could create family, home happiness for this person? However, that’s exactly what happened. Dahl came to her, and they were together until his death.

Elizaveta Dal recalls how they met in Leningrad for the first time after filming King Lear: “It was at that time that I had an affair with Seryozha Dovlatov, who was then serving as the secretary of the writer Vera Panova. One evening he was sitting at my house, we were grilling meat and drinking vodka. Oleg called and asked permission to come. I invited him. And so two of my fans spent the whole evening trying to outsit each other. At some point, I called Oleg into the corridor and invited him to leave with Seryozha, and then return himself. He looked at me so angrily, but obeyed... I saw in his eyes that he terribly did not like it. Then, when I got to know Dahl well, I realized that he did not love and did not know how to be cunning. Never and in nothing. Even in small things. So: Oleg Dal and Seryozha Dovlatov left together, and then Dal called me from a payphone. He asked very sternly: “Well, what do you say?” I simply said: “Come.” He came... Early in the morning he had to go to the airport - he was flying with the Sovremennik Theater to Tashkent and Alma-Ata on tour... Before leaving, Oleg suggested waking up his mother, saying that he wanted to ask her for my hand in marriage. . “We must register, since we will travel a lot and live in hotels. I don’t want us to be put 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 had no intention of changing her maiden name, but at the registry office Oleg looked at her so sternly and beamed like a child when she agreed to become Dal...

“Why did I marry Oleg, although I saw that he drinks heavily? It was interesting for me to be with him. I was already 32 years old, and I thought that I could cope with his weakness. I felt with some inner feeling: this person cannot be upset by 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 would break down again... “Then Oleg drank seriously, and I couldn’t get used to it, not “I could cope,” recalled Elizaveta Alekseevna. “It was mainly my mother who managed it, who adored him from the very first day, and he did her too.” There was a moment when I simply couldn’t go to work - he didn’t come to spend the night or he came after being robbed, they took off his watch, his hat... I had to go to the sobering-up center for him. And at the same time, there were wonderful months when he didn’t drink and everything was wonderful... Oleg understood perfectly well that our life was falling apart, he really wanted to get rid of this habit. All this is written down in his diary. He understood, but he couldn't do anything. Although he was a man of very strong will.”

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

Before meeting each other, both Lisa and Oleg already had experience family life. Dahl 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 it didn’t work out for us. “It’s not surprising that nothing came of it,” Oleg Dal said 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 building for a two-room Khrushchev apartment at the end of Leninsky Prospekt. The apartment was tiny, the audibility was terrible, the old lady living on the floor below was quite seriously indignant: your kittens are stomping around and disturbing me from sleeping... However, the new residents were not discouraged. “The four of us lived there,” recalls Lisa. - Oleg, me, mom 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, his hand, his nose would always stick out... Oleg’s mother lived in a two-room apartment apartment in Lyubli-no. At this time, Oleg moved from Sovremennik to the Theater on Malaya Bronnaya, whose director was then Dupak, a very enterprising man. 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. Dupak helped us. In 1978, we moved to a four-room apartment on Smolensky Boulevard. Oleg fell in love with this apartment of his and improved it in every possible way.” There is a strange story connected with this apartment in the very center of Moscow, which the artist adored. Once Oleg Dal and actor Igor Vasiliev drove past this house - it was still under construction - and said: “I will live here, this will be my home.” He said it and forgot. I remembered only ten years later when I came here with a inspection warrant. Dahl was happy in this apartment. Previously, he often called himself a tramp and said that he did not like home, but now everything has changed. “This is not an apartment,” he said. - This is a dream". But the feeling of homely warmth and comfort came to him not only and not so much thanks to the new home, but mainly thanks 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 ally 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,” says Elizaveta Alekseevna.

Dal adored his mother-in-law Olga Borisovna, and she reciprocated his feelings. “I liked him at first sight. Amazing eyes... - said O. Eikhenbaum. “When I looked at him for the first time, I said to myself: “Well, my Lisa has disappeared!” I knew that he had been single for a long time, separated from Tanya Lavrova and lived alone for five years... By the way, I did not have the impression that he fell 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 be with him. I didn’t love all of Liza’s fans, so I wouldn’t be an easy mother-in-law for everyone...” Dahl called his beloved mother-in-law Olya, Olechka. Lisa started calling her mother the same way. Oleg Dal also called his women Senior and Junior Kangaroos. He called me without malice and anger - kindly. "Why kangaroo?" — they once asked Elizaveta Alekseevna. She laughed in response: “Probably because we were carrying very heavy bags.”

Then they turned the hall into an office for Oleg, and his happiness became simply transcendental. He could, whenever he wanted, be alone with himself. I read, wrote, drew, listened to music. Now he said to Elizaveta Alekseevna seriously and ceremoniously: “Madam! You are free for today. I'll write to someone tonight. And then I’ll fall asleep on the sofa in the office.” Olga Borisovna exclaimed: “Olezhechka! But the sofa is narrow.” “I’m narrow too,” Dal reassured his mother-in-law. Oleg later brought his mother to Smolensky Boulevard. Both mothers - Oleg’s and Lisa’s - 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 benefit to cinematography than sitting at the editing table. They can replace you there." And Lisa began to serve Oleg. And I never regretted it. The wife of one actor once told Lisa: “Of course he loves you! Why not love... You tell him every day from morning to evening that he is a genius.” Lisa laughed. Even if she told Dahl that he was a genius, it was only as a joke; he would not have allowed her to do so seriously... Maya Kristalinskaya, with whom Dahl once introduced Liza, looked at her carefully and said: “You probably very happy". Elizabeth thought about it and after a short pause agreed: “Yes.” But since then I have answered this question 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 truly happy; not after, not later, when everything passes and you suddenly come to your senses and start killing yourself: oh, it turns out I was happy then and didn’t know, didn’t 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, on the set of the film “Omega Option” in Tallinn, Oleg gave her a bucket of roses. Exactly thirty-six pieces, and there, in Tallinn, introducing her to Rolan Bykov, he said proudly and significantly: “Lisa Eikhenbaum, she is Countess Apraksina, she is now Dal.” They both greatly appreciated and treasured such bright flashes of happy moments that happened in their lives. These memories helped Elizabeth survive when Oleg was no longer around. Of course, they brought not only comfort, but also pain and suffering. “It’s strange: when I remember our life, I see THEM together, HIM and THAT Lisa. Not me. THAT Lisa was buried along with Oleg, and I remained as some kind of witness,” E. Dal recalled. - This is not a fictitious image, but my feeling. I always see not myself and him together, but the two of them. I do not know why...". Dahl was alone in the acting environment. Lisa understood this better than anyone else. She introduced him to wonderful writers - Shklovsky, Andronikov, Kaverin. I adored the distance of these great old men. And they loved him dearly. But still, Oleg Dal did not have truly close friends. He was a closed person, and to those around him he often seemed gloomy and unsociable, although this was not the case. “Oleg seemed to many to be 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. One day Oleg portrayed an old man very funny, and I suddenly became scared: I realized that he himself would never be an old man. I never left the feeling that he was connected to life by a thin thread that could break at any second.” Oleg Dal did not have the chance to fulfill his old dream. It seemed that it had almost come true - the artist was invited to Kyiv to play in the long-awaited comedy, but three days after arriving in Ukraine - March 3, 1981 - Oleg Dal passed away. He had a presentiment of his departure - the artist’s diary contains thoughts about death. In October 1980, he wrote: “I began to think often about death. The nothingness is depressing. But I want to fight. Cruel. If you are going to leave, then leave in a furious fight. Try my best to say everything that I have been thinking and thinking about. The main thing is to do it." He never showed his Diary, which the artist kept since 1971, 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 diary in full 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’m next,” Dahl said at the funeral of Vladimir Vysotsky, who was not his friend, but who is very close to him spiritually. At about the same time, he said the following phrase to actor A. Romashin, who lived not far from the Vagankovsky cemetery: “Tolya, do you live there? I'll be there soon." And yet, although thoughts of death haunted him, the actor did not strive for it, as many of his colleagues believed. Some of them even thought that Dahl had committed suicide. The fact that Oleg Dal did not want death is confirmed by the artist’s widow: “Oleg loved life very much. All these are dirty rumors that he drank a lot and died due to 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 committed suicide. And he simply died in his sleep from cardiac arrest; his heart had been weak since childhood. In recent months we have lived in Monino, at a dacha near Moscow. During this time he told me a lot good words. One morning he came to the kitchen and said that he had a dream about Volodya Vysotsky, who called him with him. I answered: “Volodya will wait for the rain, Olezhek, he won’t be bored there.”

Already “after everything,” one friend told Lisa Dahl: “Now you will always wonder about him. You will leave the house, and suddenly someone’s gait, someone’s turn of the head, someone’s facial features will remind you of him.” But no one, ever, anywhere, or anything reminded her of him. “Even before I met Oleg, when I just watched him in the movies, he struck me with some kind of otherworldliness. He remained so alien,” said E. Dahl. It was not by chance that Dahl called himself a “folk” artist, but a “foreign” artist. There really was a sense of foreignness about him. At the same time, he was a very demanding person towards himself, towards art and towards his colleagues. E. Radzinsky said very well that Dahl was sick with a wonderful disease - mania of 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 brilliantly 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 film “Sannikov Land”. He and Disa enjoyed watching the rest together—it “was almost a family ritual.” When her husband died, Elizaveta Dal watched films with his participation even more often. “This is a meeting for me every time. One-sided, but a meeting,” she said. “Besides what is shown on TV, I also have tapes, I watch when I want, and this is a joy for me.”

After the death of her husband, Elizaveta Alekseevna made no attempts to re-arrange her personal life. “I couldn’t replace Oleg with anyone. After all, I never fully recognized him. He was an absolutely mysterious, enigmatic man. I could guess his every desire, understand his condition, forgive anything, but as a person and as an artist he remained a complete mystery to me.”

Elizaveta Dahl survived her husband by twenty-two years. For twenty-two years she kept the memory of him. No hysterics, no stress, no public suffering. She simply loved him. As if he hadn't died. Her love for him was quiet, restrained, lively, warm, delicate. Lisa Dahl has never played the role of an inconsolable widow. I wasn’t looking for the right acquaintances. A Lately I almost never 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 so that I have someone to tell about the actor and person Oleg Dal...”

The widow of the great actor died before five days before his birthday. On May 25, 2003, Oleg Dahl would have turned 62 years old. The years lived without a husband were not easy for Elizaveta in all respects. She didn’t have children, but Lisa had to take care of two mothers - hers and Oleg’s. After long break she went to work at the Soyuz-sportfilm studio - at Mosfilm, where there were many acquaintances, she didn’t want to go. When, a few years later, both mothers, one after the other, passed away, Lisa 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 loved her like a daughter, and she became Larisa’s second mother. “Lisa was very sick,” L. Mezentseva recalled about the last days of E. Dal’s life. - She was tortured bronchial asthma and ischemia. We bought necessary medications, but her pension and my salary, even if we didn’t eat anything for a year, wouldn’t 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, I feel much better today!” I worked calmly, 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 was so exhausted that she simply had no more strength left...

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

Dal Oleg Ivanovich

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

Oleg Dahl spent his childhood 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 sailor, but while studying at school, Oleg developed heart problems, and he had to give up his dream of a heroic profession. Oleg became interested in poetry. After reading Lermontov's A Hero of Our Time, Dahl decided to become an actor, hoping to one day play Pechorin.

After graduating from high school in 1959, Oleg Dal applied to the Shchepkin Theater School, but his parents were categorically against this decision of their son, as they considered the acting profession to be frivolous. In addition, Oleg had a lisp since childhood and could have failed the first exam. However, Oleg did not intend to become a laughing stock in the eyes of the admissions committee; he corrected his burr as soon as possible, and forced his parents to come to terms with his desire to become an artist.

During the exam at the school, Oleg Dal chose two passages to read: Nozdryov’s monologue from “Dead Souls” and a piece from “Mtsyri” by his favorite poet Mikhail Lermontov. During the first performance, there was loud laughter in the audience. Tall and thin Oleg, reciting Nozdryov’s monologue with pathos, brought the examiners into a state close to fainting. Although it seemed to Dahl himself at that moment that the matter had failed, he decided to go to the end. When the laughter died down, he began to read an excerpt from Mtsyri. The examiners looked at each other in surprise - instead of the boy who had caused laughter a moment ago, there stood in front of them an enthusiastic young man with an excellent speech. As a result, Oleg Dal was enrolled in the first year of the school, which was headed by Nikolai Annenkov. Vitaly Solomin, Mikhail Kononov and Viktor Pavlov took the same course.

In 1962, two film directors at once 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 audition, and Agranovich approved him for the main role in the film The Man Who Doubts.

At the time of the release of this film 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 theater, the candidate was required to pass a two-round exam. 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 thunderous applause outside the doors, she looked in and saw Oleg completing a passionate monologue on a high windowsill, then flying in an unimaginable arc into the middle of the hall and a second later modestly stopping with the window handle torn off among general delight.

Once in Sovremennik, Dahl did not play significant roles for five years. But from what he played, we can name the roles of Heinrich (the main role) in “The Naked King”, Misha in “The Forever Living”, Kirill in “The Big Sister”, the dwarf Thursday in “Snow White and the Seven Dwarfs”, Marquis Brisailles in “ Cyrano de Bergerac", Igor in "Always on Sale", Pospelov in "Ordinary History" and an episode in "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 newlyweds, sat Doroshina on his lap and said: “But you still love me, little one!” All this happened in front of Dahl, who left his own wedding. The second time Dahl married actress Tatyana Lavrova. Two years later they divorced. The actor, who was pestered with questions about the reasons for the breakup, once said: “She was angry” - and nothing more.

The next film with Dahl’s participation was the film “The First Trolleybus” directed by Isidor Annensky. It was filmed in 1963 at the Odessa Film Studio. The film also stars Mikhail Kononov, Evgeny Steblov and Savely Kramarov. The film was released across 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 is Being Built” by Oleg Efremov. Efremov’s film was played by Sovremennik actors and told about a youth brigade 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 direct a film based on Bulat Okudzhava’s script “Zhenya, Zhenechka and the Katyusha.” The director did not have a performer for the main role, but two years earlier, when he was going to shoot “Kyukhlya” based on the work of Yuri Tynyanov, his colleagues strongly recommended that he look at Dahl. Bloodworm never saw Dahl, but he remembered his last name. And now I decided to meet. The director recalled: “The first meeting with Oleg revealed that in front of me was an extraordinary personality, that the essence of the artist’s personality coincided with what was necessary for the conceived image. This was that rare case when the artist appeared as if from the imagination, having already put 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 eye-catching cherry corduroy jacket, an extravagant, fashionable rarity at that time. He was not yet twenty-five, but unlike his peers and colleagues 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 he was bombarded with offers even without us. He listened attentively, answered questions briefly, pondering his words, behind which a condescending subtext could be discerned: “The role seems to be not bad. If we agree on positions, maybe I’ll agree.”

As soon as the screen test with Dahl was filmed, there were opponents at the studio in choosing such an actor. Dahl was accused of lacking spontaneous charm, of insufficient brightness and inability to play an “intellectual boy.” There was even an opinion that “... his appearance lacks the Russian national principle.”

But the director and screenwriter managed to defend Dahl, and filming began. They took place in Kaliningrad. According to the participants in that filming, the center of the entire team were two actors - Oleg Dal and Mikhail Kokshenov. Their continuous jokes brought the whole group to colic. Vladimir Motyl recalled: “Dal and Kokshenov were driving in a filming car through the center of Kaliningrad. While they were working, they were playing pranks on each other all the time, and on that day some special rein got under their tail. Dahl suddenly jumps onto the pavement and runs across the street towards some fence, waving a fake machine gun and firing from it from time to time. Kokshenov also jumps and runs after him with the same machine gun, yelling: “Stop, you bastard, stop!” Passersby watch the scene in horror until a real military patrol appears. The officer in charge is sweating from the tension of thought: it looks like Dal and Kokshenov are wearing a Soviet military uniform, but something different. "Who are they?" - he asks the artists. “Naval cavalry, Comrade Major,” Kokshenov reports. “Railway fleet, Comrade Major,” Dahl reports. And this guy was actually a captain of the 3rd rank, and they finished him off as a “major”. He didn’t know any artists and sent our guys to the guardhouse under escort. With great difficulty we rescued them from the clutches of army justice.”

At the beginning of 1967, filming of the film was completed, but its distribution fate was sad. The premiere screening of the film at the House of Cinema was prohibited, and Bulat Okudzhava hardly managed to agree on showing 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 officials’ attitude towards the film did not change. It was ordered to print a minimum number of copies and limit it to a minimum distribution in the provinces.

At the time of the release of the film “Zhenya, Zhenechka and Katyusha,” Dal was starring in another film directed by N. Birman, “Chronicle of a Dive Bomber,” in which Oleg played the role of pilot Evgeny Sobolevsky. The actor’s image of a smart and charming guy who invented a branded liqueur called “chassis” was liked by the audience. After the film was released, young people began to call it that strong alcohol, and Dal 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 the group - from assistants to primo - was in love with Oleg,” said Lyubov Polishchuk. Not to mention the fans who attacked their idol everywhere. The actor didn't like it. One day, director Yevgeny Tatarsky came to Dahl’s hotel room. Drying all around wet clothes. "What's happened?" - asked Tatarsky. “Well, 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 left.”

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 Pepla in Maxim Gorky’s “At the Lower Depths”. 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, of course, had this “common platform with Nadezhda Kosheverova and Grigory Kozintsev.

Nadezhda Kosheverova recalled: “My first meeting with Oleg Dahl occurred 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 his second year of college, or in his third, but who, in any case, is still studying.” And indeed, I saw a very funny young man who was doing a charming test. But then it turned out that he was not released from the institute, and, unfortunately, he did not star in this film. When I started working on the film “An Old, Old Tale,” Tubenshlyak reminded me: “Watch 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 at the audition, 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 of bright personality. He thought with interest, fantasized, and sometimes revealed what was in the script from a completely unexpected angle. A peculiar, unlike anyone else’s way of moving, speaking, looking. Extraordinarily lively and agile."

The Arts Council was against Neelova, recalled 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 decisively declared: “Either Neyolova is playing, or I won’t stage this picture.” The old men scratched their heads and decided to give in to Kosheverova’s insistence.

It was Kosheverova who suggested casting Dahl to her colleague in the director’s workshop, Grigory Kozintsev, in his film “King Lear” in 1969. Kozintsev then wanted to cast Alisa Freindlich in the role of the Jester, but she was eight months pregnant and could not appear in the film. A test was made with Dahl, which Kozintsev really liked, and the actor was approved for the role, which turned out to be one of the best in his track record.

« Modern man- a reflective person,” Grigory Mikhailovich liked to repeat. And he connected the image of the Jester with modernity: “A boy with a haircut. Art under tyranny. A boy from Auschwitz forced to play the violin in the death row orchestra; They beat him so that he chooses more cheerful motives. He has the tortured eyes of a child.” Dahl suited Kozintsev perfectly. They admired each other. Kozintsev and Dahl were connected by something more than the “director-actor” or “teacher-student” relationship. Kozintsev protected Dahl’s talent like a fragile and priceless musical instrument. Merciless towards any troublemakers on the set, Kozintsev made exceptions only for Oleg, forgiving his frequent breakdowns. The explanation sounded simple and prophetic: “I feel sorry for him. He is not a tenant." It was after communicating with Kozintsev that Dahl began to keep his confessional diary, in which a couple of years later he had to write: “Day 11.V.73 - BLACK... There is no GRIGORY MIKHAILOVICH KOZINTSEV.”

Filming of King Lear took place in August 1969 in Narva. Shortly before this, Oleg met with his future wife, 32-year-old Elizaveta Eikhenbaum, who worked as an editor on the film crew. She was the granddaughter of the famous philologist Boris Eikhenbaum. Throughout the filming, Dahl courted her, then invited her to Moscow. And when she arrived and called, I didn’t recognize her. Torn away from the rehearsal, he irritably said: “Who else is Lisa?!” She was 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 had pulled him away from rehearsal. Touching Dahl at such a moment is a tragedy. But I didn’t know about it then. On this visit, he spent the night with me for the first time. But I wasn't in love yet. The distance had an effect... 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 ally 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 asked my mother for my hand in a rather old-fashioned way. This 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 been directed not by Grigory Mikhailovich, but by someone else, but Oleg had acted, 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 like yesterday on the set!!!” I thought then - why is Kozintsev telling me about this, maybe he knows something more than me? Then I myself did not yet have any serious thoughts about Oleg and me... Why did I marry Oleg, although I saw that he was drinking heavily? It was interesting for me to be with him. I was already 32 years old, and I thought that I could cope with his weakness. I felt with some inner feeling: this person cannot be upset by 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, Dahl left the troupe of the Sovremennik Theater. When the theater was preparing to stage The Cherry Orchard based on Chekhov, Oleg got the role of Petya Trofimov. 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. Dahl's tense relationship with the management and part of the Sovremennik troupe periodically arose throughout the three years of his repeated stay at this theater. Moreover, the actor himself often provoked those around him. In 1975, during the play “Valentin and Valentina,” Dahl suddenly sat down on the edge of the stage and, turning to a man sitting in the front row, asked: “Give me a light!” The viewer gave, considering that there was such a scene in this performance. On this occasion, a general meeting of the troupe was convened, and the actor was reprimanded for his “hooligan act.”

From Oleg Dahl's diary:

The relationship with this viper is over - the score has begun! Stupid!

INDIFFERENCE has begun!

My hatred has begun!

Hate is effective.

Fight for destruction.

And the greatest contempt and indifference!..

MARCH. 1976. BEGINNING...

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

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

Dahl’s debut could have taken place on the stage of the Moscow Art Theater, where Oleg Efremov invited him to play the role of Pushkin in the play “The Copper Grandmother” based on Zorin’s play. 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 stopped liking the production, and Efremov had to play the role himself. Soon Dahl left for Leningrad, where his wife lived, and joined the troupe of the Leningrad Drama Theater named after the Lenin Komsomol. For two seasons he played Dvoinikov in the play “Choice” based on Arbuzov’s play with complete absence 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.

In Joseph Kheifitz's "A Bad Good Man," Dahl played Laevsky.

On television in 1973, he played three notable roles at once: Marlow in “Night of Errors”, Carter in “Dombey and Son”, and his childhood dream came true - Pechorin in “On 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 at Mosfilm in 1972 by two directors - Albert Mkrtchyan and Leonid Popov. Vladimir Vysotsky was initially chosen for the role of Krestovsky, but the film authorities forbade him to film, and then Dahl appeared in the directors' field of vision. The script was sent to him in Leningrad, he read it and agreed to act in it. However, during filming, dissatisfaction increasingly gripped both Dahl himself and the performer of the other main role, Vladislav Dvorzhetsky. They believed that a serious script turned into a cheap spectacle with songs. Several times it got to the point where both actors wanted to leave the set. They played to the end, but the relationship between the actors and the directors was completely ruined. As a result, the songs performed by Dahl were covered by Oleg Anofriev, since the director insisted that Oleg cover them differently, but Dahl refused.

Despite the critical reviews of the film by the leading actors, “Sannikov’s Land” was greeted by the public with great enthusiasm. And Dahl himself wrote in his diary: “June. The joy of an IDIOT. An idiot's dreams. Dreams of idiots, etc. And my thoughts are about the current state of Soviet cinema. (“Sannikov Land”) X and Y are clinical premature babies 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 - “The Military Forties” and “The Omega Option”. The director of the film “Omega Option” was a former Greek citizen, Antonis Voyazos, who was interned in the USSR, graduated from VGIK and became a director of documentaries and musical films. By a strange coincidence, he was entrusted with filming a five-part film about the work of a Soviet intelligence officer in the fascist rear. Actor Valentin Gaft was initially chosen for the role of the German intelligence officer Baron von Schlosser. However, actor Igor Vasiliev was later hired instead. And the film management suggested Andrei Myagkov for the role of Soviet intelligence officer Sergei Skorin. However, the director began to object: “Such a role should be played by a person who is least like our traditional intelligence officer,” Voyazos expressed his objections. “Who do you mean?” - they asked in response. “Isn’t it Savelia Kramarova?” “Oleg Dahl,” 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’s what the film was originally called, and soon he and the group went on location to shoot in Tallinn. 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 film, Dahl gave one of the few interviews in his life to journalist B. Tuch: “I set it as my task to play myself, Dal Oleg, in 1942, in the circumstances in which Skorin found himself. Here all actions are mine, words are mine, thoughts are mine... Skaryn is interesting to me for its paradoxical nature. He's not superman. Just a man defending his convictions... In my Skaryna there is 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. It was received very well by the audience, but critics hardly noticed it. And Oleg Dal, after ten years of being restricted from traveling abroad, in June 1977, went with the painting to the Zlata Prague festival.

Being a sought-after actor, Dahl did little filming in those years. After “Sannikov Land” he was very careful in choosing his working material. This meticulousness amazed many. For example, in 1974 - 1976, Dahl refused to collaborate 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 do tests, after which he realized that Dahl was absolutely right.

Gaidai wanted to see Oleg in the role of Khlestakov in his film “Incognito from St. Petersburg.” Dahl initially agreed to filming, but then refused to film. In his diary on December 17, 1977, he wrote: “I finally gave up my dream of playing Khlestakov. Film by Gaidai. Considerations of principle. Not on the way!!!" Asanova invited him to play the main role of a drunkard in the film “Trouble.” But after reading the script, Dahl did not agree with her on the character of the main character, a chronic alcoholic, and refused the role. She was played by Alexey Petrenko.

Dahl treated the situation that arose in Russian cinema at that time in his characteristic manner - with contempt and pity. Here are just a few excerpts on this subject from his diary:

“THE YEAR 75 HAS COME. An operator from Mosfilm called to make an order for my slide for the Art of Cinema magazine. THEY HAVE NO ART IN CINEMA, so why should my mug belong to their magazine? My face is my face, and no one else's! 3. I. 75...

SOCIAL REALISM - 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, and idiots in high positions.

Socialist 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 rabble without honor and conscience. You don't have to be talented to suck a womb like "s-r." You just need to know what you need, and a row of passbooks will grow on your bookshelf!

Socialist realism involves various awards and titles!..

18.IV - 25.IV. 1976.

Film Festival in Frunze. I have never seen so many idiots gathered in one heap!!

Today's artists remind me of a huge flock of sheep, maddened by stupidity, rushing towards the abyss after the provocateur goat.

I stand on the top of the hill and watch this picture. I want to stop someone... But it’s too late... Patience! Patience!

Let everyone fly to hell into the abyss, at the bottom of which are their “goods”, titles, orders, medals, other pieces of hardware, betrayals, meanness, trampled principles, a swamp of lies and moral decay...”

Mikhail Kozakov wrote in his memoirs about Dahl: “I still live in the memory of harmony in the theater - this 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 be “on the descent”... He came to Sovremennik and other theaters at the moment when the theater was essentially dying.”

Oleg was fantastically dedicated to his profession. Elizaveta Dal once said: “Trouble happened during the play “At the Lower Depths.” We lived then in Peredelkino with the Shklovskys - I was waiting for Oleg at the gate. He got out of the taxi with difficulty and, limping, walked next to me. I asked what happened. He replied: “Football first.” (There was a match on TV; Oleg loved football and took it seriously.) Having difficulty climbing the stairs to the second floor, he sat down on the sofa. During the break of the match, he said that during the performance, somehow the welt of his shoe got into a crack in the stage floor. Oleg made a sharp turn. The entire body and leg up to the knee turned, but the leg below the knee remained motionless. It felt like something hot was gushing down my leg. He finished the scene, managing to convey backstage what had happened. They called an ambulance. The knee was incredibly swollen. But they were afraid to give a painkiller injection - there was a danger of seriously damaging their leg. Oleg said that he would finish the performance, although the doctors did not believe it. He played so well that after the performance no one remembered that he had to be taken to the Sklifosovsky hospital, and he ran away 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 of anything. In the morning, from the first floor, where the writer Alim Keshokov lived, with a telephone, they reached the Literary Fund clinic. There it turned out that Oleg’s knee joint capsule was damaged. Then there was an operation at CITO, which I attended. Fluid was drained from the knee using a syringe. During the entire operation, Oleg smiled cheerfully at me. She brought him 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 proposal, gave his consent in principle to filming. This was the case with the filming of the film “How Ivan the Fool Followed a Miracle” by Nadezhda Kosheverova, whom he greatly respected as a director and a person.

Kosheverova recalled: “A tragic story happened on this film. A very interesting horse was found for filming, his name was Fedka. He was kind and unusually smart. The whole group fell in love with him, including Oleg. During the break, the cameraman went looking for mushrooms and got lost, as a result of which filming had to be suspended. The horse, accustomed to the fact that filming 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 a railway crossing, frightened by the whistle of a passing train, 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 Oleg cry. By the way, Oleg proudly told me that he has a cat at home, which, when he comes home, jumps on his shoulder. Animals loved him..."

Dahl did not refuse director Yevgeny Tatarsky, who invited him to play a seasoned criminal of Kosovo in the film “The 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 Kheifitz. But he didn’t succeed with directing. He regularly attended courses, but mentally selected a new activity for himself. At this point, he began working with director Anatoly Efros, whom he met in 1973 while working on the television production “Through the Pages of Pechorin’s Magazine.” Efros wanted to shoot the feature film “On Thursday and Never Again” at Mosfilm and offered Dahl the main role - Sergei.

The film “Thursday and Never Again” was completed in 1978, but was released in a small print run. The hero played by Dahl, a man who felt out of place in society, was greatly disliked by officials, and they did everything to ensure that the film 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 career. In Vitaly Melnikov's film "Vacation in September" based on Alexander Vampilov's play "Duck Hunt" he played the role of Zilov. This was the role that Oleg had dreamed of since he first read the play. When he found out that Lenfilm was preparing a film adaptation of it, he was firmly convinced that he would be invited to play the main role without any audition. But the director did not invite him. And Dahl was offended. So much so that even when the studio finally called him and offered this role, he categorically refused it. They tried to persuade him for several days, and he agreed only when they made it clear to him that no one else could play this role except him. Unfortunately, Dahl himself never had the chance to see himself on screen. The painting was called “decadent” and put on a 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. He played two roles there - Belyaev in “A Month in the Country” and an investigator in “Veranda in the Forest” - but openly admitted that he did not like these roles. And he didn’t play the two roles that he wanted to play.

Edward Radzinsky said: “On Malaya Bronnaya, rehearsals of two of my plays were underway 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 that in a moment he would die. The lighting crews, fascinated by his performance, forgot to shine... Oleg demanded the same utmost dedication from his partners, his partners couldn’t stand it and left, it was difficult, impossible to play next to him. Oleg was nervous, lost his temper... The premieres of “Lunin” and “The continuation of “Don Juan” were approaching. And it must be said that by this time Oleg Dal had not played a single leading 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 everything or nothing - he understood and was nervous. And then, shortly before the premiere, the following story happened: Anatoly Efros was invited to perform in the USA, and he blew it without warning anyone, including Dahl. Oleg, who came to this theater in order to play for Efros (there was a clause in the contract with the theater that he would only act in plays staged by Efros) was offended by this attitude and left the theater. Dahl was sick with one of the most beautiful and tragic diseases - mania of perfection...”

This is what Dahl wrote in his diary in August-October 1977: “Efros is clear as a director and as a person. The box just opened. As a person, he’s unpleasant... As a director, we’re tolerable, but I’m afraid he’ll get bored... On the one hand, he needs personalities, on the other, puppets. Or rather, this is how he dreams of gathering around himself individuals who, having sacrificed their personal freedom, would act for the sake of his director’s “genius” like puppets. 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 designed office.

Oleg came up with a wall in the apartment from bookshelves, in the center of which a door was built. Oleg spent a lot of time alone with himself, and there he recorded a one-man show “Alone with you, brother,” based on Lermontov’s poems.

After leaving the Theater on Malaya Bronnaya, Dal 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 Yu. Bondarev. But this did not bring him much joy.

The actor's cinematic career developed rapidly in 1978-1979. Dahl was approved for the main role in Alexander Mitta's film "Crew", but at the last moment he refused to film. The refusal was peacefully discussed between the actor and the director, who found another performer for this role - Leonid Filatov. But the management of Mosfilm considered Oleg’s action a violation labor discipline and issued a secret order not to film the actor in the studio’s films for three years. Dahl was unaware of this order, but he had to face its consequences.

At the beginning of the same year, Dahl rejected another leading role: in Mikhail Kozakov’s television film “The Nameless Star” he could play Marin 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 Yevgeny Tatarsky’s offer to star in “The Adventures of Prince Florizel.” Filming took place in Sochi. Elizaveta Dal said: “Sochi. Sea. Sun. Everyone is pleasantly relaxed - swimming, sunbathing. Filming in the botanical garden - peacocks, flowers - everything is wonderfully beautiful. I came to the shoot on the second day - there was a strange atmosphere there. Everyone is twitchy, everyone is nervous. Director E. Tatarsky takes me aside: “Liza, Oleg is being capricious on the bus - see what you can do.” I get on the bus. Oleg sits gray. Nothing can be done. You can't ask either. He himself returns to the site, and everything becomes clear: the suit is pinned in front, hunched over in the back. And this is Prince Florizel, who is said to be the most elegant man in Europe. Oleg tries to explain: the suit should be such that, after watching it on TV, they will adopt this fashion tomorrow. There was no such prince, the era is unknown, fantasize as much as you want. Instead, everything is from a selection, old, dusty, “played” things, not always in size. B. Manevich, the production designer of Lenfilm, who worked a lot with Oleg, came to the rescue. She showed Oleg's texture, freeing her from being squeezed into clumsy, uninteresting and bulky 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: “Once we did one scene as a figure of eight, when the dialogue is filmed from behind the shoulder of first one and then the other actor. They had already filmed Oleg and started on me - from behind his shoulder. I turn to Florizel-Dal and say: “Prince, I must avenge the death of my brother.” And he’s in the frame, with the camera on, answering me: “Igor Borisovich, did you buy us anything for dinner? The shooting will end, we won’t have anything to eat!” - "Stop! - says the director. - Amazing!" - “What's wonderful? Didn’t you hear what Oleg said?” - I was indignant. “Igor Borisovich, your eye sparkled so much from surprise, otherwise you would never have played it,” Dahl answered slyly.”

The film was originally 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 film was released only in 1980 under the title “The Adventures of Prince Florizel.”

By the time the film was released, the artist was in a depressed mood. His persecution at Mosfilm continued, and his health began to fail - his heart was failing. 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, sunken-eyed man, in whom it was difficult to recognize the radiant, always elegantly smart Dahl. The conversation was difficult. “I really want to, but I probably won’t be able to take on that job... I can’t do anything for now... They finished me off...” Word by word, I squeezed out of him an outrageous story of bullying by the Mosfilm acting department. How vulnerable this proud man was..."

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

In 1980, Mosfilm director Leonid Maryagin began working 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 was resourceful. The picture told about the conflict between them. Alexander Kaidanovsky was initially approved for the role of Sviridov. However, after reading the script, he refused the role, considering that a film with such a plot was obviously unworkable. And the director decided to invite Dahl.

Maryagin recalled: “I sent him the script to Leningrad, where he was filming at the time, with a note: “Please read the role behind the words and between the words.” Oleg agreed to audition, came and during the first meeting said hostilely: “I always read the role between the words. But I would like to know what you will make the picture about.” I began to tell, and Oleg listened with an impenetrable face. It was difficult to speak. My explication probably looked like a report from a subordinate to his boss. I finished and waited for Dahl’s “verdict.” But he didn’t talk for long, he opened the script and played the scene on the spot, accurately capturing 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 accomplished in his midst, and is trying to make sure of this for the last time, let’s try! But it’s unlikely that you will approve me!”

When the head of the acting department of Mosfilm, A. Gurevich, learned that Dahl was going to be cast in the next film, he immediately declared that he would not allow this. The actor went to see him. Elizaveta Dal said: “Gurevich began to insult the artist: “Who are you? Do you think you are an artist? Nobody knows you. When Kryuchkov arrives in another city, the traffic stops. And you are a grabber. You only need money." Oleg was silent, clenching his fists, because he understood that in another minute he would strike. He came home with a white face and shaking hands and sat down to write a letter to Gurevich, but kept tearing up what he had written. It took me a long time to recover from such monstrous humiliation and rudeness.”

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

But Maryagin still approved Dahl for the role of Sviridov.

Maryagin said: “Then “well-wishers” began to come to my room at the studio, pitying me: “What have you done?!” Do you want to shorten your life by working with this actor? And they were told in support of the thesis different stories about his unbearable character: he left the theater after a quarrel, left one film in the midst of filming, and on another he did not speak with the director until the end of filming, playing the role at his own discretion. I waited for the first day of filming, as one probably waits for the execution of the most severe sentence. Oleg showed up for the shoot minute by minute, independent, emphatically keeping his distance, creating a field of tension around himself. I approached the actor as one approaches 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, with whom Dahl had recently become close on the set of Joseph Kheifitz’s film “A Bad Good Man,” died.

It was an “acting doublet”, a perfect double hit in a role, an ideal interaction in a duet. Someone formulated: “Vysotsky is weak in his strength, and Dahl is strong in his weakness.”

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

After the funeral, Oleg wrote in his diary in October 1980: “I began to think often about death. The worthlessness is depressing. But I want to fight. Cruel. If you are going to leave, then leave in a furious fight. Try with all my remaining strength to say everything I have been thinking and thinking about. The main thing is to do it!”

On Vysotsky’s birthday, January 25, 1981, Dal woke up in the morning at his dacha and told his wife: “I dreamed about Volodya. He's calling me." Literally a few days after this, 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 was constantly heard in Oleg’s conversations. Once in Vilnius, a funeral hearse with a driver in a top hat and beautiful lanterns swinging passed our bus. “Look how beautifully they are buried 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 film was filmed. Dahl 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,” Romashin answered.

“I’ll be there soon,” said Dahl...”

At the beginning of 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 a Kyiv film studio to star in a lyrical comedy. It interested the actor, and he agreed to audition.

Oleg Dal went to Kyiv and unexpectedly passed away there on March 3, 1981. This happened in hotel room. The last man The one who saw Dahl alive was the actor Leonid Markov, with whom they auditioned for the same film.

In this material, I will present the version of death 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 started vomiting and found himself blocked Airways. The doctors who arrived at the scene were unable to do anything. The actor died as a result of an accident.

Oleg Dal was buried at the Vagankovskoye cemetery.

Director Yulia Proskurnya-Zavyalova made a wonderful documentary about Oleg Dal, “Oleg Dal. The movie that was." And Leonid Filatov spoke about Dal in one of his programs from the “To Be Remembered” series.

Your browser does not support the video/audio tag.

Text prepared by Andrey Goncharov

Used materials:

Text of the article “I am not national, I am foreign”, author R. Bolotskaya
Text of the article “Chronicle of a diving artist”, author I. Karasev
Text of the book by Fyodor Razzakov “Star tragedies: mysteries, destinies and deaths.”
Text of L. Khavkina’s article in “KP”
Materials from the site www.peoples.ru

Filmography:

1962 My little brother
1963 First trolleybus
1963 The Man Who Doubts
1965 Bridge built
1965 Black Kitten (short story in the film "From Seven to Twelve")
1967 Zhenya, Zhenechka and "Katyusha"
1967 Chronicle of a Dive Bomber
1968 Soldier and Queen
1968 Old, old tale
1970 King Lear
1971 Shadow
1973 Sannikov Land
1973 Bad Good Man
1973 Fire in the outbuilding, or a feat in the ice
1974 Hero of our time. Pechorin's magazine pages
1974 Dombey and Son
1975 Omega Variant
1975 Townspeople
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 after 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












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

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

    After some time, he realized that his fantasy could perhaps be realized. To do this you need to become an artist! The young man shared his guesses with his parents, but they were hostile to their son’s plans, saying that the earnings of people in this profession are too unstable, and besides, Oleg burrs!

    Therefore, he went to enroll after school, having quarreled with his family. I read Gogol and my beloved Lermontov at the entrance to Sliver, and got in the first time. Oleg corrected the natural burr that had haunted the guy since childhood through persistent speech studies already in his junior year.

    Intellectual


    film “My Little Brother” (1962)He was one of the most talented students, which is why he was singled out by the Sovremennik artists who came to watch the graduation performance. Oleg was asked to appear to the chief director (he was Oleg Efremov at the time), and he took the young actor into the troupe.

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

    However, for five whole years the actor was trusted only with a supporting role. Galina Volchek showed his dramatic charisma to the entire theater of Moscow when she staged “At the Lower Depths” and invited Dahl to play the role of the thief Vaska Ash.

    He prepared for it in a special way. He spent long evenings wandering around Moscow with his partner Alla Pokrovskaya, discussing the subtleties, all the facets of their characters’ characters, and one day he said that she should play a timid goat.

    Alla was taken aback: hearing slang from the lips of such an intellectual was at least strange. When Oleg began to explain himself, it turned out that he had no intention of using slang. Dahl really associates the heroine Alla with this animal, so he asks to endow her with wild, animal habits.

    All life is theater


    film “Chronicle of a Dive Bomber” (1967)He was always considered more of a theater than a film actor. So changes in his personal life began to happen to him in the theatrical environment.

    Dahl's first significant love was Nina Doroshina. An actress known to viewers for one of the main roles in the film “Love and Doves,” she played Nadezhda, the mother of the family that is at the center of the story.

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

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

    Oleg had no doubt about the betrayal of his beloved and, in revenge, he himself disappeared somewhere after the wedding for three whole days. After the mutual disappearances, the young people lived together for another week. Apparently, they never managed to clarify their relationship, because a week later they simply separated.

    Not a walker


    film “Zhenya, Zhenechka and Katyusha” (1967)This incident was one of those that would break the artist and gradually make his character the way Dahl’s loved ones remember: difficult, inflexible, uncompromising.

    He had already starred in several films and became famous, he was already shaping up as a man with an irrepressible temperament and endless melancholy in his eyes, who seemed to be eating himself up from the inside, as if he himself didn’t know what he wanted from life, when he met his second wife, actress Tatyana Lavrov.

    Joint happiness with her also did not work out. He has already begun to show his negative qualities and little by little he is getting closer to the bottle. She, also a creative and temperamental actress, could not tolerate this, and besides, she herself demanded increased attention. They quickly dispersed.

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

    Happiness in your personal life


    film “Bad Good Man” (1973)Lisa worked as a film editor. He immediately laid his eyes on her, and it was completely impossible to refuse the impetuous handsome man, in whom, according to the recollections of the actor’s relatives, the masculine principle was always felt.

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

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

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

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

    Was he happy? In any case, with my Lisa, I am much happier than in other periods of my life.

    Went to die


    film "Shadow" (1971) Nervous and explosive, the talented Dal always seemed to be broken somewhere deep inside, but most of all his Pechorin-like alienation, the feeling of the meaninglessness of life began to manifest itself after the death of Vladimir Vysotsky.

    It was at the funeral that he predicted his death: “I’m next,” the actor said, laughing hysterically.

    They had a difficult relationship, but after the funeral of the great actor and musician, Dahl seemed to understand how close death walks next to life. This thought changed him before his eyes. The eternal theatrical definition: “he is sick with delusions of perfection” now began to resemble a real diagnosis.

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

    After another binge, Dahl agreed to “sew a torpedo” - to be coded for alcoholism in the then accepted way. He was on tour in Kyiv when, leaving a table in a restaurant, he explained: “I’m going to my place to die.” The actors with whom Dahl toured decided that this was another portion of black humor from the maestro. Connect with us.

    Oleg Dal: the biography, personal life and children of this famous actor are still of interest to the public, despite the fact that he is no longer alive.

    Oleg Dal became a legend of Russian cinema, although he lived relatively short life. Most young viewers are familiar with it from the fairy tales “How Ivan the Fool Followed a Miracle” or “The Old, Old Fairy Tale.”

    Oleg Dal

    The actor lived a bright life, was an emotional and sensitive person who did not play a role, but reincarnated into his characters. His constant walking on the edge led him to an early death: Dahl died in 1981 at the age of forty. The artist's biography is replete with many interesting stories about Oleg Dal, but family and children were always in the background for him.

    Oleg Dal: early years of life

    Oleg Dal was born in Moscow on May 25, 1941, and he became the first actor in his family. The future movie star’s mother worked at a school, his father was an engineer at a transport company related to railway transportation. Oleg's decision to become an actor was perceived negatively in the family. His father had no doubt about his failure. But Dal Jr. could not give up his dream and entered the M. Shchepkin Higher Theater School.

    Oleg Dal in childhood

    As a child, the actor lisped and it seemed that with such a defect his path to the profession was blocked. But the selection committee considered his natural gift for transformation, and from the second monologue on the exam he was accepted.

    Oleg Dal's biography is such that he managed to reach heights in his profession, became a popular and famous actor, questions about how his personal life turned out, whether he had children, torment more than one generation of his fans.

    Oleg Dal: school years

    First roles, first marriages

    Oleg Dal was a creative, restless person. His sensitive soul could not come to terms with many of the injustices of life. For this reason, he left many projects slamming doors. Because of this, Oleg Dal’s personal life is rarely mentioned in his biography, and there are no photos of children in it. Dahl died childless. And his first families did not last long.

    The actor’s first film work was the film “My Little Brother,” released in 1962. And in 1963 he married actress Nina Doroshina. She is known to viewers for her role as the wife of an unfaithful husband in Vladimir Menshov’s comedy “Love and Doves.”

    Oleg Dal in his youth

    Nina in her youth seemed to be a flighty person. She was in love with Oleg Efremov. And right at the wedding she allowed herself to flirt quite openly with her boyfriend. It seems that Doroshina needed this whole idea of ​​marriage only to annoy her lover.

    Oleg Dal was greatly hurt and humiliated by this attitude: his personal life did not work out, photos of his happy wife and children did not decorate his biography. He divorced Doroshina with lightning speed, and tried not to remember his shame.

    Oleg Dal and Vladimir Vysotsky

    A similar fate awaited his second marriage with actress Tatyana Lavrova. Oleg did not like to talk about him, only casually mentioning that his second wife was a rather aggressive and angry woman. They managed to live together for only six months.

    True love and national glory

    It’s not for nothing that they say: behind everyone’s back successful man stands strong Strong woman. Whether this is true or false, everyone judges for himself. But in the biography of Oleg Dahl, the sharpest turn occurred when he met a woman named Lisa Eikhenbaum, with whom his personal life finally improved; they even had plans to have children together. But this didn’t work out. But the artist’s career took off when he found someone who became his support and accepted him with his vices and shortcomings. And he had them in abundance.

    Oleg Dal in the film “The Man Who Doubts”

    Dahl was a difficult person. You had to love him very much to be able to live with him for 11 years, as Elizabeth did. The actor did not tolerate sycophancy and mediocrity, injustice and imperfection. And in the theatrical environment, where he worked a lot, there was all this in abundance. It was difficult for a sensitive person to make his way in an environment where intrigue and envy ruled the roost. In addition, Oleg was generous; he could give his last shirt to an enemy.

    He also drank a lot, which made life with him unbearable at times. To combat this defect, the actor used special ampoules: “sutured up.” But this didn’t help for long – for 2-3 years, after which he broke down and went on a binge again.

    Still from the film "King Lear"

    The biography of Oleg Dal, despite his turbulent personal life, does not have such an item as “children”. It seems he didn't need them. And his third wife accepted the fact that their marriage remains childless.

    Dahl became truly famous after the release of Chronicle of a Dive Bomber (1967), and in the film King Lear (1970) he played a jester. Elizaveta Eikhenbaum (nee Apraksina) worked as an editor on the project. That’s how they met, after which they quickly got married.

    Oleg Dal in the film Chronicle of a Dive Bomber"

    The first years of married life with Elizabeth were not easy for her: Dahl drank heavily, and nothing helped him cope with the misfortune. In films, directors tried to place him with his back to the camera so that his swollen face would not be visible. But my career in the theater suffered even more from this.

    Lisa claims that she adored her husband. Despite some shortcomings, he was a real prince. Romantic, kind, generous. He could show up on a spontaneous date uninvited, with a huge bouquet of roses. Or come to the meeting in a police car.

    Still from the film “Zhenya, Zhenechka and Katyusha”

    The couple tried to have a child, but they did not succeed. They even considered adopting the baby. But they never decided to do it. In Soviet times, this was such sedition that for the sake of wanting to adopt a child from an orphanage into a family, they would have to go to the outback for a year in order to return from there as if with their own baby. Despite the spirit of adventurism, the actor never decided to take this action.

    Big child: why schoolchildren love Dahl so much

    The actor had a penchant for spontaneous, sometimes shocking actions. His wife Elizaveta Dahl remembered him as a big child.

    Many journalists tried to write a biography of Oleg Dal, which is why they turned to Elizabeth for advice and memoirs, especially interested in his personal life. But the children were only present in the video: in some projects he starred with young actors. After all, many people remember Dahl from his children’s fairy tale films. Because of these projects, even modern schoolchildren recognize the actor.

    Actor Oleg Dal fell in love with many schoolchildren

    Unfortunately, qualities such as naivety and excessive emotionality were not highly valued in cinema. Dahl was often denied roles, and he was even persecuted for harsh statements about the management and the government.

    Oleg was not a traveling person for a long time. He was not allowed abroad. And it was especially offensive for him to realize this when the theater troupe went on tour abroad, and he was replaced in the production by some more accommodating understudy.

    Oleg Dal on the stage of the theater

    Elizaveta Dal, the actor’s third wife, believes that many of his shortcomings were attributed to him out of envy. Rumors about his passion for alcohol were exaggerated. In the last years of his life, he managed to take control of this scourge. But endless stress, persecution and persecution undermined his health.

    Still from the film “It Can’t Be”

    Dahl had a very weak heart since childhood. For this reason, he could not become an airplane pilot or submariner, although he dreamed of these professions at school. People with such a disadvantage are hired as actors, but, as it turned out, in this area too diseased heart can lead to very early death.

    The actor's wife believes that he died from heart attack which happened to him in a dream. At that time, Dahl was in Kyiv on tour. Death occurred on March 5, 1981. Elizabeth survived her husband by 20 years, but was never able to find anyone who could replace him.

    Oleg Dal died of alcohol addiction

    Great love story

    The biography of Oleg Dal, his entire personal life and even his unborn, but so desired children, are evidence of enormous, unearthly love. The actor was difficult person, direct, sharp, uncompromising. The first two spouses ran away from him at breakneck speed. The marriage with each of them did not last even a year. And only Elizaveta Dal, whose maiden name was Apraksina, and whose grandfather was Eikhenbaum, managed to get along with this genius of a difficult character.

    Oleg did not like gossip and speculation, did not allow journalists in and strangers into your personal life. His house was closed to the theatrical elite, although due to the actor’s addiction to alcohol, sometimes noisy campaigns of people gathered in it, whom both spouses could not call friends. These comrades appeared only during Oleg’s drinking bouts, and then disappeared until the next similar incident.

    Oleg Dal with his wife Lisa

    Lisa was a completely behind-the-scenes, non-public person. So little is known about their family life. Although after Dahl’s death, Elizabeth gave several touching interviews in which she told much of the history of her relationship. She modestly kept silent about the fact that their family was built on her patience and great love. Lisa loved her husband just like that, in spite of everything. She managed to survive his sprees, and also knew how to leave him alone.

    Having made a complex exchange, the family settled in a large apartment on Smolensky Boulevard. Oleg had his own there Personal Area, in which he could not let his wife in for weeks. He needed a large individual space, a sense of creative freedom. And Lisa gave it to him, without reproaching him for anything.

    Dahl was not a callous person. He spoiled his wife with baskets of flowers and unexpected gifts. And in general he showed attention, which she remembered for many years later. So, he could arrange a surprise on his birthday, filling the room with buckets of bouquets of roses. And even if Lisa thought that he had forgotten about her date, she was not disappointed.

    Oleg Dal in the film “Sannikov Land”

    Despite the fact that Oleg was a closed person who did not let anyone inappropriate near him, he knew how to take care of his loved ones. And he did not hesitate to show his warmest feelings towards them.

    Elizabeth became a muse for Oleg, who supports him in all creative endeavors. For the sake of her husband, she even quit her job to serve a genius who was completely helpless in practical matters. Dahl was considered by many to be underrated.

    And he himself jokingly called himself a “foreign” artist: his craving for perfection got in the way both in the theater and in cinema. Some directors considered him capricious and intractable. Despite the popular love that the artist had in the early 1970s, he acted quite rarely.

    The actor played leading roles in legendary films

    When Dahl passed away, Elizabeth had a hard time. She had to take care of two elderly women - her mother and mother-in-law. And she got a job again, although it was difficult to make a career after a long break.

    Due to his excessive closeness, Oleg Dal committed many actions that those around him did not understand. He slammed the door, refused to go on stage, or staged unexpected improvisations right during performances, staging uncomfortable position other actors.

    Legendary actor Oleg Dal: the last years of his life

    And only his faithful wife understood his antics, realizing what pain lies behind them due to the awareness of the imperfection of the world and all humanity. The great actor’s beloved woman was also ready to support him in his creative choice.

    Dahl was ready to starve, but he threw into the trash all the scripts in which he was offered the roles of pompous officials or party bosses.

    The grave of Oleg Dal and his wife

    Maybe that’s why everyone considers him talented, because he didn’t agree to passable scripts and unmemorable roles? Neither he nor his wife regretted such uncompromisingness, which is why Dahl became a legend of Russian cinema.

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