37 years ago, on March 3, 1981, the most talented theater and film actor Oleg Dal passed away. Before his 40th birthday, he did not live two months.

He played about 50 roles, but there could have been twice as many if he did not refuse them and did not lose them because of his difficult nature. They say he was "inconvenient" for directors, disrupted performances and often clashed when compromises should have been sought. There were many passions in his life, and one of them killed him.


He was born a month before the start of the war and, like many children of his generation, dreamed of becoming a sailor or pilot. But due to heart problems, he had to choose another profession. He became interested in literature and painting, and after graduating from school he decided to enter the Shchepkinsky Theater School, although his parents were against it. He managed to pass the exams on the first try. During his studies, Oleg Dal began acting in films, and even then he attracted attention famous directors- he received offers from Leonid Agranovich and Sergey Bondarchuk.


Oleg Dal


Vladimir Vysotsky and Oleg Dal
All-Union popularity Oleg Dal brought the main role in the film "Zhenya, Zhenechka and Katyusha". The film "The Chronicle of a Dive Bomber" consolidated its success. By the end of the 1960s. he was already one of the most popular and beloved theater and film actors among the people.


Theater and film actor Oleg Dal


No one questioned his acting talent, but many directors were afraid to cooperate with him: Dahl could take on a role, start rehearsing, and then decide that the film or performance was not good enough and refuse to work. He was called one of the most striking and controversial figures of Soviet cinema and theater. He was forgiven a lot for his talent and eccentricity, but his excessive frankness and adherence to principles, harshness and maximalism, touchiness and irascibility prevented him from building both friendly and professional relations.


Oleg Dal in the film *Zhenya, Zhenechka and *Katyusha*, 1967


Frame from the film *Zhenya, Zhenechka and *Katyusha*, 1967
Oleg Dal often clashed with directors - he demanded complete freedom of action and did not like it when he was prevented from doing what he considered necessary. It often came to reprimands and "debriefing" at a general meeting. Oleg Efremov repeatedly tried to fire him from Sovremennik, Dal left the theater and returned again. On the set of The Adventures of Prince Florizel, he once refused to go on set because his suit was bulging and did not fit well. One of the few who agreed to endure both breakdowns and Dahl's rudeness was director Grigory Kozintsev, who believed that the scale of acting talent covered all the difficulties of character, and understood that it was not easy for him to put up with himself.


Oleg Dal in the film *Old, old fairy tale*, 1968


Frame from the film *Old, old fairy tale*, 1968
The actor often turned down roles if the script seemed uninteresting to him. So he did with the films "Nameless Star", "The Irony of Fate, or With light steam!”, “Crew”. Due to the fact that he quit his job, having already started filming in the Crew, he had a serious conflict with the leadership of Mosfilm. After that, Oleg Dal wrote in his diary: “No, I don’t fit into their system. A system of lies and ideological brainwashing. Well, bureaucratic scum, let's see what's left of you and what's left of me.


One of the brightest and most controversial figures in Soviet cinema


Theater and film actor Oleg Dal
Due to the difficult nature for a long time, Oleg Dal could not find happiness in family life either. His first two marriages failed. Actress Nina Doroshina married him in spite of the person she loved - Oleg Efremov, and Dahl found out about it right during the wedding. Therefore, this marriage immediately broke up. The family union with actress Tatyana Lavrova was also short-lived. In 1969, the actor met Elizaveta Eikhenbaum, who was an editor on the set, and they soon got married. His acquaintances said that she was the only person who could find an approach to him.


Frame from the film *Sannikov Land*, 1973


Oleg Dal in the film *Sannikov Land*, 1973
In the theater, Dahl often disrupted performances due to the fact that he allowed himself to go on stage in drunk or not show up at all. Shortly before his death, having missed his only performance at the Maly Theater, he wrote an explanatory note: “I failed the entry, and all the blame lies entirely with me. Irresponsibility for rehearsals, an unacceptable offense - he allowed himself to drink beer before the performance. I assure you that I have drawn hard, uncompromising conclusions.” However, the actor could not overcome alcohol addiction. His wife recalled: “Oleg drank terribly. At the same time, he became like Zilov from Duck Hunt, even scarier. He was not able to kill himself, but somehow he almost stabbed me ... How subtle, intelligent, generous he was, just as terrible, dirty and cruel in drunken courage.


Stills from the film *It can't be!*, 1975


Oleg Dal in the film *The Adventures of Prince Florizel*, 1979
Dahl's last notable work was the role in the film "Vacation in September" in 1979. Due to the actor's alcohol addiction, conflicts with directors escalated, which affected his health and reminded him of long-standing heart problems. Friends said that recent months life the actor was in a state of physical and nervous exhaustion. During a tour in Kyiv on March 3, 1981, Oleg Dal died in a hotel room. official reason death was called a heart attack, but it was said that he was provoked by alcohol. After his death, his wife confessed: “I lived a happy life with Oleg. Without making any special efforts, he made me completely different: I forgot about the former Lisa Apraksina and overcame the profession of the wife of an Artist who is having a hard time. Although I learned to look at everything through his eyes, to live by his deeds, he still remained a mystery to me. Beautiful. I died with him."


Theater and film actor Oleg Dal
Oleg Dal said about himself: "I am not a people, I am a foreigner." His widow Liza confessed: “He struck with some otherness. So unearthly and remained. Actor Oleg Borisov called him a "reserved personality." Due to his conflicts with the leadership, Dahl did not receive any awards, titles and prizes, but for millions of viewers he was and remains a truly people's artist.


One of the brightest and most controversial figures in Soviet cinema

Oleg Ivanovich Dal was born just before the start of the war, on May 25, 1941, in the town of Lyublino near Moscow, which today is part of the territory of the capital. In addition to Oleg himself, the family of the railway engineer Ivan Zinovievich and the teacher Pavla Petrovna had a daughter, Iraida.

IN school years the boy began to play basketball, but very soon left these classes due to discovered heart problems. After that, poetry, literature and painting became his hobbies. Like any boy who grew up during the war years, he dreamed of the heroic profession of a pilot or sailor. But childhood dreams were not destined to come true due to the mentioned health problems. After reading the work "A Hero of Our Time", Dahl set about trying to become an actor in order to play Pechorin someday. And after 15 years, his dream will come true.

In 1959, after graduating high school Oleg Dal decides to enter the theater school. Parents strongly oppose such a decision of their son. Their first argument was instability acting profession and, accordingly, salaries, and the second - that Oleg has burred since childhood.

And yet, he went to take the entrance exam. For him, I prepared a monologue by Nozdrev from the Gogolevsky " dead souls"And an excerpt from" Mtsyri "beloved Lermontov. After successfully passing the exam, the talented young man was enrolled in the course of N. Annenkov at the Shchepkinsky Theater School. And became his classmates.

Films

In the magazine "Youth" the story "Star Ticket" was published, written by director Alexander Zarkhi in 1961. After the selection among students of theater schools, several dozen people were selected and tests began, as a result of which Oleg Dal was selected for the role in the film (who got the role of Alik Kramer). In the summer of 1961, location shooting began in Tallinn. So the film "My little brother" appeared on television screens.

After the release of the film, two eminent directors immediately turned their attention to Dahl: Leonid Agranovich and. Agranovich even trusted young actor leading role in his film called The Man Who Doubts. The plot of the film was a detective-psychological one. It was based on the following events: after the murder of a schoolgirl, the investigating authorities arrested an innocent acquaintance of the murdered Boris Dulenko (who was performed by Dal).

Oleg Dal in the film "The Man Who Doubts"

In 1963, when this film was released, Dahl had just completed his studies at the theater school. His graduation performance was attended by an actress of the Sovremennik Theater, who was so impressed with Dahl's work that she invited him to work in her theater. After passing a two-stage competition, the young actor was enrolled in the troupe. But it did not bring a big breakthrough. For several years, Oleg Dal played exclusively supporting roles in Sovremennik.

Dahl's next television work was the film "The First Trolleybus", filmed at the Odessa Film Studio. The picture was released in 1964 and was very warmly received by the public due to the light and cheerful plot.

Oleg Dal in the film "The First Trolleybus"

Over the next couple of years, Oleg had only two minor works in the cinema (the films "A bridge is being built" and "From seven to twelve"). In 1966 he was noticed by the director of "Lenfilm" Vladimir Motyl. Dal, recommended to Motyl by his colleagues, immediately fell into the image of the main character of the film "Zhenya, Zhenechka and Katyusha" presented by the director. The picture was received negatively by public leaders and, despite the wide success with the audience, was replicated by a very small number of copies.

Oleg Dal in the film "Zhenya, Zhenechka and Katyusha"

Nevertheless, all these problems did not affect the growing popularity of Oleg Dal. His next work was the film "Chronicle of a dive bomber", in which he played the role of a pilot named Yevgeny Sobolevsky. This picture brought the actor all-Russian fame. Thus, the end of the sixties became the peak in Dahl's career both in cinema and in the theater. In Sovremennik, where he returned after a long break, he was entrusted with his first significant role. She became the role of Vaska Pepel in the play "At the Bottom".

In 1968-1969, Dahl came to the attention of such well-known film directors as Nadezhda Kosheverova and Grigory Kozintsev. It was Kozintsev who introduced Dahl to his "King Lear" for the role of the Jester, which later became one of the brightest in the actor's piggy bank. This film, which was released in 1971, won several international awards at festivals in Chicago, Milan and Tehran.

Oleg Dal in the film "King Lear"

Soon the actor moves to Leningrad and joins the troupe of the Leningrad Drama Theater. In the early seventies, several more interesting film roles were added to the actor's piggy bank.

In 1972, the actor began work on the film "Sannikov Land", which soon became disillusioned. In his opinion, they made a cheap spectacle out of quality material. After this picture, Dahl more carefully approaches the choice of roles.

Oleg Dal in the film "The Adventures of Prince Florizel"

In 1973, his childhood dream came true - he embodies the image of Pechorin on the screen in the film "Through the Pages of Pechorin's Magazine". During 1973-1974, Oleg Ivanovich starred in five more films.

Personal life

Many were in love with a famous actor, but Dahl did not manage to find his soul mate for a long time. First there was an affair with an actress, then there was. However, due to the difficult nature of Oleg Ivanovich, both unions broke up.

And on the set of "King Lear" Dahl met the one who was finally able to "tame" him. The fateful acquaintance took place on August 19, 1969.

The chosen one of the actor was Lisa Eichenbaum, who was involved in the work on the picture as an editor. Soon the lovers got married. They managed to maintain that feeling of early love, which gives a special charm to relationships throughout for long years. Oleg Ivanovich was very proud of his wife, and Elizabeth always took care of her husband. She was the only one who managed to find the key to such a talented, but such difficult person. IN last years the life of the actor, Elizabeth surrounded her husband with even greater care.

Death

Toward the end of the seventies, Oleg Ivanovich slows down in cinema. The last notable work in the work of the actor was the film "Vacation in September", which was released in 1979. The actor began to have problems with alcohol, which he did not solve. In addition, the actor's health was affected by heart problems and more frequent conflicts with directors.

Oleg Dal passed away during a business trip in Kyiv. He died on March 3, 1981 in a hotel room. The cause of death was a heart attack, which could have been provoked by alcohol. In addition, Oleg Ivanovich himself, some time before his death, said that he foresaw death.

Filmography

• My younger brother
• The Man Who Doubts
• Zhenya, Zhenechka and "Katyusha"
• Chronicle of a dive bomber
• King Lear
• Sannikov Land
• Can not be!
• Option "Omega"
• golden mine

When on May 25, 1941, the second child appeared in the Daley family - thin Olezhechka - his mother was the happiest in the world. But the war began, and she, along with her tiny son and eldest daughter, had to hastily leave her native Lyublino near Moscow.

Oleg’s sister, Iraida Krylova: “The conductor shoved us in, it was full of people, there was nowhere to sit or sit down. Oleg was already wheezing there, because while they were running, he turned over several times. was upside down. How she dragged him when he sobbed and cried ... "

After the war, the Daley family returned to Lyublino. For a long time, little Oleg fell asleep with difficulty - it seemed to him that the planes were flying to bomb the city. And then my mother read to him "A storm covers the sky with darkness ..." Mom generally adored her son and was proud of his success - both when he sang as a soloist in the Dunaevsky choir, and when he played the Negro Snezhka in a drama circle, and when he learned to play first the piano, then On guitar. And he wrote the best essays in school. And after graduation, he unexpectedly told his parents that he wanted to become an actor. For the sake of this, he even got rid of his speech defect on his own (Oleg burred strongly from childhood). And he did it, striking the teachers of "Sliver" with a brilliant reading of Lermontov's "Mtsyri".

Talented Dal, while still a student, began acting in films, then played in the Maly Theater. And in the "Contemporary" of his idol Oleg Efremov he came already as a big star. It was there that he met his big love, who became his first wife, - actress Nina Doroshina. 22-year-old Oleg fell in love with her so much that he stopped noticing everything around, including the fact that Nina herself, like all the Sovremennik actresses, was in love with Efremov. But even despite the crazy love, he could not forgive her for the fact that Efremov took her away from their wedding. The marriage fell apart, in fact, without even starting. From now on, the actor devoted himself to the theater, which, however, did not spoil him much. But when he was entrusted with the role of Vaska Pepel from Gorky's "At the Bottom", he played with such anguish that almost all of Moscow came running to see him.

Then Oleg had a second marriage. And also unsuccessful. Dal painfully wanted a family, children, and his second wife, actress Tatyana Lavrova, wanted only one thing - to play in the theater. It was the theater that she loved more than anything in the world ... But, in the end, there was the very woman who gave Dahl the long-awaited comfort, family peace - she became Elizaveta Eikhenbaum, the third wife of the actor. She went with him to the shooting, cooked food, washed. In general, it provided a strong family rear. Only Oleg - always searching, restless, contradictory - could not calm down. And the reason for this was work in the theater and cinema. He left Sovremennik and returned again - because he was constantly in conflict with his colleagues, but still he could not live without the theater. And he was also rushing about in search of his film director. And if suddenly everything coincided - both the script and the director, then Dahl, dressed in a defiantly flashy cherry jacket, could throw to the director: "The role, it seems, is not bad. If we agree on positions, maybe I will agree." So, for example, it was at the audition for the film "Zhenya, Zhenechka and Katyusha" (1967). True, director Vladimir Motyl hardly managed to defend the candidacy of a talented, but such an "uncomfortable" actor at the artistic council ("He has no elemental charm", "He lacks a Russian national element in his appearance," the officials said).

Then there was the picture "Sannikov Land" (1973), which Dal himself did not like very much - he was not allowed to sing the song "There is only a moment", giving it to Oleg Anofriev. There was a film "Vacation in September" (1979), in which Dahl dreamed of acting. He believed that the role of Zilov was his and only him, that Vampilov wrote it almost from him. Withdrew. Only officials who did not like the actor put the film on the shelf for eight long years. There were also a huge pile of scripts that Dahl rejected because he seemed uninteresting. Among them are the legendary "Nameless Star", "Irony of Fate, or Enjoy Your Bath!", "Crew". For refusing to appear in the "Crew", the actor generally fell out of favor with Mosfilm officials. Oleg Ivanovich wrote about this very angrily in his diary: “No, I don’t fit into their system. The system of lies and ideological brainwashing. Well, bureaucratic scum, let’s see what remains of you and what remains of me.”

Dahl's last film was The Uninvited Friend (1980) by Leonid Maryagin. Maryagin recalls: “Two months, in my opinion, before the tragic death of Oleg, he sent me a letter. The letter is so sad, asking me to think and look for some work, maybe there is something in St. Petersburg or something in others television associations. In general, a cry from the heart. And on the margins of the letter such traces are drawn by Oleg's hand. Then I look, Zilov is drawn in a cap. But along these fields the traces led to a neatly drawn grave ... "

In the last years of his life, Oleg Ivanovich served at the Maly Theater. And his only performance in it, as it seemed to him, failed miserably. In the evening he wrote explanatory note, although no one asked: "The input was failed by me and all the blame lies entirely with me. Irresponsibility for rehearsals, an unacceptable offense - I allowed myself to drink beer before the performance. I assure you - I made tough uncompromising conclusions." For him it was a tragedy.

But the real tragedy happened in Kyiv, where Dal came to audition for two days. That is why he did not take his wife Lisa with him, who constantly looked after him. He had been ill with pneumonia, so thin that without an X-ray all the ribs were visible, bearded (as it was necessary for the tests) - this is exactly how Lisa saw him for the last time ...

Valentin Gaft: "An artist approached him in Kyiv:" I really want to paint your portrait, when can this be done? "He said:" You have one day at your disposal. "In the evening he went to dinner. And the daughter of one of the artists, when they were at the table, she suddenly said: "Dad, Oleg has the seal of death on his face." I don’t know if it’s true or not, but he said that Oleg stayed overnight, didn’t go to the hotel. In the morning he got up, drank coffee and tea, and leaving he didn’t say goodbye, but goodbye. He came to his hotel room, closed. What happened there is unknown. They say he choked on some pill, or something ... But when they broke the door, because he had to audition, But he wasn't there, he wasn't there anymore..."

Oleg Dal died on March 3, 1981. "Vecherka" and "Moskovsky Komsomolets" gave two black squares - and that's it. Because he was not only popular, even deserved. But on the square in front of the Maly Theater, a huge crowd gathered to say goodbye - no, not with a well-deserved or popular one - but simply with a favorite artist.

In Soviet cinema, it is difficult to find a personality more striking, extraordinary and controversial than Oleg Dal. If the audience loved the actor and unconditionally accepted him in all roles, then the attitude of his colleagues - actors, directors and film officials - was far from unambiguous. Some called Dahl a genius and considered it an honor to work with him, others spoke of him as a brawler, an uncomfortable and unreliable person, capable of letting him down at the most crucial moment. Yes, he himself knew everything about himself, not without reason, when he was once mistakenly called a people's artist, he gloomily joked: "I'm not a people's, I'm a foreigner." It was really uncomfortable next to him - he demanded too much from others, but he approached himself with a much higher standard, which Edward Radzinsky called "mania for perfection." Is it any wonder that the absurdities of this world increasingly led him to thoughts of death. And after the tragic death of Vladimir Vysotsky, who and Dahl had enough complicated relationship, the actor seemed to have switched on a program for self-destruction. At that time, not a day went by that he did not talk about death as a reality, as an urgent need. Oleg Ivanovich did not just want to die - he brought this moment closer in every possible way. Dahl died on March 3, 1981 in Kyiv, where he came to audition for the lyrical comedy "An Apple in the Palm". After dinner with a partner in the picture, the famous actor Leonid Markov, he said: "I'll go to my place to die." His words were taken as another gloomy joke - Oleg Ivanovich was famous for his black humor. And he went up to the room and literally poured himself a bottle of vodka. An ampoule sewn against alcohol, popularly called a “torpedo”, led to a sharp increase in pressure, the vessels could not stand it. He died from an internal hemorrhage. When the hotel staff broke down the door the next morning, Dahl was lying on the floor. His expression was serene, it even seemed that he was smiling.

ACTRESS ALLA POKROVSKAYA: "DAL LOOKED AN ARISTOCRAT AND AMAZED WITH HIS NATURAL INTELLIGENCE"

FROM light hand actress Alla Pokrovskaya Oleg Dal, after graduating from the Shchepkinsky Theater School, ended up in Sovremennik.

- Alla Borisovna, what drew your attention to student Dal?

We had such a practice when the actors of Sovremennik went to theater schools to look at graduate students, Valya Nikulin and I got Sliver. The course that we then watched was generally wonderful - Vitya Pavlov, Misha Kononov, the younger Solomin. But we singled out Pavlov and Dahl and invited them to appear in Sovremennik. Next to the short, strong, fair-haired Vitya, Oleg was, on the one hand, funny and awkward, and on the other, he was distinguished by his non-Soviet, non-plebeian reality. He had graceful aristocratic hands, a pleasant voice, perfect pitch, delicate features.

- In addition, Dahl was a famous fashionista?

And this despite the fact that he did not run all day shopping in search of rags. Oleg had an amazing quality - no matter what you put on him, everything suited him. In general, against the background of the type generally accepted in Soviet cinema, prominent representative which was famous actor Boris Andreev, Dal looked like an aristocrat. At that time, there was a lot of Soviet stuff on the screen and stage, but Oleg struck with his natural intelligence.

- In this sense, in Sovremennik, he had to come to court?

Our leader Oleg Nikolaevich Efremov emphasized the special status of the theater all the time, not without reason at one of the skits Tolya Adoskin named the three most used words in Sovremennik: citizenship, ass and intelligence. Of course, anything happened, we swore often, but we tried not to turn into plebeians.

Pavlov and Dal were shown in the theater with an excerpt from The Naked King, and Nina Doroshina, who played the role of the princess, played along with them. Everyone liked it, except for Efremov, who somehow vaguely held out: "Well, I don't know ...". But we defended Dahl so menacingly that he immediately surrendered: “Yes, of course, Lord!”. Now I understand that Oleg Nikolaevich simply liked to provoke us, he wanted us to learn to take responsibility. At that time, actors were accepted into the troupe by voting, and everyone said “yes” unanimously.

You and Dahl were connected by the only theatrical work - the play "At the Bottom", where he played Vaska Ash, and you - Natasha?

It was later, when Galina Borisovna Volchek was already in charge of the theater. Somehow it happened that she did not start our roles for a long time, and Oleg and I spent an amazing week walking around Moscow every day and discussing who they are - Natasha and Pepel. Mostly Oleg spoke. I remember he really surprised me when he said that I should play ... a shy goat.

It turned out that he meant a frank, animal feeling: Natasha is a girl from the bottom, she feels both danger and love not with her head, but with her physics. In fact, he formulated for me what in the theater is called the grain of the role. Later, on stage, I was struck by Oleg's ability to play love: as soon as I went on stage in the image of Natasha, he immediately changed, filling the whole space with the feeling that she was the main one here and no one else.

He began to follow me - sharply, abruptly - suddenly disappeared somewhere and just as suddenly appeared. And since Oleg had a brilliant ability to improvise, we never knew how our scene would end this time.

In general, Dal was an amazing Ash, neither before nor after I have seen anything like it. On the one hand, he - tall, thin, with a thin neck - felt sorry for him, on the other hand, a powerful masculine principle was felt in him. He played a man driven to despair, on the verge of collapse, who wants, but can no longer change his life. Working with students, I often cite my work with Oleg as an example. But very often it turns out that today's boys and girls do not know who Dal is ...

Was Oleg Ivanovich already an uncomfortable person then?

Perhaps in Oleg's life there were different periods but I've never had a hard time with him. If he was not in the mood, he would say: “Sorry, I’m not in shape today,” and this did not affect our relationship with him.

Another thing is that by nature he was a loner, but the theater is still a collective matter. But all that would come later - terrible loneliness, Pechorin's search for meaning and repulsive demeanor - he still did not have.

He was very friendly with Valya Nikulin, spent a lot of time in the theater. In the night cafe of Sovremennik, where we ourselves traded, in the evenings we gathered funny companies, and I often saw Oleg there. True, not everything was so blissful: they said that, having drunk too much, he began to pester some woman too actively, for which he received in the face.

- Were women his weakness?

Like most drinking people, Oleg was not a walker. Perhaps, having drunk, he was fond of someone, but very fleetingly.

And I remember only one tragic incident connected with him - at the funeral of Vysotsky. The three of us - Oleg, Tanya Lavrova, who, unfortunately, is also no longer in this world, and I - went out to smoke. They stood, silent, everyone thought about his own, when suddenly Oleg began to laugh a lot, a real laugh hysteria happened to him. Tanya and I hissed at him, and he, without ceasing to laugh, said: “The next one is me!”, And left us. Who then would have thought that this would happen?

ACTOR GEORGY SHTIL: “MOTYL SAID: “SO, OLEG’S EYE IS MUDDY, WE STOP RECORDING”

Georgy Shtil and Dahl were connected by joint work and strong comradely relations.

Georgy Antonovich, there are still legends about the filming of the film "Zhenya, Zhenechka and Katyusha", where you were Dahl's partner.

This is all Oleg and Kokshenov, they constantly played each other. Once even the local bazaar was blocked: they arranged a game of war games, and the merchants did not understand what was happening (the guys in military uniform Yes, they were with weapons), so they hid. Trade stopped for a while, and the guys almost ended up in a guardhouse for this. But I didn’t feel very good about these, if I may say so, pranks, it seems to me that the guys abused alcohol.

It got to the point that Vladimir Yakovlevich Motyl said: “So, Oleg has a cloudy eye - we stop filming.” The fact is that in a sober state, Dahl's eyes were like a woman's - blue, transparent, but as soon as a couple of glasses were drunk, they immediately became cloudy.

After all, he was an actor from God, he, by and large, did not need a director either - he himself always knew what and how to play. But he often violated discipline. Well, as he drinks, it used to be that he was carried away: “I am Dal, and who are you here ?!”.

Oleg did not know how to drink, immediately lost face and became a different person, sometimes not very good. By the way, I was one of the few who could keep him from this. But as soon as I left the filming for a couple of days, there were people who soldered him.

- Do you have your own explanation for why he drank so heavily?

I think there were several reasons for this. Firstly, he had no luck with women for a long time. Dal lived with his first wife Nina Doroshina for only one day - she had an affair with Oleg Efremov, she did not hide this and left Oleg right at the wedding. With the second, Tatyana Lavrova, something also did not work out, and she also left. The poor fellow was very worried about this, in my opinion, and he began to drink only because he was alone all the time. When he met his third wife, Lisa Apraksina - the same thin, intelligent, well-read - loneliness was gone, but he could no longer stop and not drink.

I know about all this from himself: Oleg was frank with me, and I sometimes told him about the most secret - I knew that in this respect he was a reliable person, not a gossip. He, like Volodya Vysotsky, was also burdened by our existence, or rather, the inconsistency of life with our ideas about it.

- But what about the rumors about his difficult, quarrelsome character?

Yes, there was no particularly quarrelsome character, Oleg just did not immediately get into contact with people after they met, his location had to be earned. He was not one of those of whom they say: the soul is wide open. But if he really liked a person, he revealed himself from his best side. He also played football very well, we often spent time on the field during the break between filming.

He died just a couple of months short of his 40th birthday. The age from 37 to 42 years is the most terrible for men, if I had overcome the 42-year mark, I think I would have lived for a long time.

WRITER AND DIRECTOR ALEXEY SIMONOV: "THE FATHER, WRITER KONSTANTIN SIMONOV, ADVISED ME TO REMOVE DAL IN THE MAIN ROLE"

A well-known writer, director and human rights activist took Dahl in the lead role in his film "Ordinary Arctic".

Alexey Kirillovich, how did you come up with the idea to shoot Dahl as the new construction manager Anton Semenovich?

My father advised me to try it. At first, the very idea seemed to me, to put it mildly, heretical, but I refrained from arguing. Indeed, by that time, at the suggestion of his father, Papanov was filmed as Serpilin in The Living and the Dead - and this idea seemed even more "seditious".

- Did the actor immediately like the script?

And his role too. I only remember he said: “Where to shoot something? At Lenfilm? They will approve me at Lenfilm. He then, after the "Sannikov Land", the shooting of which was accompanied by constant scandals, was in conflict with "Mosfilm".

- Were the tests successful?

Surprisingly, I only remember photo tests: Oleg in a Budennovka coat, overcoat and round, in a thin frame, such ridiculous grandmother's glasses. Then, in the role, the extremes left, instead of a cavalry overcoat appeared

a naval officer’s, but just as heavy, to the toes, and not a budennovka, but a flight helmet that came from nowhere, making Dahl’s already small head tiny, like a fig. And the same glasses, found on the photo test, remained.

He entered the role immediately and sat in it firmly, confidently, like an experienced cavalryman in the saddle. I had nothing to teach Oleg, rather, I had to learn from him. He was much more proficient in his business than I was in mine. Dal was, perhaps, the most outstanding professional with whom I had the opportunity to work, although I saw the brilliantly planned improvisations of Rolan Bykov, and the painful self-discipline of Valentin Gaft, and the filigree alignment of the work of Sergei Yursky, and many other wonderful masters. But it is Oleg that I remember first when I have to think and talk about the skill of the actor.

- Is it true that on the set of "Ordinary Arctic" he had to show real heroism?

When, in the course of the role, the chief descended in a diving helmet into ice water In order to check the correctness of the bottom dumping - the basis of the future berth, I with great difficulty persuaded Oleg not to get into the water himself. Moreover, there was no need for this, and the huge goggle-eyed helmet, no matter how you take it off, did not make it possible to see whose head was inside. But he needed it for self-awareness. And when it was necessary to shoot a plan where the chief stood alone for a long time, looking at the dull panorama of construction, this “long” could only arise from the texture of the snow on his overcoat. So, during the filming of other people's shots, Oleg did not leave for a minute, did not go to warm himself - he waited until the snow blowing across the Gulf of Finland would texture his overcoat, encasing him in ice armor. And only after that he entered the frame.

THE SON OF DIRECTOR NAUMA BIRMAN BORIS: "HE LIKE DESTROYED HIMSELF FROM WITHIN"

With Naum Birman, Oleg Dal starred in one of his first films - The Chronicle of a Dive Bomber, which, one might say, opened him to cinema, and in one of the last - with the prophetic title "We looked death in the face."

The shooting of the "Chronicles of a dive bomber" fell on the 66-67th years, - recalls the director's son Boris, - and since I was born in the 66th, I could not communicate with Dahl at that time. But he was an idol for me, because I knew the film by heart and as a child I heard a lot of stories about how it was filmed.

- For example, about how the film authorities wanted to remake the finale of the picture?

The director of Lenfilm called my father and said: “Listen, they all die with you, this is not good. It would be great if in the final everyone sat down in a clearing, lit a cigarette, and sang the song. The director tried to explain: they say, the meaning of the picture is that good people they die in the war. “Okay,” the authorities reluctantly agreed, “then let at least the gunner-radio operator (Dal played him) stay alive.” And again I had to explain that the gunner-radio operator was a suicide bomber, he didn’t even have a parachute. “Then,” says the director, “let the crew commander be saved.” Father spread his hands: and this is impossible, since the commander leaves the plane last. “Well, then let it be the navigator,” the chief does not give up. And after listening once again to a predictable answer, he sighed: “Well, well, then let everyone die.”

My father really wanted to make a picture that the war was won not only by workers and peasants under the leadership of the Communist Party, but also by people of intelligent, purely peaceful professions, like the heroes of the Chronicle - a teacher, musician and artist.

Naum Birman returned to this topic 12 years later, making the film “We looked death in the face” - and Dal was again in the main role of choreographer Korbut ...

I also starred in this picture, so I have preserved some of my childhood impressions of him. I was most struck by the fact that Oleg Ivanovich was a Samoyed - he seemed to destroy himself from the inside. This was expressed in manic perfectionism: he always correlated himself and his actions with some kind of absolute ideal, twitched all the time and doubted everything: either his father shoots wrong, or he himself plays wrong. “And why did I just agree to this!” - from time to time the actor exclaimed in his hearts and even wrote letters of complaint about his father Joseph Kheifits, who starred in the film "Bad good man". Of course, his condition was further aggravated by the fact that his father would not let him drink.

- How did he do it?

Firstly, dad settled in the House of Creativity of Cinematographers in Repino in the room next to Dahl in order to control his movements day and night. Secondly, he constantly called his wife, Elizaveta Alekseevna, to St. Petersburg, she also restrained Oleg Ivanovich as best she could. On the one hand, forced sobriety worked for the role - Dahl had a suffering look, like a person not from a peaceful life. On the other hand, his jokes became more and more sharp and angry and devoted to a topic that was painful for him - alcohol. Most often he teased his father.

A car came to Repino for them to take them to the shooting, sitting in it, Oleg Ivanovich could say: “The windows are fogged up. Probably, Naum Borisovich has already succumbed in the morning! He could quarrel over something insignificant, for example, an unsuccessful, in his opinion, suit. But now I understand that he was worried about the result, and therefore broke down over trifles.

- And how did Dahl communicate with the main cast - children?

There were really a lot of children in the film crew, with us he was gentle, attentive and helped us a lot as a partner. In general, in a good mood, Oleg Ivanovich was a pleasant person, a good conversationalist with a wonderful sense of humor. He constantly told something, starting, as a rule, with the words: “I was once sitting in a WTO restaurant ...”, and then there were endless variations on the theme.

I wonder what Dahl, dissatisfied with the way Soviet cinema was shot, would say about the sweatshop system of current film production?

It will probably sound crazy, but I think that all of them - both Oleg Ivanovich and his father - passed away in time. I remember how my father, who in the last years of his life often lay in the hospital, went to Lenfilm after another illness. And there all these perestroika upheavals had already begun, everything began to fall apart. Returning, he said: “I don’t understand what’s going on there: I don’t recognize anyone - all new people, in the corridors there is a botanical garden - some plants are grown in tubs, in the yard there is a vegetable base - they sell potatoes there. What should I do next in this profession? But the father, who survived the blockade, fought, was a strong man. It would be much more difficult for Oleg Ivanovich with his exactingness towards himself and others.

FILM DIRECTOR VITALY MELNIKOV: "OLEG REMINDED ME OF A SOLDIER WHO CAN'T FIND A PLACE IN PEACE LIFE AFTER THE WAR"

Vitaly Melnikov presented Oleg Dal with one of his best roles - Zilova in the two-part TV movie "Vacation in September", based on the play "Duck Hunt" by Alexander Vampilov.

Vitaly Vyacheslavovich, Soviet time Vampilov's plays were banned, and especially Duck Hunt. How did you manage to break through it?

The television management allowed to shoot this picture after long requests from my side and only because my other film based on the play by Vampilov, “The Elder Son”, had done well before that. The difficulties began with the fact that I was not even allowed to name the picture the same as the play. Moreover, in the plans it was listed as anti-alcohol, then there was just another campaign against drunkenness.

With Oleg, whom I saw in the role of Zilov, we were previously familiar: he starred at Lenfilm - both at Kosheverova and at Motyl. But immediately to tell the television authorities the name of Dahl meant to reveal the whole ideology of the picture. So I dragged it out until the last moment.

- When did you tell him that he would be filming?

When everything was ready in order to go on an expedition to Petrozavodsk, I deliberately chose this city in order to stay away from any kind of authorities. I came to Oleg in Moscow, but he met me coldly, ironically and even irritably: “Well, what would you like from me?”. When I explained, he asked: “So, are we going to audition?” - “No,” I say, “tomorrow, bypassing St. Petersburg, we will leave for Petrozavodsk and begin work.” After a pause, he said, “I understand. Tactically, this is absolutely correct.

Our film crew met in Petrozavodsk, where in an ordinary apartment - there were no pavilions - they built scenery and started filming. At the same time, we all felt like conspirators who were doing something forbidden.

Was it difficult for you to work with him?

It's no secret that Oleg had the glory of a brawler. And not only because he drank, but also because he was picky both to himself and to those around him, dressing his discontent in a rather sharp form. I was afraid that we would have some difficulties, but everything went quite easily and wonderfully until the very end of the shooting. His wife, Liza, looked after him carefully, no matter what happened! - but for all the time Oleg did not drink a drop. He lived this role, the real Zilov walked around Petrozavodsk.

- As a result, the picture was put on the shelf ...

They didn’t ban it directly, they just said: “We don’t have a reason to release it on the screen yet.” As often happens, after such work, which was both pleasure, and joy, and suffering, an emptiness suddenly formed around Oleg.

He felt lonely and devastated, especially after learning that the painting was being held. He was very tormented by this circumstance, as well as by the fact that he did not have a job of this level.

Everything happened at the height of the Brezhnev era: the dramaturgy at that time was lousy and deceitful, everyone around - both big and small - lied to each other recklessly. He reminded me of a soldier who, after the war, cannot find a place in civilian life. Now I understand that it could not end well.

Two weeks before his death, Oleg wrote me a letter. He remembered the picture, hoped that we would still work together, that maybe in the television association in St. Petersburg, which I led, there would be some worthy work for him. In the margins he drew Zilov, human footprints led from him to the top of the page, and a grave was drawn there. I remember, I also thought: “Well, the Zilov tricks begin!”. And two weeks later Oleg was gone.

- He never saw "Vacation in September"?

On TV, no. He saw it in the working version, in the process of dubbing. And once the picture was shown in the Moscow Cinema House, where we brought it illegally. Dahl's diary contains memories of this viewing and the role, which he greatly cherished. There was another illegal showing of the picture - it took place shortly after the death of Oleg in Kyiv. The coach Valery Vasilyevich Lobanovsky asked to bring her, who considered that Dynamo Kyiv must see her. Well, since the news of this instantly spread throughout the city, Ukrainian filmmakers had to play it in the Kiev Cinema House.

And the picture was released on television only eight years later, when perestroika began - if not for this, it would have been lying on the shelf for a long time. I have a feeling that she is alive - she has not died, she has not grown old - to a large extent precisely because Oleg starred in the title role.

If you remember, in Russian literature XIX century there was such a thing as an “extra person”, and so, in a sense, Oleg Dal was like that. With a heightened sense of justice, a constant desire to openly and honestly do business. Any disguised lie that he intuitively sensed irritated him terribly. He could not find a place and a role extra person played with talent until the end of his life.

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The beloved actor remains in the memory of his viewers with his skillfully played roles, productions and performances, as well as his exceptional ability to read poetry. He knew how to get used to his hero and convey to the viewer the true meaning of the whole picture.

Height, weight, age. How old is Oleg Dal

Oleg Ivanovich Dal was very demanding both to himself and to his roles, therefore, from all the invitations of film directors, as well as theater scriptwriters, he chose only those that he liked, which he felt and knew that he could play excellently. That is why each of his roles is a masterpiece.

The audience has always been interested in his personality, height, weight, age, how old Oleg Dal is. He had a wide range of acting, playing in comedies, tragedies, fairy tales and dramas, and all his characters were non-standard and extremely original personalities.

Biography of Oleg Dal

Oleg Dal came into this world in one of today's districts of the Russian capital, and once the city of Lublino, on May 25, 1941. There he spent his childhood in the house number 63 on the street. Moscow, which today is called Lublinskaya. Oleg loved sports since childhood, was fond of basketball, but due to heart disease, this activity had to be abandoned. He was fond of drawing and classical literature. After receiving a certificate at the very end of the fifties, despite the opposition of his parents, Oleg Dal becomes a student of the “chip”. In parallel with the beginning of studies and begins famous biography Oleg Dal.

In parallel with his studies, he begins his first steps in the cinema, as well as performances on the stage of the State Academic Maly Theater. The debut role in the film "My Little Brother" (1962), where he presents to the public an intellectual young man from the Moscow court, gave him a ticket to Big world cinema. This tape was followed by new roles, new successes, national fame and audience love.

Filmography: films starring Oleg Dal

Oleg Dal's filmography includes more than 20 theatrical productions, more than thirty films with his participation, dozens of dubbed voices and scientific films. Basically, Dahl's heroes are his peers, to whom he appropriated his character traits, his gentle, but at the same time sad charm. His performance of Zhenya Kolyshkin in the film Zhenya, Zhenechka and Katyusha, released in the sixty-seventh year, was a colossal success. Although the tape was never released big screen, but was allowed only in small villages, Oleg was remembered by the viewer and aroused curiosity. And his debut as a director was presented in the production of "The Princess and the Woodcutter" in the late sixties, where he played the main role.

Oleg Dal strengthens the audience's love with his impeccable two roles in 1968 in The Old, Old Tale, the role of a puppeteer and a soldier. Only a truly talented actor can cope with cardinal transformations within the framework of one picture. He also demonstrates the game of two roles in the film "Shadow" (1971).

But the picture "Sannikov Land" was not very fond of Dahl because of the director's ban to sing in the film "There is only a moment", giving preference to O. Anofriev in her performance.

In 1975, his old childhood dream comes true, A. Efos gives Oleg Dal an opportunity to try himself in the role of Pechorin in a fragment of M.Yu. Lermontov's novel “Through the Pages of Pechorin's Magazine”. After reading this novel as a boy, Oleg firmly decided that he would become an actor and play Pechorin.

Dreams to play philosophical drama"Vacation in September" came true at the very end of the seventies, Oleg was sure that the role of Vitaly Zilov was his biography, as if it had been written from him, but the picture was released eight years after the death of the actor.

At the very beginning of the 80s, the actor was accepted into the theater ranks of the State Academic Maly Theater, but he managed to play there only a single role in the production of "The Shore" dir. V.Andreeva. And the final work was the game in the film "The Uninvited Friend", which is launched on the screens in the year of his death (1981).

Personal life of Oleg Dal

This famous actor- a very impulsive personality, attracting with his charisma, style and unsurpassed talent. The personal life of Oleg Dal is replete with many novels, love stories and experiences, some of these relationships ended in marriage.

Oleg made several attempts to build a family and meet a woman who would become his reliable friend, loving and faithful wife, adviser and most devoted spectator. On his life path there were three marriages, two of which, due to the scandalous nature of the actor, and also because of his addiction to alcohol, failed.

He was a man of complex character, with a heightened sense of justice, very self-critical of himself and his game, but his addiction to drink got the better of him. He often got into trouble with directors, he was fined for appearing drunk on film sets, and after the death of his friend V. Vysotsky, he even spoke about his own death. It was such a person that Oleg Dal was. Death, for what reason, why so early, why exactly Oleg? - these questions were spinning in the head of relatives, friends, acquaintances and the entire audience.

After all, it didn’t fit in anyone’s head that a still very young, beloved actor, screenwriter and director would no longer delight the viewer with his new creations. At that time, Oleg Dal was in a deep crisis and it was no longer possible for him to quit his addiction to alcohol, he allegedly invited death by his actions. It was alcohol that caused the death of Oleg Ivanovich in 1981. Oleg Dal, beloved by everyone, did not live to see his fortieth birthday for two and a half months. In the last two months of his life, he and his wife moved to live in small house in the village.

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

Death overtook the actor in the capital of Ukraine, in a hotel on March 3, 1981, where Oleg came to audition for the film "An Apple in the Palm". On the evening of that day, he got out of the car of friends, near the hotel, saying to them: “ Goodbye! Dahl closed himself in the room, taking with him a bottle of strong alcohol, and drank it to the bottom.

The ampoule, which is commonly referred to as a "torpedo", was sewn into his body, it dramatically increased arterial pressure, which led to internal hemorrhage and death of the actor. When the body of Oleg Dal was discovered in the morning, his face was calm, peaceful and a kind of relief.

Grave of Oleg Dal

The funeral of the actor took place on March 7, 1981 at Vagankovsky cemetery Moscow.

Family of Oleg Dal

It fell to Oleg to be born at the very beginning of hostilities in 1941. Mother - was a teacher, and father - worked as a railway engineer.

There are speculations that Oleg in the fifth generation is the great-grandson of V.I. Dahl, who wrote the well-known " Dictionary Great Russian language.

Oleg Dal is the second child in the family of Ivan and Pavla Dal, they also had an older daughter, Iraida. Because of the hostilities, the mother and children left their homes in a hurry on a crowded train, into which a good-natured conductor helped them get on. At the end of the war, they returned, but little Oleg dreamed for a long time of the roar of aircraft and the bombing of his native city, at such moments his mother read him poems by A.S. Pushkin.

Mother doted on her son. He pleased her when he performed in the Dunaevsky choir and played in the drama circle when he demonstrated his piano and guitar playing. He composed the best creations at school and managed to cope with his speech impediment on his own. He showed his talent in everything he undertook, it amused his parents' hearts and warmed their souls.

Children of Oleg Dal

Oleg Dal lived each of his roles, he did not just play, but worried, rejoiced, sad and fell in love with each of his characters. He often improvised, fantasized, thought through every phrase, detail, treated his work with great responsibility. He believed that his roles were the children of Oleg Dal and they simply had to be perfect.

Oleg Dal has no children. Such a difficult fate, a complex character, addictions, a tragic perception of the world, and at the same time a very subtle and fragile nature were combined in one person. Oddly enough, in the presence of amazing talent, a huge filmography, audience recognition and respect from colleagues, Oleg Dal did not have time to become People's Artist and never received any prizes or awards. But this did not prevent the actor from forever crashing into the memory of all viewers of Soviet cinema, and becoming an actor with a capital letter.

The ex-wife of Oleg Dal - Nina Doroshina

Oleg Dal met his first great love in the theater, where he came to play already, being a movie star. Ex-wife Oleg Dalya - Nina Doroshina worked in the same Sovremennik, like most girls, was subdued by the creator of the theater Oleg Nikolaevich Efremov.

Twenty-two-year-old Oleg Dal was unconsciously in love with Nina Doroshina, and did not see anything around, even the obvious love affair between Nina and Efremov. Being in the captivity of Cupid, he offers her his hand and heart. They play a wedding, with which Nina is taken away by Oleg Efremov. Due to the romance of Doroshina and Efremov, which the girl did not even hide, Oleg Dal's first marriage lasted one day, without having time to really begin.

The ex-wife of Oleg Dal - Tatyana Lavrova

After a short, unsuccessful first marriage, Oleg Dal is full of hope for a happy family life, meets Tatyana Lavrova, she becomes his second legal wife. The ex-wife of Oleg Dal, Tatyana Lavrova, was also an actress and played in the theater.

But this relationship did not last long, after two years life together Tatyana Lavrova leaves Oleg. The actor never commented on this marriage, only once opened up to his mother, saying that " Tatyana was evil". After the departure of his wife, he fell into a terrible depression, which increased his addiction to alcohol.

Oleg Dal's wife - Elizaveta Alekseevna Apraksina

And so, Oleg meets a beautiful girl, with a subtle nature, very educated and well-read Elizaveta Apraksina. She dispelled his loneliness, brightened up his gray life and made him believe in himself, but she could not drive him away from addiction.

Oleg Dal's wife, Elizaveta Alekseevna Apraksina, worked as an editor, was the granddaughter of Boris Eikhenbaum, a well-known literary critic. She was four years older than Oleg and had lived the last twenty-two years of her life without him. According to her, these were years of grief for her beloved Oleg, “ he made me, but he also took me" she said.