
“It is impossible to imagine Seryozha in non -being,” his comrade, director Vadim Abdrashitov told me.
Impossible.
It was like to imagine that someone there, upstairs, stopped the film with his films. And there is no more this air, heart languor, tender errors. The rustle of the dress of Anna Karenina. The screaming of pigeons is someone else's white and pockmarked. Pain and hidden fear in the suffering eyes of the hard, as if stharged by Alexei Karenin Yankovsky. Bashirova, including a comet tape recorder. Or voices in the "Communications Tyub" in "ASSE".
“Each pipe has a couple, it must be found. To find, you need to shout on one side and understand that a sound came out from there. And when the couple folds, it will be possible to whisper through the pipe and everything will be heard. ”
And everything will be heard ...
“Something in my soul is somehow exclusively vile,” said Alika Tatyana Drubich in “Asce”.
Is it true. It was as if thousands of lights of lit matches and lighters at the Tsoi concert go out. We already know that the requirements of hearts remained unanswered.
“Assa” is not just a film, it is a milestone in the history of Russian culture, a manifesto, a password for their own. The flexion of the heart in the beat with the percussion and the guitar of Tsoi. The picture published in 1987 proclaimed a new era in both the life of the cinema and in the life of the country, some-a very short time living under the slogan “We are waiting for change”.
No, Drubich is not a muse, it is the being of Solovyov’s films. The ultimate authenticity in the most fantastic circumstances. And yet - as he said - "cloud." Without this cloud, it was difficult for his films to breathe. Therefore, he so insisted, for a long time and relentlessly convinced her to play Anna Karenina.
Ficked up so different in mood, genre of films. Youth air trilogy (“One hundred days after childhood”, “Rescuer”, “Heir in a straight line”). He weaved into these films, as in the wreaths of his heroines, the lines of the classics: Pushkin, Lermontov, Tolstoy, Bunin.
The black-red trilogy, starting from the manifesto of the era-“Assa”, then “Black Rose is the emblem of sadness, the red rose is the emblem of love”, “The house under the starry sky”. In them
Grotesque and romance, a nightmare and laughter - a round dance around frozen fountains is circling. In an atmosphere of dying of a giant country, in the cramps of the tenacious old world.
He completely shared the philosophy of the banana “but I do not live at all. Living life is sad. That life: house - work, work - grave. I live in the reserved world of my dreams. ”
And this world of dreams created in all microscopic, as he said, “super -dry” details: instead of wallpaper in Chekhov’s stories and lace on the dress of Freindlich to the balloon of a young Timofei from a “house under a starry sky”. A ball cast in stolen materials.
Perhaps his main picture was never shot. “Ivan Turgenev. Metaphysics of love. " The love story of Ivan Turgenev and Polina Viardot, the main roles were played by Oleg Yankovsky and Tatyana Drubich. Starting from the 80s, he dreamed of this picture. About "Unrelated novel with confused chapters." 20 minutes of the filmed material disappeared. But he always tried to resume work. And after almost 20 years, he received a categorical refusal of officials:
“Due to the lack of interest in the history of relations between Ivan Sergeevich Turgenev and Polina Viardot, we do not find the opportunity to finance this picture.”
All his films are art objects, everything is “about love”. A movie that does not depict a relationship listening to the music of these relationships.
“Art is one of the most meaningless deeds on Earth, like a butterfly flight,” he said. - Why is it needed? Don't know. But from the presence of art in our life it becomes better to live. I know this for sure. "
He loved the New Gazeta. I eagerly met with us. He talked in detail about the creation of the epoch -making “Asssa”. And when we were 20 years old, he answered our questionnaire .