A master of complex simplicity

Stanislav Lyubshin - 90!

There are such actors who are hardly visible, not heard. But without which to present the history of domestic cinema, art is unthinkable.

Well, it is impossible to imagine someone else, albeit brightly gifted, in the role of Ilyin from "five evenings."

In this play, he grew gradually. As if fate prepared him for the main role in life. Few people remember that the young actor made his debut on the stage of “Contemporary” by the role of Slavka, the ruff of the heroine. Most likely, this character was remembered by Marlene Khutsiev, who invited him to play Slavka in the epoch -making picture “I am twenty years old” - a guy who has acquired a family early, eager for all sincere fibers to friends, young Kuterma, idle stagnania with friends, on washed Moscow streets.

Then there were so many: about 100 roles, including the popular favorite of Belov-Vais in the series “Shield and Sword”. The viewer recognized him, and the actor himself remained dissatisfied with the work:

QUOTE

Stanislav Lyubshin:

“It seems to me that the hero’s spiritual world in the film is not enough: too many adventures and much less psychology. Now I would play a lot differently. I would try to show on the screen the spiritual state of a person who has been forced to live side by side with enemies for many years and cannot afford to be himself. ”

With such an icon -painting appearance, he is a multi -sided, multi -fry, multi -color actor. Always unexpected.

I recall the insinuating manner of his sweet and vile Vitalik Fedyev in the “Word for Protection” by Abdrashitov and Mindadze. And out of your favorite roles-to watch and watch-a boring accountant Vladimir Nikolaevich from “Call me to the distance of a bright ...”-his directorial debut. Masterly written out by Shukshin - as if for himself - the hero in the interpretation of Lyubshin received an orchestral, multidimensional sound: ridiculous, with bald patches, miserable. Funny. I remember how he repeated from day to day: " Here I will turn on the TV, I will look at some kind of production." And such a longing was in his words, on his face - unlimited, such a hopelessness. And it is clear: he will look, he will miss his happiness, his only meeting in his life.

Virtuoso work, psychologically justified eccentric.

By the way, Vladimir Nikolayevich was also called his foreman at Kin-dza-dza, who went beyond the pasta and went on an intergalactic journey ... to know himself.

In the Moscow Art Theater, the Chekhov television production “Three years”, with special attention to the nuances, intonation, beloved Lyubshinsky combination: simple and complex, irony and pain, sadness and warmth, was resolved with Dolinin.

And the most striking stage character was Tartuf in the famous and unforgettable production of Anatoly Efros.

It was a quiet, most dangerous politician manipulating people, stimulating, enveloping the right words of vile acts. Soft externally and infinitely ruthless.

And yet, the main, most powerful work of the actor was Alexander Ilyin in the “delightful retro”, as Turovskaya wrote, “five evenings”. A forced wanderer, a wanderer, "a sautable head." Small and melancholy, thoughtful and decisive. In some incomprehensible way, the actor felt for the spirit of the post-war time, the spirit of the post-war generation, and house on house, fortunately, in his sicked hero. By normal human life ...

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