"The Last Victim" (1975). Alexander Ostrovsky "The Last Victim" (1878) Long Past Present

Yuliya Pavlovna Tugina, a rich widow living in seclusion on her estate, falls in love with the gambler and rake Vadim Dulchin. Yulia Pavlovna spent all her fortune on her lover. But even on the verge of ruin, she does not stop thinking about him and is ready for the “last sacrifice”: to ask for money from the wealthy merchant Flora Fedulich Pribytkov in order to save Dulchin from the debt hole.

A fragment of the book by Yuri Bogomolov “Pyotr Todorovsky. Creative portrait.

“The lyricist,“ returning to the city ”, risked doing something that he could not have thought of in good times: he will film the play by A.N. Ostrovsky "The Last Victim".

Screen adaptation for Todorovsky is the same as for a good poet to rewrite other people's poems in his album.

It is clear that the world of Ostrovsky, so colorful, so solid, furnished with a cumbersome way of life, inhabited by the most picturesque, self-valuable and self-sufficient characters, is not “his own” land for Todorovsky. He tries to be conscientious in "rewriting" someone else's, but still slips on the surface.

Remarkable, however, is the choice of the play itself. I dare to say that here the choice is the most meaningful moment. Ostrovsky's play was taken, in which the dramatic story of spiritual compromise is told. The heroine loves one with all her heart, and marries another. And the playwright justifies it.

Frame from the film. Photo: kino-teatr.ru

It was this collision that, in all likelihood, attracted the attention of the director. She obviously took him for a living. Who, if not the lyrics of the 60s and 70s, knew what it means to remain true to the heart, when life constantly deceives it, when life surrounded a person with ghosts and mirages, everything is wrong underfoot ...

That lyricist of the 60s and 70s was tired of the lies of others and lies to himself. That is why he watches with such sympathy the vicissitudes of the inner drama of a man from another era.

Or maybe this is really a way out - a marriage of convenience with a kind, good, reliable person?

Ostrovsky convinces. At least in this play. In Talents and Admirers, he convinces of the opposite.

Great is the temptation to take refuge in a prosperous private life. Or try to take at face value the fiction of an active social life and strive up the career ladder, which, as you know, leads down.

Todorovsky is becoming more and more aware of the illegitimacy of such exits from the impasse. The soul is not that obliged, it cannot but work.

"The Last Victim" in this regard was the first victim suffered by the lyrical consciousness of Pyotr Todorovsky.

A woman who loves is ready to sacrifice all her fortune for the sake of her beloved. How will Vadim Dulchin, a handsome man and a player, respond to this? And how far can a woman who loves him go? ..

In honor of Cinema Day on August 27, I want to recall the wonderful film by Pyotr Todorovsky based on the play by A.N. Ostrovsky - "The Last Victim". In my opinion, this is one of the masterpieces of Soviet cinema: the selection of actors, the music of Yevgeny Schwartz, the picturesque series of the film - everything corresponds to the play and the spirit of the time.

It is impossible to forget the incredibly touching Yulia Pavlovna Margarita Volodina - aging, loving, sacrificial, deceived.

Volodina did not act much and became famous for her role as a commissar in the film Optimistic Tragedy. But for those who have not seen it, I advise you to watch a wonderful film about love, where there are only two heroes and two actors - Volodina and Mikhail Nozhkin - "Every Evening at Eleven" - and you will find out how your ancestors coped in the era of the absence of mobile phones! And another good film, where she, however, has an episodic role of a drinking wife - "Late Meeting" by Y. Nagibin with A. Batalov in the title role.

Vadim Dulchin is played by Oleg Strizhenov - it is precisely for him that Yulia Pavlovna makes the last sacrifice: she humiliates herself, offers herself, begs, orders, kisses - everything in order to get money for her lover, who simply “burns money”, losing them in cards.

And finally, the third main character - Frol Fedulych performed by Mikhail Gluzsky: oh, good! So good that if I were in the place of the main character, I would not hesitate to exchange the shabby and liar Dulchin for - if not young - but smart, subtle, educated and rich merchant, and even if he has eyes like Gluzsky's!

The rest of the characters are also good: nephew Lavr Mironych (Leonid Kuravlev), a kind of Russian Monte Cristo, but without his millions, and the romantic daughter of Lavr Mironych - "Iren" - Olga Naumenko.

A marvelous scene between her and Strizhenov, when Dulchin discovers Irina Lavrovna in her bachelor's bed: lucky man, did you want African passion? You will get it! But suddenly it turns out that a necessary component of African passion is money, which Dulchin does not have, and there is only one thing left for him - "to dance Hungarian dances in taverns", neither with Irina - Uncle Frol will not give a penny for such a groom! But how dare you demand African passion, if you have not a penny for your soul! - "Iren", feverishly dressing, is indignant, and Dulchin melancholy remarks: Well, let's say, anyone can desire African passion ...

No, so I'll just retell the whole movie! I remember it almost by heart: here is another episode when Irina kisses Frol Fedulich in gratitude for some gift, and he, posmakovov, remarks: No, it’s not that. Not that! THAT kiss is worth a lot! THAT - that Yulia Pavlovna gave him.

And in conclusion, about the music: Evgeny Schwartz created an amazingly gentle sound image of the film, I especially like the song that goes at the beginning:
Grass doesn't grow in winter...
Water it - don't water it...
He won't come back...
Remember, don't remember...

I can't vouch for the accuracy of the words - but the meaning is this. This song immediately sets a piercingly sad note. And yet - the romance "In our old garden ..."!

And it must be said about the extraordinary accuracy of interiors, costumes and Moscow landscapes: Yulia Pavlovna's house was filmed on a street near Ilya Obydenny, next to the Park Kultury metro station.

Alexander Nikolaevich Ostrovsky.

Last victim

STEP ONE

PERSONS:

Yulia Pavlovna Tugina, young widow.

Glafira Firsovna, Julia's aunt, an elderly poor woman.

Vadim Grigorievich Dulchin, young man.

Luka Gerasimych Dergachev, Dulchin's friend, a rather nondescript gentleman both in figure and in costume.

Flor Fedulych Pribytkov, a very rich merchant, a ruddy old man, about 60 years old, clean-shaven, carefully combed and dressed very cleanly.

Mikhevna, Julia's old housekeeper.

A small living room in Tugina's house. In the depths is the entrance door, to the right (from the actors) the door to the inner rooms, to the left is the window. The drapery and furniture are rather modest but decent.

PHENOMENON FIRST

Mikhevna (at the front door), then Glafira Firsovna.

Mikhevna. Girls, who called? Vadim Grigorievich, or what?

Glafira Firsovna(entering). What Vadim Grigorievich, it's me! Vadim Grigorievich, tea, he'll come later.

Mikhevna. Ah, mother, Glafira Firsovna! Yes, and there is no Vadim Grigorych; this is how I said it ... Sorry!

Glafira Firsovna. It fell off the tongue, there's nothing to do, you can't hide it back. Eka annoyance, I did not find myself! Not a place close to you for nothing to travel; and I haven't got any money for cabbies yet. Yes, they are robbers! For your own money, they will shake out your whole soul, and even look out with the reins of your eyes.

Mikhevna. What to say! Is it their business ...

Glafira Firsovna. What, yours? Legs, right?

Mikhevna. No, horses, I say.

Glafira Firsovna. What better! Yes, but I still have mine at the Khrenovsky plant; I can’t manage to buy everything: I’m afraid that I might make a mistake.

Mikhevna. So are you on foot?

Glafira Firsovna. Yes, according to the promise, there are seven miles of jelly. Yes, that's not at times, apparently, you have to go back to the same ones without feeding.

Mikhevna. Sit down, mother; she must be coming back soon.

Glafira Firsovna. Where did God take her?

Mikhevna. Went to the party.

Glafira Firsovna. Began to worship. Al has sinned a lot?

Mikhevna. Yes, mother, she is always like that; as the dead man is gone, everyone prays.

Glafira Firsovna. We know how she prays.

Mikhevna. Well, you know, you know! And I know that I'm telling the truth, I have nothing to lie about. Would you like a seagull? We have it instantly.

Glafira Firsovna. No, I'll just wait. (Sits down.)

Mikhevna. As you wish.

Glafira Firsovna. Well, what is your plezir?

Mikhevna. How, mother, deign to say? I didn't hear...

Glafira Firsovna. Well, how to call it politely? Winner, dear friend?

Mikhevna. I can’t understand your conversation, the words are painfully tricky.

Glafira Firsovna. Are you playing a fool or are you ashamed of me? So I'm not a lady. You will live with me, but in poverty, so you will forget every shame, you don’t doubt it. I'm asking you about Vadim Grigorych...

Mikhevna(putting his hand to his cheek). Oh, mother, oh!

Glafira Firsovna. What groaned?

Mikhevna. Yes, very embarrassing. Yes, how did you know? I thought no one knew about this...

Glafira Firsovna. How did you know? You yourself just told me his name, called Vadim Grigorych.

Mikhevna. Eka I'm stupid.

Glafira Firsovna. Yes, besides, I heard from people that she lives a lot of money in her friend ... Is it true?

Mikhevna. I don't know the right one; but how, tea, not to live; What will she regret for him!

Glafira Firsovna. It was her husband, the deceased, who was quick-witted, his heart felt that the widow would need money, and left you a million.

Mikhevna. Well, what, mother, a million! Much less.

Glafira Firsovna. Well, this is my account, I count everything in millions: if I have more than a thousand, then a million. How much money is in a million, I don’t know myself, but I say this because this word has become fashionable. Before, Mikhevna, the rich were called thousandaires, but now they are all millionaires. Now tell me about a good merchant that he went bankrupt for fifty thousand, so he will be offended, perhaps, but speak directly for a million or two, - that will be right ... Before, the losses were small, but now there is one seven in a bank million were missing. Of course, in your hands you rarely see income and expenses of more than half a ruble; and I have taken such courage upon myself that I count other people's money into millions and talk about them so freely ... A million, and a sabbath! How does she, with things, or something, give him al money?

P about the play of the same name by A.N. Ostrovsky.

Fragment of an article by Roman Dolzhansky "Traders in the Moscow Art Theater" in the newspaper "Kommersant" (2003):

“Director Yuri Eremin decisively changed the time of Ostrovsky's play, and not only the era, but also the season. "The Last Victim" warmed up and rejuvenated. The change from summer to winter was necessary mainly for beauty: artificial snow in a rich academic theater always looks very expressive. When the actors go on stage, shaking off their hair and coats from white flakes, the state of the character is immediately clear: he got into the warmth from the cold, what other circumstances are needed. And if, against the background of black wings and a backdrop, a thick, generous street snowfall begins to the music, then wait for applause. So that the feeling of damp chilliness would not pass, they also provided for a video projection: on the screen in the back of the stage they always show some kind of urban landscape with incessant snow.

The change of era (the action is moved from the seventies of the century before last to the beginning of the past) is more meaningful. The rejuvenation of the play by about thirty years pleases the viewer with Art Nouveau motifs in the design of the performance (scenography by Valery Fomin clearly echoes the architecture of the Art Theater itself), and the characters of The Last Victim - with a cinematography session in a merchant club. However, the performance is no longer about the merchant, but about the industrial era, about the heyday of arts and industry in Russia.<...>

Flora Fedulych is amazingly played by Oleg Tabakov. It is his character that becomes the semantic center and hero of the entire history of the Moscow Art Theater. Not a colorful merchant, not an insidious spider, not an old voluptuary (what other possible interpretations are there?), But an educated, hard-working capitalist, standing firmly on his feet and keeping his finger on the pulse of a big efficient business. Finally, a respectable, courteous man, a music lover, a man of taste and artistic intuition, a collector of modernist art. Oleg Tabakov plays a self-confident, successful master of life in a controlled, non-assertive, non-proprietary way. Whether director Eremin has worked, whether Mr. Tabakov himself has freed himself from his win-win, fat acting techniques, but the performance seems to fall into his hands, as money strives for other money.

Fragment of Marina Timasheva's article "Tretyakov... Pribytkov... Tabakov..." in the Petersburg Theater Journal (2004):

“Yulia Tugina, performed by Marina Zudina (in the life of Oleg Tabakov's wife), is strikingly different from everyone else. Small, fragile, trusting, like a child, completely blinded by love, she is at the same time ready for any trick and any humiliation, just to save the shameless Dulchin and marry him.

Half woman, half child, Marina Zudina's Yulia Tugina is both sincere and cutesy, honest and deceitful, capricious and suffering, tender and arrogant. Flor Pribytkov, who has seen a lot in his life, has never seen anyone like her, uncorrupt and selfless.”

Fragment of an article by Polina Bogdanova "The last love of a business gentleman" in the publication "New Theater News" (2003):

“Director Yuri Eremin in this performance weaves the thread of relationships between the characters in a very interesting and detailed way and amazes with the freedom and grace of the emotional score. Here there are bright grotesque sketches of images, and everyday truthfulness, and juicy characteristic types. Take Irene, played by Daria Yurskaya, who plays with inimitable brilliance and wit. She creates the image of a predatory, in her own way charming fool, inflamed with an “African” passion for the “rich man” Dulchin and deceived by him, but not broken. Because the healthy cynicism of her nature protects her in all delicate and dubious situations. The role of the aunt played by Olga Barnet, also in her own way a predatory and mercenary person, is excellent, ready to serve the wealthy and capable of generous gratitude Pribytkov with canine devotion. Her first appearance in Yulia's house turns into a separate performance, when she sits at the table and greedily, not having time to chew, gobbles up the food brought to her, washing everything down with vodka.

And a beautiful melodrama from bourgeois life, stylized, as already mentioned, under the sentimental plots of a silent cinematograph. By the way, this art is really present here, silent films are shown on the back of the stage. And in the way the director builds a beautiful melodrama, there is a good taste and even a kind of grace. Here everything is slightly exaggerated, everything is presented in such a way as to produce an effect, to create an impression. And at the same time, there is a subtle irony in everything. After all, Eremin understands what he is doing and for what. He creates an example of a bourgeois theater that the public should like.”

Yulia Pavlovna Tugina, young widow.

Glafira Firsovna, Julia's aunt, an elderly poor woman.

Vadim Grigorievich Dulchin, young man.

Luka Gerasimych Dergachev, Dulchin's friend, a rather nondescript gentleman both in figure and in costume.

Flor Fedulych Pribytkov, a very rich merchant, a ruddy old man, about 60 years old, clean-shaven, carefully combed and dressed very cleanly.

Mikhevna, Julia's old housekeeper.

PHENOMENON FIRST

Mikhevna (at the front door), then Glafira Firsovna.

Mikhevna. Girls, who called? Vadim Grigorievich, or what?

Glafira Firsovna(entering). What Vadim Grigorievich, it's me! Vadim Grigorievich, tea, he'll come later.

Mikhevna. Ah, mother, Glafira Firsovna! Yes, and there is no Vadim Grigorych; this is how I said it ... Sorry!

Mikhevna. What to say! Is it their business ...

Glafira Firsovna. What, yours? Legs, right?

Mikhevna. No, horses, I say.

Glafira Firsovna. What better! Yes, but I still have mine at the Khrenovsky plant; I can’t manage to buy everything: I’m afraid that I might make a mistake.

Mikhevna. So are you on foot?

Glafira Firsovna. Yes, according to the promise, there are seven miles of jelly. Yes, that's not at times, apparently, you have to go back to the same ones without feeding.

Mikhevna. Sit down, mother; she must be coming back soon.

Glafira Firsovna. Where did God take her?

Mikhevna. Went to the party.

Glafira Firsovna. Began to worship. Al has sinned a lot?

Mikhevna. Yes, mother, she is always like that; as the dead man is gone, everyone prays.

Glafira Firsovna. We know how she prays.

Mikhevna. Well, you know, you know! And I know that I'm telling the truth, I have nothing to lie about. Would you like a seagull? We have it instantly.

Glafira Firsovna. No, I'll just wait. (Sits down.)

Mikhevna. As you wish.

Glafira Firsovna. Well, what is your plezir?

Mikhevna. How, mother, deign to say? I didn't hear...

Glafira Firsovna. Well, how to call it politely? Winner, dear friend?

Mikhevna. I can’t understand your conversation, the words are painfully tricky.

Mikhevna(putting his hand to his cheek). Oh, mother, oh!

Glafira Firsovna. What groaned?

Mikhevna. Yes, very embarrassing. Yes, how did you know? I thought no one knew about this...

Glafira Firsovna. How did you know? You yourself just told me his name, called Vadim Grigorych.

Mikhevna. Eka I'm stupid.

Glafira Firsovna. Yes, besides, I heard from people that she lives a lot of money in her friend ... Is it true?

Mikhevna. I don't know the right one; but how, tea, not to live; What will she regret for him!

Glafira Firsovna. It was her husband, the deceased, who was quick-witted, his heart felt that the widow would need money, and left you a million.

Mikhevna. Well, what, mother, a million! Much less.

Mikhevna. I don’t know about money, but gifts come to him every minute, and all are expensive. He lacks nothing - and everything in the apartment is ours; then she will buy him a new inkwell on the table with all the equipment ...

Glafira Firsovna. The inkwell is expensive, but there is nothing to write about.

Mikhevna. What writing, when to him; he doesn’t even live at home ... And he will change the curtains for his windows, and the furniture will be all over again. And this is dishes, linen, and so on, so he does not know how everything is new with him - everything seems to him that everything is the same ... To what extent, to the very smallest; tea with sugar and then it goes there from us ...

Glafira Firsovna. It's still not a problem, you can endure it. There are different kinds of women: the one who gives things to her lover - she, perhaps, will also save capital; and which is money, well, here is a sure ruin ...

Mikhevna. Sugar is painfully pitiful: they get a lot of it ... Where do they get such an abyss?

Glafira Firsovna. How did it happen to you, how did she manage to put such a collar around her neck? ..

Mikhevna. Yes, this dacha is damned. How we lived then, shortly after the deceased, in the dacha - we lived modestly, we ran around people, rarely when we went for a walk, and then to hell ... then it struck him like a sin. Wherever we go out of the house, everything will meet and meet. Yes, young, handsome, dressed like a picture; horses, carriages! And the heart, after all, is not a stone ... Well, he began to woo, she is not averse; what else - the groom, even where he is rich. They only put it in such a way as to postpone the wedding until the winter: her husband had not yet left a year, she was still mourning. And he, meanwhile, every day goes to us as a groom and carries gifts and bouquets. And so she entrusted herself to him, and settled down so much that she began to consider him just like a husband. Yes, and he without ceremony became her good, as his own, to dispose of. "What's yours, what's mine, he says, it's all the same." And this is for her joy: “So, he says, he is mine, if he does so; now, he says, it’s a small matter for us, only to get married.

Glafira Firsovna. Yes, for the little one! Well, no, don't tell me! What next? ... Mourning is over ... winter has come ...

Mikhevna. Winter has come, and it has passed, and another will soon come.

Glafira Firsovna. And he is still among the grooms?

Mikhevna. Still in suitors.

Glafira Firsovna. Long. It's time to decide something, otherwise people should be put to shame!

Mikhevna. Why, mother! How do we live? Such and such silence, such and such modesty, one must directly say how a monastery is: there is no male spirit even in the factory. Vadim Grigorievich travels alone, to be honest, and even he is more at dusk. Even those who are his friends, and those who don’t go to us ... He has one such, Dergachev is nicknamed, he poked his head twice ...

Glafira Firsovna. Will they treat, they say, what?

Mikhevna. Well, of course, a poor man, lives from hand to mouth - he thinks about having a bite to eat and drinking wine. That's how I understand them. Yes, mother, I scared him. We are not sorry, but we take care; men so no, no, under no circumstances. This is how we live... And yet she prays and fasts, God bless her.