"He was fearless"

Leah Akhedzhakova about Eldar Ryazanov

Leah Akhedzhakova about Eldar Ryazanov

Ryazanov is a huge phenomenon in our culture. This is a special place in the world, it is a unique personality, it is the highest level of directing, it is a measure that will still measure the scale of personality in art, and in our civil society.

His place in Russia will not be taken before or after. He was unique. Another Ryazanov can be born with such a scale of personality and the scale of artistic ideas, but with such a constellation of talents, the charm of personality, creativity - never.

Everywhere where I had to tour, in different countries, and in the smallest cities, there are no people who would not smile at me, because I am from the Ryazanovsky.

It is impossible to imagine the scale of its electorate. You come to the distant Melbourne, they ask about him there. Since he got sick, wherever I was, strangers asked to convey his love to him, his health wishes to convey hello to him. The exact figure is unknown - how many of them - loving Ryazanov. Our Russian world broke into patriots and “national expense”, those who believe, and do not believe, who hopes, and does not nourish any illusions, but everyone is equally yearning for Ryazanov’s films.

Eldar Aleksandrovich Ryazanov (1927 - 2015)

For many years, his films were a comfort, an explanation of love, sympathy and empathy. This is a special mission that this man has taken upon himself - an artist, poet and bully. Yes, I saw him in manifestations of hooliganism. And it has never been rude, offensive and small. It was a hooliganism of a cheerful man. And I have never seen seriously on his face, from which the flies will die and the lamps go out.

I accidentally got to Ryazanov. He saw me in the film “I am looking for a man” by Misha Bogin, and called to “The Irony of Fate”.

The main thing that was on the set of all Ryazanov’s films is an extraordinary atmosphere.

Many actors who starred were charismatic, witty and real poets. I remember that on the garage in some of the breaks, everyone sat, and composed epigrams. Then a whole hail of epigrams collapsed - Zhora Burkov, Gaft and Iya Savina ... I do not remember everything, but even these minutes outside work are remembered as a happy time.

And Eldar Alexandrovich was always the center, the discharges of energy came from him, which created an incredible atmosphere on the site. And in the "garage" there were such metaphors of a powerful confrontation of the scoop. He could fight, and was fearless, rushed to the embrasure, like Alexander Matrosov.

Ryazanov was always surrounded by his people. There was one good artist. But, as they say, they had a mismatch of an artistic and civil position. More precisely, biological incompatibility. Eldar Alexandrovich quietly told me then: “I take it for the first time. He is the last. " And laughed.

I remember how in the "nags" we - all the heroines, were dressed very well, and put in a cage in court. I began to climb into the rampage: why did you, beggars, were giving us? But Ryazanov insisted on his own. When I already saw the film and that scene as a car with us - nags, leaves, and Eldar Alexandrovich remains, I realized that he came up with a farewell to his favorite actresses. And with something, he was also said to, with much more serious, not formulated and very important for him. We left forever. He wanted us to be beautiful and elegant.

When I came to the Khamovnican Court a few years, in the very cage where we, old nags, sat, were Khodorkovsky and Lebedev. There was a court.

On the nags, I made friends with Ira Kupchenko, and with Sveta Kryuchkova. I was familiar with Lucy Gurchenko about 20 years before, we had already starred with her, and I have long discovered that she was a very good partner. She was easily invented. And Ryazanov himself loved acting improvisation.

We can say that all of Moscow is familiar from Ryazanov’s films.

And the luxurious Moscow in the “Service Roman”, and the trains, the cemetery, and the workshop where the marble tombstones were made - in the “old nags” and the “promised heaven”.

I remember how we, actresses, were difficult, cold, damp, cramped and uncomfortable. But I remember everything with tenderness. Although Eldar Alexandrovich was persistent in his work and always achieved the scene to carry the meaning that he needed, which he needed.

I remember how I was almost knee-deep in some miasm, where torn bandages, milk boxes swam, in a word-a garbage dump. And the scene did not work out. 5 hours I stuck out in the trash until we did what Eldar Alexandrovich needed. I'm passing by this place now. Now there are elite houses, twisted fences, behind which luxurious foreign cars.

Then this episode did not enter the picture. But most of all I remembered not what it came in, but the heartbreaking process itself.

Ryazanov always needed his own dalismans, and no one had ever refused him.

In the film “About the Poor Hussar”, he put all his women actresses on the balcony to wave with handkerchiefs, greet the squadron.

He asked me to play a waitress in the Station for Two, only flash with a tray, but I was busy, could not.

He wanted at least a small episode, but Burkov, Khazanov, and Petya Shcherbakov would play.

Even when he did not make a movie, the best of the best performed in his club "Eldar". He himself sanctified, while he could, evenings of outstanding actors.

The last time we saw Eldar Alexandrovich in the summer. He was seriously ill. We often called back with his wife Emma. A tragedy fell on her shoulders, and she, not complaining, so courageously, with such tenderness carried this terrible burden. She was his guardian angel.

The main thing is that Eldar Aleksandrovich Ryazanov lived a life surrounded by love, and went in love.

Photo: Ilya Talev/RIA Novosti, kinopoisk.ru