To understand Natalya Gundareva: “There can be no relatives”

You watch her play in a movie you’ve seen a hundred times, and you can’t tear your eyes away from admiration. Who have we lost…

On “Culture”, on “Mir”, on “Star”, on the First … It seems to become a part of you, your guest, hostess, sorceress. On OTR – “Five Evenings with Natalia Gundareva”. Every night you wait, and she comes, exactly at nine. What a pleasure!

You watch movies that make your eyes dim. Here is Sweet Woman. You only remember how Yankovsky, in the make-up of an experienced, moth-eaten man, lustfully looks at her: “Sweet …”

And now you see: there Gundareva has an incredible amount of emotions, colors, shades. It passes into each new state easily, gracefully, naturally. And such a palette of human feelings, changing every time! If Tikhonov played a thought like no other, then Gundareva played the movement of the soul, female passion, and transitions from one to another, fifty shades, nuances in one bottle.

Here is her first film – her debut in Hello and Goodbye. Natasha – incomplete 25. This is the script of Merezhko, an expert on “women’s happiness”, and an excellent director Vitaly Melnikov. And she is there paired with Viktor Pavlov, the closest friend, who brought Natasha to the artist. She plays unrequited love – and she herself is all so unhappy, unhappy. And you see it not only from the front, looking straight at her eyes, but also … Yes, I recognize the sweetheart by her gait, and in general, excuse me, the rear view … If you look at her, you immediately understand everything about her life. Everything lives in her there, and those beautiful parts of the body, from the breadth of which she subsequently for some reason wanted to get rid of … But it was her wealth, her artistic instruments, on which Natasha played masterfully.

Or “Autumn” by Andrei Smirnov, all filled with sensual eroticism. Natasha is again a simple, rural woman (how did she succeed in such roles!). In just one story, a conversation about yourself, you are struck by a current of female nature, physicality – and at the same time of extraordinary inner, animal purity.

“Citizen Nikanorova is waiting for you” is already a meme. Natasha is waiting, she is in search of her only one, she chooses. It’s both painful and beautiful because you’re watching a woman up close, the Miss and Mrs of the world, Her Majesty. And when he finally chooses, finally and irrevocably, after all these fleeting and immediately gone into oblivion loves, throwing on the neck, which then you just want to squeeze with your hands to the point of insanity, then, through the speakerphone, in secret to the whole world: “You Citizen Nikanorov is waiting.” And he will stand and wait, like a steadfast tin soldier, a staunch tin soldier.

Here in the film “Aelita, do not pester men” she is with Valentin Gaft. Terrible Gaft, frightening Gaft. He throws her, divorces her for money, a damned swindler, hypnotizes like Woland, and she … Yes, what is she … She believed everything he told her, fool. She is ready to give him her whole priceless world, all of herself, to leave nothing behind her soul. Here again she is in search, she is a Woman. Then Gaft will write an epigram to Natasha (in gratitude?) – one that cannot be read aloud, which cannot, should not, has no right to write a man to a woman. But Gaft could. Hey artists!

… Arkady Inin, beloved screenwriter, playwright of the kindest soul, wrote “Once Twenty Years Later” specially for Natasha. There she (and Viktor Proskurin) has ten children. “I am a mother,” she says, and everyone understands that something important, unique, cosmic is happening before our eyes. Here is the cinema – it expands consciousness, pushes the horizon. It allows you to live hundreds, thousands of lives. Natasha did not have children, but here … “I am a mother.” Who, if not her. Not just a mother – a mother-heroine. I believe! So, so be it.

She is both a matchmaker (“A hostel is provided for the lonely,” again from Inin), and Dulcinea of ​​Toboso (and she found her Don Quixote, she definitely found it!), She’s all … “Just a drop for me,” – this is from Wounded Wounds. Do you remember this droplet, how does she do it?! The way he looks at the boy! And this is also Gundareva.

She and the divine Nina Evlampievna. And she plays the mother of an adult daughter in the “Autumn Marathon” due to the peculiarities of her beautiful face, when she was only 30 years old. And it is a pity for her, unloved … And these torn off sleeves of a donated jacket, so artistically thrown out the window; and a slap in the face to Buzykin-Basilashvili on the side of the highway; and “We’re going, we’re going, we’re going…”

To understand Natalya Georgievna even better, I remember a documentary film where she talked about her father: “After the collapse of the USSR, he lay down on the sofa, turned to the wall, lay like that in silence for two months and … died.”

… At the Mayakovsky Theater, Natasha became the prima, the favorite of the great and terrible Goncharov, the main one; he gave her only the first roles. Goncharov was terrible in anger (or rather, he pumped himself up in such a way to evoke a lively reaction from the artists), shouted at everyone except Gundareva and Dzhigarkhanyan. And Natasha defended her colleagues as much as she could, consoled them. She was not at all stellar, but simple and natural, herself.

That’s just in “Winter Evening in Gagra” she gave a star, and even what. She parodied … for some reason everyone thought of Alla Borisovna … But she was quick-witted – and as in the final she sang in an embrace with Evstigneev: “When with a simple and gentle look …”

In Ryazanov’s “Say a Word About the Poor Hussar” she has a small role, but what an important one! “Am I a stranger to them?! Well, you say, sir is good … “

Is Natasha a stranger to us? Our Natasha?! Yes, how can it be kindred! No, he can not.

MOST BEAUTIFUL GOAL

The Zvezda again shows the Legendary Matches under the careful management of Vyacheslav Fetisov.

He himself is a member of most of them. But now we are back in a time machine in 1974, when Slava was only 16, he was still playing as a youth. Then the Soviet team, “Red Machine”, made a new slaughter with the Canadians, again for eight matches. Yes, then only two years passed after the memorable 72nd, when they fought for life with the NHL team. Now the WHA, the second league across the ocean, and there is the great Bobby Hull in a wig and with a cannon throw, Gordie Howe and his sons in the same trio, the “bully” Mackenzie, as the unforgettable Nikolai Ozerov called him …

And now the participants of that match are sitting in the studio. Vyacheslav Anisin is sitting, Yuri Lyapkin, Alexander Sergeevich Yakushev. They are over 70. How nice to see them!

In that first match of the series in Quebec, a miracle happened: Valery Kharlamov scored the most beautiful goal of the century. I got the puck in my zone, went forward in the center, went around one opponent, went to a couple of defenders … Moving to the right, to the left – and there are no Canadians, they dispersed in all directions, fell for Kharlamov’s feints. Here he is already going one on one with goalkeeper Chivers – and relish in the corner. “Go-o-o-o-ol!!!” – how Nikolai Nikolaevich rejoiced.

Now it has been shown on the air ten times. This goal is a dream! So, one more reason to remember the great hockey player who left us so early. At 33…