“Something happened to Dibrov” – MK

He is just like Dostoevsky, whose fatal sentence was changed to hard labor at the last moment. Is the repeated “Anthropology” hard labor for him, and he will now suffer forever at night?

Yes, once an iconic character, the best in the profession. Each of his words, statements instantly scattered throughout Russia, even without the presence of a mobile Internet. On that “Anthropology” of his, the streets of the cities were empty, because the country knew: at exactly 11 pm, an hour before midnight, by all means, you need to be at the TV, sit and watch your beloved Dima, sit and watch. And I’ll switch you!

When BG, as cult as himself, turned 50 (2003), only Dibrov should interview the musical Poet, they were equal.

And then something happened to him. Nothing special, he was happy in family life. The children have gone, small and small less. A good house, a good wife, what else do you need to meet …

He became an ordinary family man in the best sense of the word. But this is dangerous: Dimochka stopped thinking about the high, turned into a very prosperous inhabitant. “Anthropology”, problematic, inspired, melodious, has become “Apology” – a blissful, relaxed program of mutual admiration. He became eloquent, garrulous, and even Parfyonov, Mr. Style, once told him, reproached: “You are too verbose, Dima, can’t you make it shorter?”

When Nikita Mikhalkov, the former genius (and now he is “the head of the washbasins and the commander of washcloths”, “the servant of the tsar, the father of the soldiers”), turned 70, Dibrov was sent for an interview. But this was no longer the same Dibrov, completely different: with a tummy, smug, prosperous, he did not ask the Master a single vital, relevant, human question.

And even in his “Millionaire” (and after all, in the best, unknown times, it was he and only he who voiced the Oscar-winning “Slumdog Millionaire”) Dimochka faded, faded, faded, became banal.

When Malakhov left from the First to the Second, his channel staged an action, a performance: he invited other presenters in the form of extras, and they in chorus and alternately persuaded Andryusha to stay: come back, come back, I will forgive everything. And Dimochka was there, in this humiliating role, he drank honey-beer, it flowed down his mustache, but it didn’t get into his mouth.

Yes, in addition, he began to put on make-up, to look younger, which actually looked funny and sad: the starry gray-haired boy decided to fight age, that is, the inexorable one, in such a jocular way.

And then the hour “X” came, and Dibrov, along with everyone else, had to change, be reborn, make a choice. On the seventh already ten.

And it happened! Late at night, in the Podcast.Lab project, when you have been sleeping and dreaming for a long time, the new-old Dimochka goes on the air. No longer exclusively, but in line with everyone, with his revived “Anthropology”. Noble unhidden gray hair, thinner, dry, lean … And most importantly, he is again interested. He regained a level, a skill that you can’t prosper, you can’t prosper. Again, you can’t take your eyes off him. But who is watching this in the “mass grave” of a late-night podcast that fades into the early morning? Me, and I think that’s a lot. And people like me. Yes, there are few of us, but we are in vests. And we state, we conclude, we conclude: he returned, Dmitry Dibrov. It is almost as good as new, and those long years of stagnation seemed to have never happened at all. Having fallen (in my eyes), he still got up, he could. He did it!

Don’t Forget the Artist

Anniversaries, anniversaries… We know how to celebrate it. Vyacheslav Tikhonov is 95, Leonid Gaidai is 100. And so many films, programs. And they forgot one more person. Great, beautiful, irreplaceable – Igor Kvash. He would have turned 90. Where is everyone? Only for “Culture” is a repetition of “Theatrical Chronicles” from 2008 – during the day, when everyone is working, with a repetition in the late night, when everyone is sleeping. This is bad, wrong.

Igor Vladimirovich Kvasha is neither warm nor cold from such unconsciousness. He was and remains a magnificent, brilliant artist, unsurpassed.

One of the founding fathers of the Sovremennik Theater (and the “father” was only 20 at the time!), he was distinguished by rare constancy, loyalty, and service. All his life this is our contemporary.

And in the cinema … Let’s remember what he did in the cinema. His burgomaster in “The same Munchausen”. So ambiguous: “not a friend, not an enemy, but like that”, but these luminous glasses, so revealing his opacity. “I am in the service … If the court decides that you are a baron, I will fall on your chest. If the court decides that you are Mueller, I will put you in jail.” “Well, can I trust my own opinion when… I completely trust the court. As you decide, so be it.” This is the image of a traitor friend for all time.

And in “Adam’s Rib”! “Golberg, Alexander Naumovich, do you mind?” And there, at the table, he suddenly shows the fig from the bottom of his heart to his first husband: “Here’s an abortion for you!” Yes, in our language, in Hebrew.

In The Man from the Boulevard des Capucines, he is a lewd pastor. And preoccupied. Very lustful and very preoccupied, as much as the whole twitches. At any age, Kvasha could create both grotesque and comedy with tragedy, found unthinkable shades for persuasiveness, and was deep and real like no one else.

He was also the conscience of the theater, without any big words. Well, like Kopelyan in the BDT. And this is a rarity. Therefore, the program “Wait for me”, which Kvasha led for many years, was on the verge between artistry and humanity. Even beyond, because how to give, sympathize, empathize with people, dissolve, die in them in order to live – this could be done by a very good person with a sympathetic heart.

He was like that, Igor Kvasha. Just remember.