How Oleg Dal passed away. Oleg Dal. Radzinsky diagnosed the actor with a delusion of perfection. The main character traits of an actor

Oleg Ivanovich Dal is a brilliant Soviet actor, with the subtle and vulnerable soul of a poet and the tragic fate of a great actor who burned out before his time. He was not able to fully realize himself as an actor in the few years of life and work in the acting profession that fate had allotted to him, but many of his roles remained forever in people’s memory as being far beyond the boundaries of ordinary acting. As a person and an actor, Oleg Dal was absolutely unique, not tolerating any restrictions and not fitting into any system. And it’s not for nothing that Oleg Dal, at one of the meetings with the audience, when the presenter mistakenly introduced him as a people’s artist, said: “I am not a people’s artist, I am a foreigner...”. I think that this phrase most accurately describes Oleg Dal as a person and as an actor. He was absolutely unique, completely internally free and simply did not physically fit into the reality around him due to the special subtle organization of his soul and nature. He was a tragic personality, with very great internal mental stress and spiritual torment (as can be seen from his horoscope), which could find a way out only through selfless creativity (acting), alcohol, or constant conflict with the reality around him. And the tragedy of Oleg Dal’s fate lay precisely in the fact that he could not, due to many subjective and objective reasons, be fully realized in theater and cinema as an actor. Which in fact was the reason that Oleg Dal lived such a short life and died young. His life flashed like a comet in the night sky, and lasted one brilliant moment, that very moment between the past and the future, about which he sang so soulfully in “There is only a moment between the past and the future...”.

I determined the time of birth of Oleg Ivanovich Dahl as 6:00 a.m. (GMT +3 hours). The degree of position of the Ascendant is 4 degrees. Cancer. Date of birth: May 25, 1941 (Moscow). Rectification was carried out using the following methods: solar arc directorates, transits, solariums. The house system is Placidus. The Ascendant sign was determined by me based on the appearance, psychological portrait and personality traits of Oleg Dahl.

I determined the ascendant of the actor and the position of the planets in the houses based on the following:

1. The main character traits of the actor.

I give a description of the main character traits of Oleg Dahl according to the memories of friends and relatives.

Actor Valentin Gaft says:

“ Oleg believed: an artist is a secret. He should do his job and disappear, - They shouldn’t point fingers at him in the streets. He must show his face in his work, like Vertinsky his white mask - and then take off this mask so that he is not recognized. “

From the memoirs of director A. Efros:

“There are actors who are pawns. Oleg was not one of those actors. He combined a very serious personality, independent, proud, rebellious, and - acting flexibility, elasticity...

He was a restless man. He constantly moved from place to place if he did not agree with something. He was a man of extremes. Some feelings of protest were bubbling within him towards his partners, towards the premises in which he worked. Because somewhere inside himself he had a very high understanding of art. Although this was mixed with a share of carelessness that was also in him. But still, the roots of this disobedience went back to the maximalism of his views on art. He hated himself in those moments when he betrayed this maximalism. He had high artistic demands. He made very high demands on himself. He understood that he himself often did not meet these requirements. And I suffered from this.

Mockery, demandingness and at the same time some kind of irresponsibility, the ability to torment others and torment himself even more - everything was in him.

He was a mysterious person. I confess that I could never fully understand him. I think that almost no one fully understood him. Sometimes it seemed to me that this mystery was a consequence of a hidden spiritual emptiness, and sometimes, on the contrary, that he felt so strongly that he was protecting himself from unnecessary experiences, somehow defending himself.

Like a boy, he could fearlessly throw himself into any creative task. By nature he was an improviser. The so-called “academicism” did not threaten him at all. “Academicism” is calm, stability, it is attachment to something frozen. There was nothing like that in Oleg Dahl’s character. There was always some kind of rebellion in him. And if you try to figure out why he constantly raised this rebellion in his own soul, I would say - against all the absurdities of our life, against all its ugliness.

He hated a lot, couldn’t stand it, could hardly bear it. He was a mocker, but behind many of his unkind ridicule there was pain.

He had such amazing, rare external characteristics - a thin figure, a hard, sharp face, incredibly expressive eyes. He understood very well, when a close-up was being filmed in a movie, that nothing needed to be done - just slightly change the expression of the eyes. Having given him the task, I went to the movie camera and from there I did not always see Dahl’s face in close-up. But then, looking at the material, I was always amazed. I was amazed in the same way when looking at Smoktunovsky’s takes. But if Smoktunovsky admires the smallest play of the face, the many shades turning into one another, then Dahl’s is such strict economy, such scalpel-like, sharp precision! Well, I opened my eyes a little wider - so what? But Dahl didn’t do anything formally; everything was filled with content, and what kind of content! I was in a hurry to film, did not ask whether Oleg understood any of my brief explanations, and the film then reflected not an illustration for the explanations, but something independent and significant.

He was a born film artist. He could be motionless, but at the same time incredibly active internally. [...]

When he left the Theater on Malaya Bronnaya, he entered the Maly Theater, and I did not understand this step at all. I thought it was all the whims of an undisciplined actor. But now I think that it was all throwing. He did not find his place, did not find himself in the modern theater, moreover, in our modern life.

He was always a separate person. He always sat alone in the dressing room, curtained the windows, sat in the dark, and his cheekbones moved. He became so irritated when he heard actors behind the wall chatting about unrelated topics, telling where and with whom they were filming. He himself never spoke about his filming and generally spoke very little. And then he burst into some cynical phrase.

But for all that, he was a very tall person mentally. Very hard, and behind this hardness there is extraordinary subtlety and fragility.

It was wonderful when he was kind. Or when he was happy. These were very rare moments, but they were very warm and special. When the viewing of "Pechorin's Notes" ended, Irakli Andronikov praised Oleg very much, and Oleg was happy. He was literally sparkling - he began to say something affectionate to me and others, and his eyes shone...

There are few actors about whom you can say that they are unique. Everyone is a little like someone else. And Oleg Dal was unique. “

(EFROS A. Book four. M., 1993.)

From an interview with Oleg Dal’s wife, Elizaveta Dal:

“And how did you get married?

He wrote me letters, very lyrical, kind, I fell in love with him thanks to these letters. When he arrived, we went to the registry office. I remember I froze for a moment, filling out the column about changing my last name, and looked at him. And I realized that he wants me to become Dahl. After the registry office we went to an ice cream parlor and drank champagne. On the marriage certificate| Oleg wrote sweepingly: “Oleg + Lisa = Love.” We were given three days for our honeymoon. These were happy days, then very difficult everyday life began, which lasted for two years...

Oleg drank terribly. At the same time, he became similar to Zilov from “Duck Hunt”, even more terrible. He was not capable of killing himself, but somehow he almost stabbed me. While on tour in Gorky, he began to go on a heavy drinking binge, that, you know, under-drinking state when a person is completely brutal. It was very hot, I was lying in the room in only a swimsuit. He moved the knife over my stomach and said: “So what! I don’t care, I’m not going to live anyway.” As subtle, intelligent, and generous as he was, he was just as scary, dirty, and cruel in his drunken frenzy. I didn’t sleep, I suffered, I hid when he came home drunk, Olya fussed with him. At the same time, he was unusually clean. No matter what stage I was in, the first thing I did was go to the bathroom. Olya was afraid that he would tear off the column, and always said: “Olezhechka, don’t throw a hook. Lie down in the bath, fill the water and call me. I will help you". One day Olya enters the bathroom and sees a picture: Oleg Ivanovich lies in all his splendor in cold water with an extinguished cigarette in his mouth and sleeps blissfully, without even turning on the igniter. She turned off the water and yelled at him: “I am a woman, and you are lying in front of me in your natural form!” She helped him get up, put on a robe and put him to bed. That night I slept on a cot. There was no money, we forgot what coffee was, and Olya and I sold things that were sent to us from France. And once, when he almost strangled me and I, having escaped, sat in the attic until the evening, Olya, unable to bear it, told him: “Oleg, go to Moscow” and gave 25 rubles for the journey. I must say that he left very gracefully: he washed himself, dressed elegantly and came into our kitchen: “That’s it. Let's go. Can I keep the key to the apartment?" - "Yes". I already loved him again, my heart was bleeding, I felt so sorry for him. But still she resisted and did not run after him. This was in March, and on April 1st I suddenly got a call: “Lizka, I’ve been sewn up for two years!” “This is no joke!” – I abruptly interrupted him. But it was true, he, in the company of Volodya Vysotsky, really sewed up. The next day I enter the apartment, Oleg stands at the window, makes a gesture with his hand, I stop. He turns his back, unzips his pants and shows the patch on his butt: “Here is my torpedo!” After the torpedo, the old Oleg disappeared for a long time, as if he had never existed. A real happy life has begun...

For the last ten years that we lived, he periodically drank, when his term expired, then he fell asleep again and did not drink for years. It was impossible to offer him stitches; he had to decide on it himself. He said this: “Don’t let me out of the apartment for three days, I’ll cry, I’ll beg - don’t listen. We’re going to the doctor in three days.” He never held drinking parties at home - if he wanted to drink, he left home for the WTO, IDL, and the House of Cinema. I couldn't stand drunk actors.

– They say that he started drinking at the Sovremennik Theater?

When Oleg appeared in the theater, he almost immediately married Nina Doroshina. They starred together in the film “The First Trolleybus”. Doroshina was Oleg Efremov’s lover for a long time. When he and Nina became lovers, Dal even got scared: “What am I doing?!” I’m stealing a woman from my idol!” In the midst of their wedding, Efremov, already well received, said: “Well, Ninok, sit on my lap.” She sat down. Actually, that’s where the wedding ended. And it began to be applied to the bottle. In addition, in the theater at that time everyone drank very heavily. He and Nina lived for some time, she tried to commit suicide several times, he dragged her to Sklifosovsky, then he married Tanya Lavrova, but also unsuccessfully. Once his mother asked him about the reason for the divorce, he answered briefly: “She was evil.” And that’s it, not a word more about Tanya. He was not a womanizer, although people fell madly in love with him.

– Did you work with him on all his paintings?

Oleg, after he “sewed up”, “removed” me from work. I often started a conversation about service, but he always answered: “The hundred rubles that you earn, I will bring to the house myself. I want you to always go with me to filming.” It was so difficult for me at first! One day at lunch he noticed that I wasn’t eating and asked: “What’s the matter?” - “I can’t eat someone else’s bread.” He replied: “If you are sick, get treatment.” After that, I realized that a good wife is also a profession. I went with him on all the expeditions, and he knew that hot tea and strong coffee were always waiting for him at the hotel. As one of our mutual friends joked: “You are truly behind your husband.” Our house was clean and tasty, that’s what he wanted. A completely unmodern person in everything - in his attitude towards life, towards women. He was the head of the family: his three women and he (his mother began to live with us). Oleg alone worked for everyone. When he brought money back from trips, with a sweeping gesture he took it out of his inner pocket and threw it like a fan on the floor. He knew how to leave behind the door everything that was not worth bringing into the house - it would get dirty. He wiped his feet and walked in, leaving behind the threshold all extraneous troubles, grievances, unplayed roles, and the envy of his colleagues. If he felt that we were having problems at home—money had run out, illnesses had begun, everyone around was growing gloomy—he would cheerfully say: “Don’t worry, old women, everything will be fine.” And in order to raise the spirit of his women, he invented a role for himself - he portrayed an old man. The whole evening was old, old, even when I was alone in the room (I deliberately peeked). He put on a shabby long robe and slippers, shuffled his feet and coughed all the time. He behaved like an old man, for example, we were sitting in front of the TV, he came up, turned his back to him and “farted.” And for some reason I remember a piercing thought in my head: “He will never be old!”

Many were surprised: “It’s so difficult to live with him!” Nothing like this! He was easy-going, knew how to appreciate and love, knew how to sacrifice, and never asked for anything in return. I rarely gave flowers because I couldn’t imagine myself walking down the street with a bouquet. I remember when we lived on Novatorov in the Khrushchev, he forced the taxi driver to drive up to the house right across a field with terrible potholes - Oleg was with a bouquet and did not want to walk through the yard with it.

– How did he feel about fame?

He closed his house from everyone. When asked about fame, he answered that he dreams of an armored door and an armored train to travel around Moscow. If he was stopped on the street by an old woman or a child asking for an autograph, he could forget everything - that he had a performance, filming, he would stop and talk for a long time... And if all sorts of girls... He hated when people recognized him, he never took advantage of his fame , always wore a cap pulled down over his forehead and his collar turned up. One day we went to look for a warm coat for him. We came to the second-hand store, we were digging around, looking, and then the sales girls recognized him: “Oleg Ivanovich, why don’t you ask us? Let us help you - we’ll call you when we have a coat.” After a while they actually called, we came and bought a good fur jacket. Oleg forced me to give them money, they resisted, and a whole story came out. And then I just ran around wearing countermarks for the girls at Sovremennik.

– He was once called Mozart in his profession, how would he react to this?

He would agree, although he was demanding and ruthless towards himself to the point of anger, and spent his whole life engaged in self-criticism. He ran ahead of time, but time never caught up with him. I never told him that he was a genius, but I think he guessed it himself. He is characterized by roles not played, but rejected. We had a huge stack of scripts in our closet that he turned down. He had a lot of offers to play something party, Soviet, for which he would receive big money, titles... Everything was rejected outright. I’m not ashamed of any of his roles now. No, he was not Matveev. Once, at one performance, Dahl was mistakenly called a People's Artist. Oleg then came on stage and said: “You know, there was one mistake here. They called me a people’s artist, but I’m more of a foreigner.” He has only one award for a television film, and that was posthumous: a crystal goblet, very heavy and ridiculous. We put flowers in it. Oleg was a very shy person, modest and did not work for benefits or rewards. Misha Kozakov once told me a story about him. They ended up in the same hotel room with Dean Reed. Dean sang and played guitar all evening and kept bragging about how many gold records he had. Then they drank, and Oleg told him: “Come on, give me the guitar.” And he sang, plucking the strings with his uniquely long fingers: “Oh, roads, dust and fog...” Reed rolled his eyes with admiration: “Excuse me, but how many gold discs do you have?” Oleg grinned good-naturedly: “Fuck you...”

– Did he have a presentiment of his death?

From I. Karasev’s article “Chronicle of a Diving Artist”:

“The Sovremennik artist Alla Pokrovskaya saw Dahl in his graduation performance and invited Oleg to the famous “introductory tours” to the Efremov Theater. 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.

Dahl, despite the absence of leading roles, called the next five years in Sovremennik the best years of his life, spent in the indescribable aura of theatrical creativity.

However, the transition from an enthusiastic perception of life to a skeptical one was quite abrupt. The studio spirit of theatrical experimentation, which fed Dahl's artistic talent, gradually gave way to "harsh everyday life."

To some extent, the situation is explained by Kozakov in his memoirs about Dal: “I still live in the memory of harmony in the theater - it was only in the early Sovremennik and never again. Everything coincided there - youth, time, the state of the theater. "He had no luck all the time. It was as if he ended up "on the descent." And he came to Sovremennik and other theaters at the moment when the theater was already essentially dying." Dahl was ready to fanatically serve the Theater, but did not agree to the banal “serve in the theater.”

Outside, the “thaw” has given way to “stagnation.” The famous charter of Sovremennik and the studio brotherhood were becoming history. Dahl, who tried to play and exist “according to the rules,” found himself alone.

The stigma of “loner”, the label of “strange”, the position of “alien”. This is not a whim of fate, not a game of chance. There is a strict predestination in Dahl's life. Possessing a naturally subtle and hypersensitive perception apparatus, Dahl could not coexist with the surrounding reality on the same aesthetic level. His statements about “the achievements of socialist realism in theater and cinema,” about the dominance of ignoramuses and bastards, reveal genuine physiological disgust.

This is not the easy frontierism that many representatives of the creative intelligentsia indulged in at that time. In the case of Dahl, there was a pathological discrepancy between man and the environment, people, system (meaning the system of moral, ethical, creative stereotypes and standards).

Living in discord with space and time requires incredible amounts of energy. Is this where the “boy with tired eyes” motif, repeated in various memories of Oleg Dal, comes from? The only source of strength for Dahl was Dahl himself. He turned all questions that could not find an answer outside himself inward. The result, or rather a chronicle of his search and reflection, was his diary, begun in 1971.

This diary is not like an ordinary biography tied to days, months and years. It resembles an emotional, sometimes chaotic dialogue with oneself, written (or drawn) in letters, words, phrases of different sizes and fonts. Sometimes the entries are daily, sometimes one sentence covers six months or more.

From the diary: “January 72 FRIENDS “The most painful of all wounds is the invisible wound, my friend is my enemy, oh vile age of deceit!” W. Shakespeare. My grief and my misfortune from my friends. Only now I realized this. The fight against "These bastards are facing a terrible thing. Maybe ALONE? Maybe. But yourself! Preserve yourself. This is the MAIN THING. Don't adapt, don't become indifferent. Turn inside - there is my strength, my promised land."

Reading the “diary”, you catch yourself thinking that it resembles the logbook of a ship or plane that is crashing. And by analogy with the film “Chronicle of a Dive Bomber,” in which Dahl played one of the best roles, his diary can well be called “the chronicle of a dive artist.”

From my point of view, these descriptions are absolutely suitable for a person with the following horoscope configuration: Cancer Ascendant, most of the planets, including the Sun, Moon (ruler of the horoscope), Venus, Mercury, Jupiter, Saturn (ruler of the 7th and 8th houses) and Uranus (ruler of the 10th house) is in the 12th house, which is closed to outsiders and gives a strong tendency towards loneliness, pride, strong individualism and the desire to know the inner essence of things, and not their front side. The strong isolation and tendency to loneliness, due to the powerful influence of the 12th house of the horoscope, in the actor’s character is softened by the fact that Oleg Dahl’s Mercury, Venus and Sun are in the sociable sign of Gemini. It was the fusion of the influence of the energies of the 12th house and the sign of Gemini that made Oleg Dal such a unique and bright actor and personality. Neptune, which has major planets from almost all planets in the 12th house, is located in the 5th house and through it the powerful energy of the conjunction of the horoscope ruler of the Moon with Saturn and Uranus and the conjunction of the Sun with Jupiter finds its way out. It was Neptune that was the planet through which the complex and stormy energies of the luminaries and planets from the 12th house of Oleg Dahl’s horoscope found a way out in acting. And it was the powerful Neptune (“king of aspects”) that was the reason that Oleg Dal periodically tried to escape with the help of alcohol, from the reality that surrounded him, and from his internal crises, which were inevitable and regular due to the exact conjunction of the Moon ( ruler of the horoscope) with Saturn and Uranus in the 12th house.

2) According to the recollections of people who knew the actor well, Oleg Dal was a very emotional person and a vulnerable person who had difficulty coping with his intense emotions. But, both luminaries and personal planets (except for Mars in Pisces) are in an air and earth sign (Gemini and Taurus), which indicates a person who is not particularly prone to strong and deep emotional experiences. The mere conjunction of the Moon with Uranus and Saturn and the strong aspect of Neptune could hardly have formed such a subtle and emotionally hypersensitive nature, which Oleg Dal certainly was. The location of the Ascendant in the watery sign of Cancer and the powerful 12th house, together with the damage to the ruler of the horoscope of the Moon by the conjunction with Saturn and Uranus, could well have formed such a person with strong emotionality of the water plane.

3) Oleg Dal had a rebellious spirit, toughness and a strong tendency to emotional depression. In the horoscope, this is indicated by the conjunction of the Moon with Uranus and Saturn. But simply connecting the Moon with Uranus and Saturn is clearly not enough for this. The Moon must certainly be the ruler of the horoscope and have a strong influence on the entire personality of the actor, and not just on his emotional sphere.

4) At the time of registration of Oleg Dal’s marriage with Elizaveta Dal in November 1971, transit Saturn entered into conjunction with natal Saturn in Oleg Dal’s horoscope (Saturn return) and the natal Moon. This is a very powerful indication that Saturn or Moon is the lord of the 7th house of the horoscope or is placed in the 7th house. Another confirmation of Oleg Dahl’s version of the horoscope with the Ascendant in Cancer.

5) According to the recollections of people who knew Oleg Dal well, he foresaw the death of others and his own. In this version of Oleg Dahl’s horoscope, the ruler of the 8th house, Saturn, is in exact conjunction with the ruler of the horoscope, the Moon, in the 12th house in an exact trine with the ruler of the 11th house, Neptune.

6) Relatives and acquaintances claim that Oleg Dal had increased intuitiveness on the verge of clairvoyance. A powerful 12th house and multiple aspects from luminaries and planets from the 12th house to Neptune can give such abilities.

7) The tension of the conjunction of the Moon with Saturn and Uranus and the square of Mars with the Sun and Jupiter found its way out through Neptune in the 5th house. Hence Oleg Dal’s choice of acting as a profession. When Oleg Dal was not involved as an actor and was in creative downtime, he either relieved excessive internal tension from the conjunction of the Moon with Uranus and Saturn through scandals with others or went into deep and long binges (if at that moment he was not “filed” from drinking alcohol).

8) In May 1978, when Oleg Dal’s family was able, with the help of the management of the theater in which Oleg Dal then worked, to make an exchange and move into a 4-room apartment on Smolensky Boulevard in Moscow, transit Jupiter entered into exact conjunction with the natal Ascendant of the horoscope Oleg Dahl (in my version of rectification), and transit Saturn was in conjunction with the cusp of the 4th house of Oleg Dahl’s horoscope. And just as Oleg Dal dreamed all his life about a separate office, which he received after improving his living conditions, moving into a new apartment and major renovations in it, and after realizing his dream, according to his wife, he was on a very great emotional high, then this is a very serious additional indication that this version of the horoscope configuration is correct.

9) In one of his letters to director Efros, Oleg Dal wrote with bitterness: “I’m losing my Self!” And this is a very serious indication of the possible strong influence of the 1st or 12th house of the horoscope on a person’s personality.

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Here is a list of the main events in the actor’s life for which I carried out rectification, indicating the years:

1) 1963 - marriage and divorce from actress Nina Doroshina.

2) 1965 - marriage and divorce from actress Tatyana Lavrova.

3) 1968 - the release of the film “Chronicle of a Dive Bomber”, after which Oleg Dal became a famous and popular Soviet film actor.

4) 1970 - marriage to Elizaveta Eikhenbaum (Dahl).

5) 1973 - Oleg Dal became sick from alcohol (the beginning of a 2-year favorable period in his professional and family life).

6) 1978 - obtaining a 4-room apartment on Smolensky Boulevard in Moscow.

7) 1979 - the beginning of the persecution of film officials and the beginning of serious health problems.

8) 07/25/1980 - the death of Vladimir Vysotsky and the severe emotional depression of Oleg Dal, which after some time led to his death.

9) 03/03/1981 – death of Oleg Dal from a heart attack

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1963 - marriage and divorce from actress Nina Doroshina.

Directional Venus (ruler of the 5th house) conjunct the natal Ascendant;

Directional Moon (ruler of the horoscope) in conjunction with natal Venus (ruler of the 5th house);

Directional MC square natal Venus (ruler of the 5th house);

Directional Sun square natal Neptune in the 5th house;

Transiting Mars opposite natal Uranus on wedding day;

Transiting Pluto square natal Venus (ruler of the 5th house);

In December 1963, transit Saturn squared the natal Moon (ruler of the Ascendant) and natal Saturn (ruler of the Descendant) - most likely at this time Oleg Dal finally broke up with Nina Doroshina.

“Dahl’s first marriage was unsuccessful and short-lived. In 1963, after graduating from the Shchepkin Theater School, he entered the Sovremennik Theater and fell in love with one of the actresses there, Nina Doroshina. Their romance began not within the walls of the theater, but in Odessa - during the filming of the film “The First Trolleybus”. Dal fell very much in love with Doroshina, and her heart was then given to someone else - the founder of Sovremennik, Oleg Efremov. But the circumstances turned out to be such that Efremov, having promised to come, never showed up in Odessa, and Doroshina was offended by him. That evening she drank vodka, put on a robe and went for a swim. However, she suddenly felt bad in the water - she began to drown. Nothing would have saved Nina if her fellow actors had not been nearby. Among them was Dahl. Hearing the women’s screams, the young people rushed into the water, shouting to each other as they ran: “Whoever swims first will get it.” Dahl was the first to swim. From that moment their romance began.

After some time, Dahl was called to Moscow to dub another film. He promised to return in two days, but due to unforeseen circumstances he was delayed. The filming of “The First Trolleybus” could not continue without him, and they asked Doroshina to call Oleg from Moscow. When the other end of the line asked her who was calling, she replied: “My wife. Tell him to return to Odessa immediately.” On the same day, Dahl left Moscow. When Doroshina looked out the window of the Krasnaya Hotel the next morning, the first person she saw was Oleg standing with flowers. When they returned to Moscow, Dahl proposed marriage to Doroshina, and she accepted. Since they didn’t have a lot of money at that time, they managed to buy only one engagement ring – for Dahl (for 15 rubles). The wedding took place on October 21, 1963, but it was at the wedding that everything ended. Efremov came there as a guest, who, being tipsy, could not find anything better than to sit the bride on his lap and say: “Still, you love me more.” Dal flew out of the apartment like a bullet, and soon after that he and Nina broke up.” (Fedor Razzakov)

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1965 - marriage and divorce from actress Tatyana Lavrova.

Directional Venus (ruler of the 5th house) trine natal Mars;

Directional Descendant trine natal Uranus (ruler of the 10th house);

Directional Saturn (ruler of the 7th house) conjunct natal Venus (ruler of the 5th house).

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1968 – the release of the film “Chronicle of a Dive Bomber”, after which Oleg Dal became a famous and popular Soviet film actor.

Directional Uranus (ruler of the 10th house) trine the natal MC;

Directional Ascendant sextile natal Jupiter.

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 Yevgeny 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 strong drinks that way, and Dal became one of the most popular actors in Soviet cinema.

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. In 1969, Oleg Dal brilliantly played the role of the Jester in the film G.M. Kozintsev “King Lear”.

“Modern man is a reflective man,” Grigory Kozintsev 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."

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November 27, 1970 – marriage to Elizaveta Eikhenbaum (Dahl).

Directional MC sextile natal Saturn (ruler of the 7th house) and natal Moon (ruler of the 1st house);

Directional Mercury (ruler of the 4th house) sextile natal Saturn (ruler of the 7th house) and natal Moon (ruler of the 1st house);

Directional Mars square natal Descendant;

Transiting Jupiter in opposition to the natal Moon (ruler of the Ascendant) and Saturn (ruler of the Descendant);

Transiting Saturn conjunct the natal Moon (ruler of the Ascendant) and Saturn (ruler of the Descendant).

Filming of King Lear took place in August 1969 in Narva. On August 19, 1969, 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 marriage between Oleg Dahl and Elizaveta Eikhenbaum was concluded on November 27, 1970.

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04/01/1973 – Oleg Dal became sick from alcohol, the beginning of a 2-year favorable period in his professional and family life.

Directional Sun conjunct the natal Ascendant;

Directional MC square natal Mercury (ruler of the 4th house);

Directional Ascendant sextile natal Sun;

Directional Moon (ruler of the Ascendant) trine the natal MC;

Transiting Pluto trine the natal Sun;

Transiting Pluto sextile natal Pluto;

Transiting Jupiter trine the natal Sun.

From an interview with Lisa Dahl:

“Oleg drank terribly. At the same time, he became similar to Zilov from “Duck Hunt”, even more terrible. He was not capable of killing himself, but somehow he almost stabbed me. While on tour in Gorky, he began to go on a heavy drinking binge, that, you know, under-drinking state when a person is completely brutal. It was very hot, I was lying in the room in only a swimsuit. He moved the knife over my stomach and said: “So what! I don’t care, I’m not going to live anyway.” As subtle, intelligent, and generous as he was, he was just as scary, dirty, and cruel in his drunken frenzy. I didn’t sleep, I suffered, I hid when he came home drunk, Olya fussed with him. At the same time, he was unusually clean. No matter what stage I was in, the first thing I did was go to the bathroom. Olya was afraid that he would tear off the column, and always said: “Olezhechka, don’t throw a hook. Lie down in the bath, fill the water and call me. I will help you". One day Olya enters the bathroom and sees a picture: Oleg Ivanovich lies in all his splendor in cold water with an extinguished cigarette in his mouth and sleeps blissfully, without even turning on the igniter. She turned off the water and yelled at him: “I am a woman, and you are lying in front of me in your natural form!” She helped him get up, put on a robe and put him to bed. That night I slept on a cot. There was no money, we forgot what coffee was, and Olya and I sold things that were sent to us from France. And once, when he almost strangled me and I, having escaped, sat in the attic until the evening, Olya, unable to bear it, told him: “Oleg, go to Moscow” and gave 25 rubles for the journey. I must say that he left very gracefully: he washed himself, dressed elegantly and came into our kitchen: “That’s it. Let's go. Can I keep the key to the apartment?" - "Yes". I already loved him again, my heart was bleeding, I felt so sorry for him. But still she resisted and did not run after him. This was in March, and on April 1st I suddenly got a call: “Lizka, I’ve been sewn up for two years!” “This is no joke!” – I abruptly interrupted him. But it was true, he, in the company of Volodya Vysotsky, really sewed up. The next day I enter the apartment, Oleg stands at the window, makes a gesture with his hand, I stop. He turns his back, unzips his pants and shows the patch on his butt: “Here is my torpedo!” After the torpedo, the old Oleg disappeared for a long time, as if he had never existed. A real happy life has begun...

For the last ten years that we lived, he periodically drank, when his term expired, then he fell asleep again and did not drink for years. It was impossible to offer him stitches; he had to decide on it himself. He said this: “Don’t let me out of the apartment for three days, I’ll cry, I’ll beg - don’t listen. We’re going to the doctor in three days.” He never held drinking parties at home - if he wanted to drink, he left home for the WTO, IDL, and the House of Cinema. I couldn’t stand drunk actors.”

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1978 - received a 4-room apartment on Smolensky Boulevard in Moscow.

Transiting Saturn entered the natal 4th house;

Transiting Jupiter entered the 1st natal house;

Directional Jupiter conjunct the natal Ascendant.

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 woman 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 a sense of humor. 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 was sure to stick out... Oleg’s mother lived in a two-room apartment in Lyublino. 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.” I said it and forgot. I remembered only ten years later when I came here with an 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".

During the renovation of the new apartment, they turned the hall into an office for Oleg Dal, and his happiness became simply transcendental. He could, when 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 at night. 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.

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1979 - the beginning of the persecution of film officials and the beginning of serious health problems.

Transiting Uranus opposite natal Saturn and Moon;

Transiting Uranus square natal MC.

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 of labor discipline and issued an unspoken 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.

By the time of the release of the film “The Adventures of Prince Florizel” in 1980

Oleg Dal 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..."

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07/25/1980 - the death of Vladimir Vysotsky and the severe emotional depression of Oleg Dal, which after some time led to his death.

Transiting Uranus in opposition to natal Saturn and the Moon (exact aspect 07/25/1980);

Directional Uranus conjunct the natal Ascendant.

During the filming of the film “The Uninvited Friend,” Oleg Dal learns about the death of Vladimir Vysotsky. According to eyewitnesses who saw Dahl at the funeral, he looked creepy and repeated: “Well, soon it’s my turn.” After Vysotsky’s funeral, Dahl is increasingly visited by thoughts of death. Diary entry: “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!” The topic of death was touched upon by Oleg Dahl in a conversation with colleagues and relatives. L. Maryagin recalls: “Dal drank a glass of beer and didn’t touch anything else. We talked with Anatoly Romashin about the difficulties encountered in filming the film. Dahl was silent, looking past us. And only half an hour later A. Romashin asked: “Tolya, do you live there?” (A. Romashin then lived near the Vagankovsky cemetery). “Yes,” Romashin answered. “I’ll be there soon,” said Dahl...”

On Vysotsky’s birthday, January 25, 1981, Dahl woke up in the morning and told his wife: “I dreamed about Volodya. He's calling me."

Dal and Vysotsky were not friends; rather, they were brothers in spirit and like-minded people. Their last meeting took place in May 1980. Then Oleg Dal came to Vysotsky’s house, very drunk, he couldn’t show up home like that. V. Vysotsky sang his songs to him, and Oleg listened silently.

Poems by Oleg Dal after the death of V. Vysotsky:

V. Vysotsky. Brother

Now I remember...

We said goodbye...Forever.

Now I understand...I understand...

Rupture of the trail

Beginning of May...

I'm tripping...

Words words words.

Magpie beats its tail.

The snow falls, revealing

The naked coldness of the branches.

And here is the last chapter,

Smelled like a rose bush

Longing and deceit, promising,

And died in my chest.

Peace - peace...

And loneliness and anger,

And I cry in my sleep and wake up...

Resentment is the silver month.

Branding is a burning test.

And again I repent. I repent. I repent

Holding a torn heart in my hands...

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03/03/1981 – death of Oleg Dal from a heart attack

Directional Uranus (ruler of the MC) conjunct the natal Ascendant;

The axis of the directional lunar nodes entered into an exact connection with the natal axis MS-IS;

Transiting Black Moon in opposition to natal Black Moon;

Transiting Uranus opposite natal Jupiter (ruler of the 6th house) in the 12th house;

Transiting Neptune square natal Neptune and opposition natal Mercury;

Transiting Mercury square natal Moon (horoscope ruler) and natal

Saturn (ruler of the 7th and 8th houses) in the 12th house;

Transiting Pluto trine natal Mercury in the 12th house;

Transiting Sun square natal Venus in the 12th house;

Solar Sun in the 8th house of the solar;

Solar Pluto conjunct the Solar Ascendant.

At the beginning of March 1981, Oleg Dal went to Kyiv to audition for the film “An Apple in the Palm.”

On March 3, 1981, Dahl has dinner at a hotel with his film partner Leonid Markov, then goes to his room with a dark joke - “I’ll go to my room to die.” In the morning, Oleg Dal was found dead in bed in his hotel room. Doctors diagnosed death from heart failure.

There are two versions regarding the cause of Oleg Dahl’s death. According to one version, Oleg Dal deliberately or out of despair poured a critical dose of vodka into himself, realizing that the next built-in “torpedo” would react to it with a sharp surge in pressure. According to this version, Oleg Dal’s departure from this world was quite conscious. According to another version, the actor’s heart stopped on its own, unable to withstand the enormous psycho-emotional stress of the last two years of his life (the opposition of transit Uranus with the natal Moon-Uranus-Saturn conjunction in 1979-1980).

From my point of view, it could be one or the other, because... on the one hand, in the directions, transits and solarium there are strong indications of the death of Oleg Dal during this period, and on the other hand, the death of the actor occurred at the moment of the exact square of transit Neptune to natal Neptune and opposition to natal Mercury, namely on previous intense transits Neptune to the natal Sun and Venus, the actor went on long and deep binges. I think that by March 1981 Oleg Dal was so mentally and physically exhausted that at that moment he could well have forgotten about the mortal danger of the “torpedo” and drank very seriously (consciously or unconsciously striving for death) simply trying to get away from reality and his inner torments and experiences into alcoholic oblivion.

From the memoirs of Elizaveta Dahl:

“Did he have a presentiment of his death?

Oleg did not intend to die, but, as a person with very subtle perceptions, for the last six months he subconsciously felt that he would soon die. He understood that it would happen, that he was ready, that he knew. Sometimes he told me such things...

We were lucky at the end of his life - we rented a cheap dacha in Monino. We spent half of January and all of February in a wonderful house. I once walked from the kitchen into a huge hall - he was sitting on the floor and watching some cartoon on TV. Small and with such a sad, sad back of his head. I came up from behind: “What’s wrong with you, Olezhechka?” He didn’t even turn around: “I feel so sorry for all three of you.” I realized that he meant our mothers and me. This was literally two weeks before his death. Oleg, by the way, was very stingy with words. When we left the dacha, my liver hurt. He never liked to speak tenderly, although he was terribly tormented by pity. I tried to hide unnoticed. He suddenly asked: “Does it hurt?” - “Oh, nonsense! Let's come now, I'll get you ready for the trip. I’ll find a boiler, prepare raisins and crackers.” He suddenly interrupted me: “No, first you get into a hot bath, take a pill, put on a bandage... You need to be very healthy now.” And I didn’t even suspect that he knew how I was treated during attacks. This was two days before his death - on March 1, he left for Kyiv for filming. Usually, to hide his pity, he grumbled: “Well! She ate something again or lifted something heavy. Will know!" For the last month, he, so stingy with words, has spoiled me with attention, words and praise, which has not happened in all ten years.”

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Lyrics of the song “There is only a moment (from the film “Sannikov’s Land”)” (A. Zatsepin)

(In the film "Sannikov's Land" Oleg Dahl was not allowed to perform this song and in his performance it was released only together with songs from films performed by Oleg Dahl).

Everything in this raging world is ghostly.

This is what is called life.

Eternal peace is unlikely to please the heart.

Eternal peace for the gray pyramids,

And for the star that gathered and falls

There is only a moment - a blinding moment.

Let this world fly into the distance through centuries.

But it’s not always on my way with him.

What I value, what I risk in the world -

In just one moment - just in one moment.

Happiness is given to meet and misfortune

There is only a moment - hold on to it.

There is only a moment between the past and the future.

This is what is called life.

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Oleg Dal left at 39 years old. He had no titles, awards or prizes (in 1978 he received the People's Honor of the Ukrainian SSR). “I’m an artist—that says it all.” The rate for “creative meetings with spectators” from the then Bureau of Cinematography Propaganda (and this could for a long time be the only source of income for a “dangerous” artist) was 18 rubles. Dahl did not really welcome these “meetings”, the actors’ “outings to the public”, to the people. At one of them, when he was mistakenly introduced as a people’s artist, he immediately clarified: “I’m not a people’s artist, I’m a foreigner.” And in my diary I asked myself: “How to become the only one? Find uniqueness - what is it? Dahl was the one and only. “Someone must be Dahl, someone must be a dwarf with him. Nature does not provide for the existence of two Dales,” this is his most talented and also unique namesake Oleg Borisov, who called Dahl a “reserved personality.” Amazing, unique, not like everyone else - this is the feeling it evokes: “They called it peculiar, or rather, they designated it.” It turned out that this hypostasis of him is both a gift and a cross.

"Man Without Skin"

“He struck me with some kind of otherworldliness. He remained so alien,” his third wife Lisa recalled about Dal. And the second, famous actress Tatiana Lavrova, with whom the actor lived for only six months, wrote that “it was difficult to love him, it was impossible not to love him.” He was indeed loved very tenderly and with some anxiety and fear by those who understood him and appreciated his unique gift. “The happiest partner - he walked talentedly, was silent,” writes Marina Neyolova.

Marina Neyolova and Oleg Dal in the film “An Old, Old Tale”, 1968

Wife Lisa Eikhenbaum, the granddaughter of a famous literary scholar with a pedigree going back to the Apraksins, a Leningrad bohemian intellectual, married Oleg, a terrible drinker and little-known, at the age of 33, having two marriages behind her, an affair with Joseph Brodsky And Sergei Dovlatov(she chose Dahl over him!), - and faithfully served her husband for 10 years, leaving work, organizing her life and business, enduring his ugly binges, moved with her mother (who adored her “son-in-law,” “bad and glorious”) for his sake to Moscow from the writer’s office grandfather’s apartment in Khrushchev’s two-room apartment (and that one still had to be bought: native Muscovite Oleg had nothing).

She dedicated her life to him, kept his archive, organized exhibitions, prepared for recording Dahl’s solo performance “Alone with you, brother...” based on Lermontov’s poems, prepared collections of his memory, wrote a book about him and herself - “A grown-up young man”, she dreamed about the museum in their last apartment (and their first real home) on Smolensky Boulevard. From one of these exhibitions in memory of the artist, some of his personal belongings, the “Electronics” tape recorder, disappeared. Oleg was so happy about this gift from a relative - a veteran of “Normandie - Neman”; he would never have bought it himself, but it was so necessary for working notes of Lermontov’s poems!

Lisa outlived her husband by 12 years (two strict slabs on Vagankovsky next door) and all her life she considered him and their marriage a gift of fate. But he, “a man without skin” by her definition, remained “mysterious, a complete mystery” for her. Dahl’s diaries, which he kept since 1971, became a revelation for the widow: “I didn’t even suspect how his heart was breaking.” It exploded in a hotel room in Kyiv, where he had come to negotiate filming in a comedy film. Nikolai Rasheev(who directed the popular TV movie “Bumbarash”) “An Apple in the Palm.” Strangely, Dahl's autograph looks like a thread-like pulse line with the initials "OD" at the beginning. The director then, in 1981, experienced a shock when, having broken into the door of his room, Dahl was found dead - he himself ended up in the hospital, refusing to shoot that film of his without Oleg. But the money was allocated, and “Yabloko” was released...

Oleg Dal, Andrei Mironov and Alexander Zbruev in the film “My Little Brother”, 1962. Photo: Still from the film

Dal left fifty film roles early, still in his 2nd year at the Shchepkinsky School, starring in the cult film “My Little Brother” based on the then sensational “Star Ticket” Vasily Aksenov, then calling him “a born modern young intellectual hero,” but at the same time “a typical man of the 19th century, a born Chekhovian hero.” He amazingly played Laevsky from the wonderful film adaptation of Chekhov’s “Duel” Joseph Kheifitz(this master, master “fell in love with Dahl, compared him to the flame from a candle carried against the wind”), Pechorin in a teleplay based on Lermontov Anatoly Efros(in order to be sure to play him, Dahl became an actor; according to his admission, he even managed to correct his burr in order to enter acting), The Jester in “King Lear” by the great Grigory Kozintsev: “A boy from Auschwitz who is forced to play the violin in the death row band; They beat me so that I can choose more cheerful motives. He has childish, tortured eyes. Oleg Dal is just such a Jester...” The master treated the artist tenderly, forgiving even breakdowns: “After all, he is not a tenant...” He could have played Bulgakov’s Master, he did not play Hamlet, Macbeth, Chatsky, Myshkin, Treplev, he refused Khlestakov from Gaidai himself, as well as from Petya Trofimov at Efros.

Did Dahl leave a lot or a little, always worrying about “what kind of memory will remain”? Edward Radzinsky subtly noted that Dahl was “sick of a wonderful disease - a mania for perfection, organically he could not stand falsehood, greed and hackwork.”

Oleg Dal as the Jester in the film "King Lear", 1970. Photo: RIA Novosti / Reznikov

"Reproaching Talent"

Dahl generally often refused roles himself, and not only in the so-called. “production” plays and films in the spirit of “socialist realism,” which he hated fiercely. Refused Zhenya Lukashin from Ryazanov, from "Crew" Mitts: "Not mine!" And Dahl knew how to hate. He was “intolerant, deadly witty, and sometimes unbearable” - his diaries, very frank, are filled with sometimes bile, poisonous characteristics of colleagues, “cultural” officials, entire theaters (even famous ones, in which he served), directors, recognized idols and authorities of the “stagnant” 70s, of which Dal was both a son, a hero, and a victim. Those 70s, when art was increasingly enslaved by the hierarchy of titles, prizes with meetings on the presidium, trips abroad, vouchers, cars, rations...

Dahl could literally physically suffer from “impenetrable lack of talent and absolute unprofessionalism,” “a vulgar nightmare of bad taste” and “militant philistinism” that reigned in art and among artists, into which he tragically did not fit. Even during those very first creative meetings with him, people noted his “non-actor” behavior: he does not demand anything (“A luxury room? Why do I need it? Even a single room will be enough for me”), he does not familiarize himself and does not tolerate familiarity, does not tell tales and jokes, does not accept gifts for the road. He could give a discouragingly honest answer to a stranger’s offer of cognac: “No, if I drink now, I’ll lose my temper.” He was honest to the point of cruelty, first of all, with himself (“Conscience is Oleg’s personality,” noted Joseph Kheifits) - both in his profession and in the terrible struggle with his illness, drunkenness: “I am disgusted with myself to the point of disgust!”, “a weak-willed madman I”, “I am fighting not for life, but for DEATH (and this is not figurative)” - words from the diaries. Dal was always treated, “sutured up” voluntarily, for the first time - together with Vysotsky, allowed himself to be locked at home and not allowed out for three days.

He seemed doomed to many, very sick, this “prematurely tired”, “tired wise boy with kind blue eyes” - by definition Lyudmila Gurchenko. Boyish in stature (in his youth they called him “rebar” and “penknife” - 1 m 84 cm with unimaginable thinness - “body subtraction”), and most importantly, Dahl’s childish essence was noted. Elegant, stylish, light, as if flying (“He doesn’t weigh anything!” his partner at the Maly Theater was amazed, picking up Dahl at rehearsals, in his role, in his arms)... Dahl always looked younger than his age. It is difficult, impossible to imagine him as an old man, his wife noted this to herself with some horror one day while watching him: he will never be an old man! “It was as if he was connected to life by a thin thread that could break at any second.” From the audience they could write to him in a note: “Oleg Ivanovich, please take care of yourself! We really need you." But they could also say: “You’re lying!” Or inquire whether the actor has children (“I don’t know that,” he answered) and where he bought the jacket...

Human rudeness, arrogance and stupidity infuriated him. But before the same “bulletproof” qualities of bureaucrats, censors, and officials, he was absolutely defenseless. A sense of humor saved me: I could write an explanatory note in the theater in verse! By the way, Dahl, an intellectual and bookworm, wrote poems, stories, painted beautifully, and a dramatization of “Envy” Olesha did it, sang and played the guitar perfectly, which is why I was so worried that they didn’t let me sing “There is only a moment” in “Sannikov’s Land.” And you Dean Reed, having once heard Dahl singing in company - “Eh, roads...”, he asked, impressed, how many gold discs he had...

During his lifetime, Dahl did not have not only many roles, but also no discs. His only one-man show “Alone with you, brother...” according to Lermontov, he, for the first time “his own director,” recorded all alone at home, locked in the “office”, on the eve of his departure on a tape recorder, with music selected by himself, erased and recorded again — saved cassettes. One miraculously survived and miraculously fell into my hands in 1986 - the impression was enormous and very bitter. That unique production, which never happened, like many other things in the artist’s short life, was planned in 1981 for the Concert Hall. Tchaikovsky with the “semi-underground” Arsenal Alexey Kozlov- braked from above. Dahl was then excommunicated from his profession by the acting department of Mosfilm (“they finished me off”), and the film “Vacation in September” based on “Duck Hunt” Vampilova, where he heartbreakingly played Zilov, went on the shelf for 8 years, the actor never saw him, perhaps his best role in life... Motyl’s “Zhenya, Zhenechka and Katyusha” almost ended up on the shelf, a narrow release awaited “A Bad Good Man” based on “Duel”...

“I’m going to go die!”

“Contemporary” in its heyday (where Dahl, a beginner, waited five years for roles) - the actor left and returned from there, experienced his first love and wedding with Nina Doroshina, in love with another Oleg, Efremova, and left this very wedding with him. Moscow Art Theater, Theater on M. Bronnaya (where Dahl never played Don Juan - he played young Belyaev in “A Month in the Village” at the age of 37), and finally, the last in his life, the Maly Theater (where on New Year’s Day 1981 Dahl was “introduced” urgently for a tiny role as a bartender in “The Shore” Yuri Bondarev), Higher Directing Courses (from which he left in horror), VGIK, students...

Oleg Dal in the film “The Man Who Doubts,” 1964, and Nina Doroshina in the film “The First Trolleybus,” 1963.

Dahl thought and wrote about his own death throughout 1980, after the departure of his “brother,” Vysotsky: “I’m next,” “I’ll go after Volodya...” The photo of Dahl at the funeral of a friend (and indeed a brother in misfortune) is painful to look at. Gossip behind his back: maybe this will at least bring some sense to him, after all, he, a “hysterical alcoholic,” is to blame for everything... And in Dahl’s usual business letter to a director he knew shortly before his death, suddenly there is a drawing in the margin: a grave with a cross and traces to it. And these merciless diary entries, only for yourself (they have now been published)? “Give me peace, oh, Lord,” “I don’t need to look for dirt on the side, there is plenty of it in myself,” this “own vileness” and “absolute lack of will,” “my brain is tired of the hopelessness of ideas and thoughts,” “it’s lonely how, my God,” “I am an abstract dreamer” and “what a terrible profession it is to be an addict...”

Dahl first called his failed Lermontov play “The Death of a Poet,” and his last film role was in the film “We Stared Death in the Face.” The last trip to creative meetings with audiences in September 1980 was to Penza, and he set a condition - to go to Lermontov’s Tarkhany and certainly visit the poet’s family crypt. So it was, and everyone noted the extreme fatigue, sickly appearance and some kind of detachment, brokenness of the artist. Dahl, according to the director Boris Lvov-Anokhin -“the tragic fidget, the implacable wanderer, the proud vagabond,” it seems, really knew something about his imminent departure, or at least had a presentiment. Getting off the actor’s bus in the morning near the hotel, he suddenly said to everyone the unusual “Goodbye!” - “Farewell!” After having breakfast at the buffet, I said goodbye to the actor Leonid Markov: “I’ll go to my place. Die".

May 25 marked the 70th anniversary of the birth of the great actor. He died thirty years ago at the age of 39, and controversy still surrounds his unexpected death. Some people believe that excessive drinking is to blame. Some say that this was, in essence, a voluntary departure from life. The directors remember Dahl as an uncontrollable person who could do anything on the set, but people still love this actor.

Unfortunately, the great, sparkling Oleg Dal did not leave any offspring. It was on him that his ancient family ended. During his lifetime, the actor did not know whether he was related to the same Vladimir Ivanovich Dahl, who compiled the famous dictionary of the Russian language. But after the actor’s death, a special examination was carried out, which established that he was Dahl’s great-grandson in the fifth generation along a side line. True, to the survey question “Are there any children?” the actor usually wrote a shocking: “I don’t know.” How can you not know such things? But that was all he was... For example, he told his friends: he became an actor because he couldn’t become a pilot. Where is the logic? Well, it’s just that an actor can play a person of any profession, including a pilot.

“Oleg’s parents were very simple people, an engineer and a teacher, and his decision to enter a theater university was met with hostility,” recalled the actor’s widow Elizaveta Alekseevna. “Besides, he had a lisp, and he didn’t stand out in appearance. Then his parents reconciled themselves, but dreamed that he would play “serious” roles - party secretaries, bosses. And he played in fairy tales...

Fortunately, Elizaveta Alekseevna did not refuse to communicate with journalists when she was still alive (she died in 2003, on the eve of her husband’s birthday). It was she who, without hiding the bad, could explain many things. For example, why did her husband drink so terribly? It turned out that it all started with a tragic marriage to Nina Doroshina (she became the actor’s first wife). They, young actors of the Sovremennik Theater, met and decided to get married. What seems to be bad here? But Doroshina herself still remembers this story with longing.

“I married Dahl to spite Oleg Efremov, with whom my relationship went wrong,” the actress told us. “I realized that it was a terrible mistake at the wedding, where Efremov came among the other guests. After drinking, he sat me on his lap and said in front of everyone: “But you still love me!”

Only then did the naive Oleg understand everything and first went on a binge for two weeks. Then he nevertheless tried to improve relations with his young wife, but this turned out to be impossible. Nina Doroshina was so worried about her unrequited love for Efremov that she even tried to commit suicide. In general, a legal husband was not needed in this situation. And his next wife, Tatyana Lavrova, did not delve too deeply into his subtle spiritual organization. “I realized that she was just an evil person,” Oleg told his mother after the divorce. While personal problems were being sorted out, alcohol became a way of life. True, working in the theater contributed to this.
“Unfortunately, we all lived like this,” Mikhail Kozakov recalled in an interview with “Only the Stars.” – It was strange if someone went home after a rehearsal or performance. As a rule, they went to the Central House of Writers restaurant or the Peking Hotel, where they could have a drink, or to the Cinema House... No one was surprised that people were then taken out of the restaurant. It was normal.

Only some managed to remember to work in such an environment, while others, alas, became drunkards. The same Kozakov realized that he needed to stop drinking only when he ended up in a psychiatric clinic. Dahl also had to get stitches. But he did this after his third marriage - to Elizabeth. Finally, he was lucky with his wife. This was a real service to the actor, although his wife did not immediately get used to Dahl’s lifestyle.

“Oleg drank terribly, he was not able to kill himself, but somehow he almost stabbed me,” she admitted. – You know, this kind of under-drinking state, when a person is completely brutal. And once, when he almost strangled me and I, having escaped, sat in the attic until evening, my mother, unable to bear it, told him: “Oleg, go to Moscow” - and gave 25 rubles for the journey. This was in March, and on April 1st I suddenly got a call: “Lizka, I’ve been sewn up for two years!” It turned out that he, in company with Volodya Vysotsky, really got sewn up.

It was thanks to the fact that at times Dahl came to his senses and turned to doctors that he entered the history of cinema and theater as a great actor. Although it was difficult to work with him. If Oleg was not satisfied with something in a theatrical production, he argued fiercely with the director and could leave if they did not agree with him. But then he played so well that the theater was sold out. In cinema, he also gave himself completely, but, unfortunately, there were cases when one fine day the actor simply did not show up on the set. He could have failed... And yet there was work. After all, he died in Kyiv, where he came to film. The evening before filming, the actor had a drink with friends and enthusiastically told them that he was waiting for an answer - whether he would be allowed to stage his play in the theater. As luck would have it, in this state he called his wife in Moscow, and she told him the sad news - the production was not allowed. Dahl lost heart. The next day after filming, I went to the hotel and, closing the door behind me, said to everyone: “Goodbye!” And the next morning he was found dead. This death did not raise any special questions for anyone then. My heart couldn't stand it, I need to drink less! But the actor’s wife believed that everything was predetermined.

“As a person with very subtle perception, for the last six months he subconsciously felt that he would soon die, and he agreed with this,” she recalled. “Once he suddenly said: “How hard it will be for you without me,” meaning me, my mother-in-law and my mother. This was two weeks before his death.

Unfortunately, even the story of such a disinterested person as Dahl did not end with a funeral. Out of nowhere, the actor’s sister appeared and began to lay claim to Dahl’s large four-room apartment. Having kidnapped her old mother from home, Dalya’s sister filed a lawsuit on her behalf. And for Elizaveta Alekseevna, months of legal proceedings dragged on. The actor's widow admitted that because of this situation she was close to suicide. But her mother supported her. By the way, the mother-in-law and Oleg Ivanovich had such a warm relationship that, dying, she asked to scatter her ashes over his grave, which was done.

Thirty years after the actor’s death, there is only one person left who is the custodian of his legacy and memory. This is Larisa Mezintseva, who became an assistant and almost a relative for the actor’s widow Elizaveta Alekseevna. She supported Dahl's widow during a difficult period of her life, when she was left completely alone.

Shortly before Dahl's death, he and Elizaveta Alekseevna took in their mothers, both old women. Elizaveta Alekseevna left her job to look after them, and Oleg Ivanovich provided for the family. He was very afraid that when he was gone, they would be left without a livelihood...

And then blows rained down on Elizaveta Alekseevna, one after another. After her husband's death, she lost first her mother-in-law and then her mother. And although caring for them required a lot of effort from the woman, complete loneliness turned out to be even worse. Therefore, having become friends with Larisa in the mid-nineties, she invited her to live with her. This way, when the widow's strength was exhausted, at least there was someone to take care of her. Elizaveta Alekseevna herself joked that she could live on a pension only because she had experience of living in besieged Leningrad.

In the last years of her life, Elizaveta Alekseevna suffered from asthma and heart disease. Unfortunately, she did not have enough money for decent treatment; her pension was very small. Larisa Mezintseva was caring for the woman, but she couldn’t leave her job, she had to earn extra money. So one day, when she returned home from work, she discovered that Elizaveta Alekseevna had died...

The apartment and the actor’s creative legacy were bequeathed to the widow Larisa. She asked to keep the actor's office as it was, and this was done. By the way, if a stranger gets into the actor’s apartment, he will not immediately find this office. Dahl loved mysticism and therefore arranged the “possession” in his own style. He made a partition in the form of a bookcase. And in order to get into the office, you had to move the closet and find the secret door. The actor had such a character - he did not like to open up to people.

In Soviet cinema it is difficult to find a more striking, extraordinary and controversial personality 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 inconvenient and unreliable person, capable of letting him down at the most crucial moment. Yes, he knew everything about himself, and it was not for nothing that when he was once mistakenly publicly called a people’s artist, he gloomily joked: “I’m not a people’s person, I’m a foreigner.” It was really uncomfortable to be around him - he demanded too much from those around him, but he approached himself with a much higher standard, which Edward Radzinsky called “mania of perfection.” Is it any wonder that the absurdities of this world increasingly made him think about death. And after the tragic death of Vladimir Vysotsky, who had a rather complicated relationship with Dahl, it was as if the actor had turned on a self-destruction program. At that time, not a day passed that he did not talk about death as a reality, as an urgent need. Oleg Ivanovich not only wanted to die, he did everything he could to bring this moment closer. Dahl died on March 3, 1981 in Kyiv, where he came to audition for the lyrical comedy “An Apple in the Palm.” After having dinner with his partner in the film, the famous actor Leonid Markov, he said: “I’m going to my place to die.” His words were taken as another dark joke - Oleg Ivanovich was famous for his black humor. And he went up to his room and literally poured a bottle of vodka into himself. The anti-alcohol ampoule, popularly called a “torpedo,” led to a sharp increase in pressure, and the blood vessels could not stand it. He died of internal hemorrhage. When hotel staff broke down the room door the next morning, Dahl was lying on the floor. The expression on his face was serene, it even seemed that he was smiling.

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

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

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

We had such a practice, when the actors of Sovremennik went to theater schools to watch graduate students, Valya Nikulin and I got “Sliver”. The course we watched then was generally wonderful - Vitya Pavlov, Misha Kononov, junior 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 hand, he was distinguished by his non-Soviet, non-plebeian reality. He had graceful aristocratic hands, a pleasant voice, perfect pitch, and delicate facial features.

- Besides, Dahl was a famous fashionista?

And this despite the fact that he did not run around stores all day looking for rags. Oleg had an amazing quality - no matter what you put on him, everything suited him. In general, against the background of the generally accepted type in Soviet cinema, the prominent representative of which was the 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 amazed with his natural intelligence.

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

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

Pavlov and Dahl 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 Efremov, who somehow vaguely said: “Well, I don’t know...”. But we came to Dahl’s defense so menacingly that he immediately gave in: “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 vote, and everyone unanimously said “yes.”

The only theatrical work that connected you with Dahl was the play “At the Lower Depths,” where he played Vaska Pepla, and you played Natasha?

This was later, when the theater was already headed by Galina Borisovna Volchek. Somehow it happened that she didn’t take on our roles for a long time, and Oleg and I spent an amazing week, walking around Moscow every day and discussing who they were - Natasha and Ash. Oleg did most of the talking. I remember he really surprised me when he said that I should play... a timid 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 amazed by Oleg’s ability to play love: as soon as I stepped on stage as Natasha, he immediately changed, filling the entire space with the feeling that she was the main one here and no one else.

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

In general, Dahl was an amazing Ash, I have never seen anything like it either before or after. On the one hand, one felt sorry for him - tall, thin, with a thin neck; on the other hand, a powerful masculine principle was felt in him. He played a man driven to despair, on the verge of a breakdown, who wants, but can no longer change his life. When teaching students, I often give them the example of our work with Oleg. But very often it turns out that today’s boys and girls do not know who Dahl is...

- Was Oleg Ivanovich an inconvenient person even then?

Perhaps there were different periods in Oleg’s life, but I never had any difficulty 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 theater is still a collective affair. But he didn’t yet have everything that would come later - terrible loneliness, Pechorin’s search for meaning and a repulsive manner of behavior.

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

-Women were his weakness?

Like most drinkers, Oleg was not a walker. Perhaps, while tipsy, he became interested in someone, but very fleetingly.

And I remember only one tragic incident related to him - at Vysotsky’s funeral. The three of us - Oleg, Tanya Lavrova, who, unfortunately, is no longer in this world, and I - went out to smoke. They stood there in silence, everyone thought about their own things, when suddenly Oleg began to laugh hard, and he had a real laughing hysteria. Tanya and I hissed at him, and he, still laughing, said: “I’m next!” and left us. Who would have thought then that everything would turn out this way?

ACTOR GEORGEY SHTIL: “THE MOTH SAID: “SO, OLEG’S EYE IS CLEAR, LET’S STOP FILMING”

Georgy Shtil and Dahl were connected by joint work and strong comradeship.

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

It’s all Oleg and Kokshenov, they constantly played each other. One day they even blocked the local bazaar: they started a war game, but the traders didn’t understand what was what (the guys were in military uniform and had weapons), so they hid. Trade stopped for some time, and the guys almost ended up in the guardhouse because of it. But if I may say so, I didn’t take these pranks very well; it seems to me that the guys were abusing alcohol.

It got to the point that Vladimir Yakovlevich Motyl said: “Okay, Oleg’s eyes are cloudy - let’s stop filming.” The fact is that when Dahl was sober, his eyes were like a woman’s - blue, transparent, but as soon as he drank a couple of glasses, they immediately became cloudy.

After all, he was an actor from God; by and large, he didn’t need a director - he always knew what and how to play. But he often violated discipline. Well, as soon as he drank, he used to get carried away: “I am Dal, and who are you here?!”

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

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

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 it and left Oleg right at the wedding. Something also didn’t work out with the second, Tatyana Lavrova, and she also left. The poor guy was very worried about this, in my opinion, and he started drinking only because he was alone all the time. When he met his third wife, Lisa Apraksina, who was equally sophisticated, intelligent, and well-read, the loneliness went away, but he could no longer stop drinking.

I know about all this from him himself: Oleg was frank with me, and sometimes I told him about the most secret things - I knew that in this regard he was a reliable person, not a gossip. He, like Volodya Vysotsky, was also burdened by our existence, or more precisely, by 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 simply did not immediately make contact with people after meeting people, his favor had to be earned. He was not one of those people about whom they say: his soul is wide open. But if he really liked a person, he showed his best side. He also played excellent football; during breaks between filming, he and I often spent time on the field.

He died just a couple of months short of his 40th birthday. The age range 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 a long time.

WRITER AND DIRECTOR ALEXEY SIMONOV: “MY FATHER, WRITER KONSTANTIN SIMONOV, ADVISED ME TO SHOOT DAL IN THE MAIN ROLE”

The famous writer, director and human rights activist directed Dahl in the title role in his film “Ordinary Arctic”.

Alexey Kirillovich, how did it come to your mind to cast Dahl in the role of the new construction manager Anton Semenovich?

My father advised me to try it. At first, the idea itself seemed to me, to put it mildly, heretical, but I refrained from arguing. Indeed, by that time, at his father’s suggestion, Papanov was cast in the role of 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 just remember he said: “Where to film? At Lenfilm? “Lenfilm will approve me.” Then, after “Sannikov Land,” the filming of which was accompanied by constant scandals, he was in conflict with Mosfilm.

- Were the tests successful?

Surprisingly, I only remember photo tests: Oleg in a Budyonnovka, an overcoat and round, thin-framed, ridiculous grandma’s glasses. Then, in the role, the extremes went away, instead of a cavalry overcoat, a

a naval officer's uniform, but just as heavy, down to the toes, and not a Budyonnovka, but a flight helmet that had come from nowhere, making Dahl's already small head tiny, like a fig. But the same glasses found on the photo test remained.

He fell into 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 of a pro in his field than I was in mine. Dahl 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-criticism of Valentin Gaft, and the filigree structure of the work of Sergei Yursky, and many other wonderful masters. But it is Oleg who I remember first when I have to think and talk about the actor’s skill.

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

When, during the course of his role, the boss plunged into the icy water in a diving helmet to check the correctness of the bottom fill - the basis of the future pier, with great difficulty I persuaded Oleg not to get into the water himself. Moreover, this was not necessary, and the huge bug-eyed helmet, no matter how you took it off, made it impossible to see whose head was inside. But he needed it for self-awareness. And when it was necessary to shoot a shot where the boss stands 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, while filming other people’s footage, Oleg didn’t leave for a minute, didn’t go to warm up - he waited for the drifting snow sweeping across the Gulf of Finland to texture his overcoat, encasing him in ice armor. And only after that he entered the frame.

DIRECTOR NAHUM BIRMAN'S SON BORIS: “HE LIKE HE DESTROYED HIMSELF FROM THE INSIDE”

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

Filming of “Chronicles of a Dive Bomber” took place in 1966-1967, - remembers the director's son Boris, - and since I was born in 1966, 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 listened to many stories about how it was filmed.

- For example, about how the cinematic authorities wanted to remake the ending of the film?

The director of Lenfilm called my father and said: “Listen, they are all dying, this is not good. It would be great if at the end everyone sat down in the clearing, lit a cigarette, and started singing.” The director tried to explain: they say, the meaning of the film is that good people die in war. “Okay,” the authorities reluctantly agreed, “then let at least the gunner-radio operator (played by Dahl) remain alive.” And again I had to explain that the radio operator gunner was a suicide bomber; he didn’t even have a parachute. “Then,” says the director, “let the crew commander be saved.” The father threw up his hands: and this is impossible, since the commander is the last to leave the plane. “Well, then let it be the navigator,” the chief does not give up. And after listening to the predictable answer once again, he sighed: “Well, fine, 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, filming the film “We Stared Death in the Face” - and Dal again played the leading role of the choreographer Korbut...

I also starred in this film, so I retained some of my childhood impressions of him. What struck me most was that Oleg Ivanovich was a Samoyed - it was as if he was destroying himself from the inside. This was expressed in manic perfectionism: he always correlated himself and his actions with some absolute ideal, he twitched all the time and doubted everything: either his father was filming wrong, or he himself was playing wrong. “And why did I just agree to this!” - the actor exclaimed from time to time in his hearts and even wrote letters of complaint about his father to Joseph Kheifits, for whom he starred in the film “A Bad Good Man.” Of course, his condition was aggravated by the fact that his father did not let him drink.

- How did he manage to do this?

Firstly, dad settled in the House of Cinematographers’ Creativity in Repino in the room next to Dahl’s 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 harsh and angry and were devoted to a painful topic for him - alcohol. Most often he teased his father.

A car came to Repino to take them to filming, and getting into it, Oleg Ivanovich could say: “The windows are fogged up. Naum Borisovich probably gave in already in the morning!” He could quarrel over something insignificant, for example, an unsuccessful suit, in his opinion. But now I understand that he was worried about the result, and that’s why he lost his temper over little things.

- How did Dahl communicate with the main cast - the children?

There really were a lot of children in the film crew; he was gentle, attentive and very helpful to us 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 was constantly telling something, starting, as a rule, with the words: “I was sitting in the WTO restaurant one day...”, and then - endless variations on the theme.

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

This will probably sound crazy, but I think that all of them - both Oleg Ivanovich and my father - passed away on time. I remember how my dad, who was often in the hospital in the last years of his life, went to see Lenfilm after another illness. And there all these perestroika perturbations had already begun, everything began to fall apart. When he returned, he said: “I don’t understand what’s going on there: I don’t recognize anyone - all new people, in the corridors there’s a botanical garden - they’re growing some plants in tubs, in the yard there’s a vegetable base - they’re selling potatoes there. What should I do next in this profession? But my father, who survived the blockade, fought, was a strong man. For Oleg Ivanovich, with his demands on himself and others, it would have been much more difficult.

FILM DIRECTOR VITALY MELNIKOV: “OLEG REMINDED ME OF A SOLDIER WHO CAN’T FIND A PLACE IN PEACEFUL LIFE AFTER THE WAR”

Vitaly Melnikov gave Oleg Dahl one of his best roles - Zilov in the two-part television film "Vacation in September", based on the play "Duck Hunt" by Alexander Vampilov.

Vitaly Vyacheslavovich, in Soviet times, Vampilov’s plays were banned, and “Duck Hunt” especially. How did you manage to break through it?

The television management allowed this film to be filmed after many requests on my part and only because before that my other film based on Vampilov’s play, “The Eldest Son,” had done well. 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, while there was just another campaign against drunkenness.

We were already familiar with Oleg, whom I saw in the role of Zilov: he starred at Lenfilm - both with Kosheverova and with Motyl. But immediately telling the television bosses Dahl’s name meant revealing the entire ideology of the film. That's why I delayed it until the last moment.

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

When everything was ready to go on an expedition to Petrozavodsk, I specifically chose this city to be away from any authorities. I came to Oleg in Moscow, but he greeted me coldly, ironically and even irritably: “Well, what would you like from me?” When I explained, he asked: “Well, are we going to try out?” “No,” I say, “tomorrow, bypassing St. Petersburg, we’ll go to Petrozavodsk and start work.” After a pause, he said, “I understand. Tactically this is absolutely correct."

Our film crew met in Petrozavodsk, where they built a set in an ordinary apartment - there were no pavilions there - and began 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 a reputation as a brawler. And not only because he drank, but also because he was picky with himself and with those around him, putting his discontent in a rather acute form. I was afraid that we would have some difficulties, but everything went quite easily and wonderfully until the very end of filming. His wife Lisa kept a close eye on him, no matter what happened! - but during the entire work Oleg did not drink a drop. He lived this role; a real Zilov walked around Petrozavodsk.

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

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

He felt lonely and empty, especially after learning that the painting was being held back. 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 - was lying to each other recklessly. He reminded me of a soldier who, after the war, cannot find a place for himself in peaceful life. Now I understand that this could not end well.

About two weeks before his death, Oleg wrote me a letter. He remembered the film, hoped that we would work together again, that maybe in the television association in St. Petersburg, which I headed, there would be some decent work for him. In the margins he drew Zilov, human footprints led from him to the top of the page, and there a grave was drawn. I remember I also thought: “Well, Zilov’s things are starting!” And two weeks later Oleg passed away.

- He never saw “September Holiday”?

On TV - no. He saw it in its working version, during the dubbing process. And one day the film was shown in the Moscow House of Cinema, where we brought it illegally. Dahl's diary contains memories of this viewing and the role that he treasured very much. There was another illegal showing of the film - it took place shortly after Oleg’s death in Kyiv. Coach Valery Vasilyevich Lobanovsky asked to bring her, who considered that Dynamo Kyiv should definitely see her. Well, since the news of this instantly spread throughout the city, Ukrainian filmmakers had to screen it in the Kiev House of Cinema.

And the film was released on television only eight years later, when perestroika began - if not for this, it would have lain on the shelf for a long time. I have the feeling that she is alive - not dead, not old - largely because Oleg starred in the main role.

If you remember, in Russian literature of the 19th century there was such a concept as “an extra person,” and so, in a sense, Oleg Dal was like that. With a heightened sense of justice, a constant desire to do things openly and honestly. Any disguised lie that he felt on an intuitive level irritated him terribly. He could not find a place for himself and talentedly played the role of an extra person until the end of his life.

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