Very beautiful Soviet actresses

The focus will be on those people we loved very much and often saw on TV screens in childhood.
The most beloved films were precisely from that period.
Let's fully examine these wonderful women, remember their biography, and talk about their beauty.

Natalya Varley

Childhood

Natalya Varley was born on 06/22/1947 in the Romanian city of Constanța, in the family of a captain of a long voyage. According to family tradition, Varley is a Welsh surname. Natalya Vladimirovna's ancestors came to Russia from Wales. In the 19th century, a Russian manufacturer brought a stable and two jockey brothers named Varley to Russia. Then they married Russian girls and became completely Russified.

Natasha's childhood was spent in Murmansk. From an early age, the future actress showed herself to be an extremely gifted child. From the age of four, she began writing poetry, then studied at a music school, and painted. When she learned to read, she began devouring one book after another.

But at the same time, she was a very sickly child: she was diagnosed with rheumatic heart disease and was forbidden to participate in physical education at school.



Circus

In the late 50s, the Varley family settled in Moscow. One day, her mother took Natasha to the circus. They arrived earlier than scheduled, and suddenly it started to rain heavily. Mom and Natasha hid in the ticket office, and the first thing the girl saw there was an announcement about recruiting children aged 11-13 into a children's circus studio. The very next day, secretly from her parents, the girl went to the address indicated. Oddly enough, after measuring Natasha up and down, checking her flexibility and stretch, the studio teachers considered it possible to accept her.

N. Varley herself says: "We, the studio members, were often used in prologues during performances. I remember when there was Khrushchev's money exchange in 1961, a dance was composed for us called "A Penny Saves a Ruble." We ran out onto the arena with huge plywood pennies on our sides and shouted joyfully: "Penny!", and the last, tenth "penny" shouted: "Ten Kopecks!" And once again, running out in the victorious march of the indestructible penny, I got stuck between the audience. The "pennies" calculated without me, and the ten kopecks came out of nine pennies. Everyone laughed a lot. By the way, I met Yuri Nikulin at the performances."

In 1965, Varley graduated from the College of Circus and Variety Arts and joined the troupe of the Moscow Circus on Tsvetnoy Boulevard. She worked as an equilibrist. For a while, she performed in the same act with the famous clown Leonid Yengibarov: she danced on the trapeze with castanets, sitting on a chair, and played the concertina. And it was thanks to Yengibarov that Natasha got into cinema. It happened under the following circumstances…



"Kidnapping, Caucasian Style"

Yengibarov had been acting in films for several years and had many friends in the film industry. One of his friends was the director of the Odessa Film Studio, Georgy Yungvald-Khilkevich. One day in 1966, he came to another performance at the circus on Tsvetnoy Boulevard and saw Natasha there. He liked her so much that he immediately offered her a role in his new film "Formula of the Rainbow." And Varley agreed. She got a small role as a nurse.

Unfortunately, the film was never released, finding some sedition in it. However, despite this failure, the filming served Varley well: it was there that she caught the eye of Leonid Gaidai's assistant, who in those days was preparing to shoot the film "Kidnapping, Caucasian Style." Varley was invited to audition.

Almost five hundred actresses auditioned for the role of Nina, a Komsomol student in the film, including such stars of Soviet cinema as Natalya Fateeva, the Vertinsky sisters, Natalya Kustinskaya, Valentina Malyavina, Vika Fedorova, and others. However, after much deliberation, Gaidai decided to settle on a then unknown circus artist, 19-year-old Natalya Varley. And, as it turned out, he was not mistaken.



Natalya Varley recalls her screen tests: "I came to Mosfilm. They gave me a piece of the script to read. Then they filmed a small episode with a donkey. And suddenly Gaidai timidly asks me: "Natasha, can you undress to your swimsuit?" I replied: "Of course." And I undressed. Everyone gasped. Nowadays, actors freely undress, but then both the cinema and the whole country were more chaste. But for me, a swimsuit was everyday circus clothing, so no thoughts arose. In short, they filmed this episode too. Perhaps, it decided the choice."

Then the filming began: "I still remember every shooting day. There were many funny, awkward, and dramatic situations. For example, I almost crushed the famous trio. Remember when they were standing on the road with Vitsin in the middle? I'm rushing in a red car, and suddenly its brakes fail. Thank God, our wonderful comedians had excellent reaction.

The first experience of artistic transformation has forever remained in my memory. Before that, I was actually playing myself. The image of Nina in "Kidnapping, Caucasian Style" is completely unlike me in life: I have never been self-confident, mischievous, optimistic, rather - quiet, dreamy, romantic. So Gaidai sculpted a "Komsomol member, athlete, and just a beauty" out of me right on the set.

And another, far from comedic, memory is associated not with the filming, but with watching the finished film. We presented it to the commission and looked more, of course, not at the screen, but at its members. They had stone faces! We had a feeling of complete failure. But then there was another screening - at the House of Cinema. There the audience laughed from the first to the last frame. Honestly, the reaction of the commission is still incomprehensible to me to this day, but I remembered the horror it caused in my soul.

The premiere of "Kidnapping, Caucasian Style" took place in Moscow on April 1, 1967. The film's success was resounding. All-Union fame came to Varley. From that moment on, she was literally not given passage by excited admirers of her talent. Natalya Varley conquered the hearts of the audience with her beauty and charm. The whole country sang Nina's song about white bears, the "athlete, Komsomol member, and beauty." Varley wrote letters, confessed her love.

When she came to Gorky with the circus on tour, a large crowd gathered near the building where the performances were held, wanting to get an autograph from the young star. This crowd stood at the circus for three days, growing in size every day. In the end, our heroine had to be urgently taken out of the circus through the back door and taken away from this place. In another city, the actress was settled on the second floor of the hotel, and every evening fans climbed onto her balcony, persistently offering her their hand and heart.

It is worth noting that, despite such a huge success of the film "Kidnapping, Caucasian Style", Varley herself received a prize for it, first 200 rubles, plus another 100 when the success was repeated.

Natalya herself says about this film: "Among the 60 films in which I starred, for the audience my main film remains "Kidnapping, Caucasian Style." This is a special film. Special. It is repeated again and again, and each time it is watched... Everything was memorable on the set of "Kidnapping, Caucasian Style"... there was more difficult than fun. My life would have developed quite differently if it were not for "Kidnapping, Caucasian Style." It changed my destiny, turned my whole biography upside down. I was not going to go to a theater school before this film."



Changes in Fate

The success of "Kidnapping, Caucasian Style" drastically changed Natalya Varley's fate. She left the circus and entered the B. V. Shchukin Theater School.

Another event in the actress's life was her marriage. At the end of 1969, she married her classmate Vladimir Tikhonov, the son of the world-famous actors Nonna Mordyukova and Vyacheslav Tikhonov. Despite the fact that their paths diverged in the future, Varley only tells good things about her first husband. Here is how she describes the story of her marriage: "Volodya fell in love with me when he saw "Kidnapping, Caucasian Style." He was young, strong, and sturdy. We had joint graduation performances, I played Snegurochka, he - Mezgir. He was a very capable person, with excellent external data, kind at heart. Volodya slept in the attic for four years to see me passing by. But when we got married, he became jealous of me of every lamppost. There were people who told him: "I was with her." And we sorted things out every other day!"

It should be noted that somewhere in the last year of "Shchuka", a person appeared in Varley's life who could well have provided her with a comfortable future far beyond her homeland. However, they broke up.

N. Varley recalls: "Students from theater universities came to our school from Belgium. This company was headed by Lucien Harmegin, the son of the Belgian Minister of Defense. We all became friends. Then, when they returned home, I began to receive letters from Lucien. He invited me to visit Belgium, invited me to his villa in Nice. And so that nothing bad would come to my mind, he offered to take a girlfriend with me. In general, he fell in love and really wanted to marry me. But I had completely different plans then. If he had appeared in my life earlier than Volodya, perhaps everything would have turned out differently."

Roles of the 60s

At the end of October 1967, the premiere of another film took place, in which Varley played the main role. It is about the film by K. Ershov and G. Kropachev "Viy". It is safe to say that this was the first horror film in our domestic cinema. Varley played the role of Pannochka in it.

The actress recalls: "On the set of this film, I was often scared. For example, when I fell out of the coffin. The coffin was tied to the boom of the crane with a long rope and rushed in a circle at high speed. At some point, I lost my balance and fell, flying head first. I didn't even have time to group myself. Lenya Kuravlev caught me. He showed, one might say, wonders of circus partnership. Nothing happened to me, but a rumor spread across the country that I had died…

In general, only much later I realized what a terrible sin it was to star in the film "Viy"... A train of misfortunes followed him. It seemed that everything in life began to collapse. Betrayals, infidelities, breakups, slander, and then the death of her husband, although already former."

In addition to the film "Viy", Varley also starred in the films "Seven Brides of Corporal Zbruev", "12 Chairs", and others in the late 60s. In Gaidai's comedy "Twelve Chairs", she played Lisa, for the role of which actress Natalya Gurzo also auditioned. Natalya Varley says: "At first, I auditioned for the role of Ellochka the Cannibal. But then Leonid Iovich asked me to try on a light wig - and immediately saw Lisa in me. I agreed. This role was not so eccentric, but more soulful."



Theater

After graduating from theater school in 1971, Varley joined the troupe of the Stanislavsky Theater. In the theater, her first major role was Rose-Marie Fay in the play by N. Pogodin "Albert Einstein." Then she got two more main roles, but she could not play them then for a completely prosaic reason: she became pregnant. Soon, a son was born, who was named Vasily. However, by that time the young family was already falling apart: Vladimir Tikhonov began to abuse strong drinks more and more often, and scandals constantly occurred in the house on this basis. And in 1971, Varley decided to get a divorce. In 1990, Vladimir Tikhonov died of acute heart failure due to abuse.

In 1972, a month after the birth of the child, Varley returned to the theater stage. It was very difficult, as I had to divide myself between home and theater. When Vasily turned three years old, she began taking him with her on tour around the country. Why couldn't the child be left in the care of his parents? The fact is that the actress's parents were seriously ill during that period, and the parents from the child's father's side - V. Tikhonov and N. Mordyukova - were busy with their own problems (Tikhonov had a daughter Anya born a year before Vasya).



Varley's return to the theater was difficult. She recalls: "The first role was an introduction to the play in two rehearsals. I was a little out of shape, terribly self-conscious. My parents were sitting in the hall, there was a lot of text. And in the first emotional scene, I suddenly felt that I was "short-circuited" from excitement and I couldn't remember a single word! A cold sweat broke out on me. In the circus, when excitement choked me - and I'm a crazy coward, I'm afraid of heights - my colleagues stood in the aisles, who supported me internally, and I calmed down. And here I turned to the wings and saw the eyes of the actors, who rejoiced at my failure. They all knew the text perfectly. I looked into the other wing - the same thing. In the look of my partner, there was a sneering: "Well, little star?" It all lasted a minute. I looked him in the eyes: "Borya, I forgot the text..." He suggested one word, I clung to that word and out of anger I remembered everything. I realized that no one in the theater will support you, as in the circus. Although there, too, they cut ropes out of envy, people died... But this is rare, by and large in the circus there is a sense of camaraderie..."

During Varley's work in this theater, four main directors changed, and her position in it was either stable or shaky. There were always envious people. Once Varley came from abroad and brought a beautiful blouse from there. On the first day, she wore it to the theater, but when she returned to the dressing room after the performance, she saw that a huge hole had been burned in the blouse by one of her colleagues.

In another case, she was supposed to play the role of Natalie in "The Past and Thoughts." Director Sandro Tovstonogov promised that the play would be performed in one cast and, if one of the actors got sick, the play would be canceled. However, it had to happen that shortly before the premiere, Varley ended up in the hospital. And intrigues immediately flared up around this role, in the end, another actress got it. The director no longer remembered his promise.



Second Child

As mentioned above, Varley started writing poetry at the age of four. She did not abandon this activity in her more mature years and eventually decided to get a fourth diploma to her three: in the early 80s she entered the Literary Institute (because of this she even left the theater stage). In 1986, when she was in her second year, she gave birth to her second child, who was named Alexander. Who the father is remains a mystery.

Natalya Varley recalls the birth of the child: "I was studying at the Literary Institute then. I was pregnant. I remember printing a test paper on the history of the CPSU (it turns out that at the end of pregnancy you can not type on a typewriter because of harmful vibrations). Premature labor began. The child did not cry immediately after birth. If it were not for the children's doctor Alexei Vladimirovich Grachev, who happened to be nearby, I would have lost my son. Later, this doctor went to a theological seminary, became a minister of the church and our family confessor. And the avalanche of misfortunes and troubles in our family subsided only after we were baptized in the church and began to try to live according to God's commandments."

Other Works in Cinema

In the 70s - 80s, Varley starred a lot, but most of these films did not go beyond the average. The most successful among them were the films: "Big Attraction", "My Dad is an Idealist", "I Don't Want to Be an Adult."

Since the mid-90s, Natalya Varley has practically stopped acting in films. The actress explains this by the fact that she is not offered suitable roles: "Recently I read a script in which I was assigned the role of a woman giving birth in an elevator. Or a script in which I don't have to get out of bed. I'm not a prude, but I still belong to the actors of the old school."

The last notable work of Natalya Varley in cinema in the 90s was the film "The Wizard of the Emerald City" (1994), where she played two witches at once: Gingema and Bastinda.



Poet

In 1994, Natalya Varley graduated from the poetry faculty of the Literary Institute. She writes poetry, together with composer Nikolai Shershen released two author's giant song discs - "At the Highest Point of Unity" and "Don't Die, Love!" and two CDs "Living Water" (1996) and "Don't Break in Me, String" (1999). Discs with songs by Natalya Vladimirovna, according to her, are sold willingly. And, judging by the number of spectators coming to her creative meetings, even despite the long absence on the screen, the actress remains one of the most famous in Russia.

Television

In order not to sit idle, Varley agreed to dub numerous series that flooded Russian television from the mid-90s. Natalya Varley: "I voiced and dubbed about 2000 roles. When I was working on "Wild Rose", where I voiced Veronica Castro, people came up to me on the street and thanked me. Well, when they say: "Thank you for "Kidnapping, Caucasian Style", I'm not surprised. And here - "Wild Rose"! Well, it's nice: it means that I was able to enter the image, merge with it."

Natalya Varley still practically does not act in films: "I do not fit into the "new" cinema, which has forgotten about spirituality. I'm tired of refusing scripts that don't warm the soul. There is a moral support that no one has canceled. Permissiveness is from the evil one. I have the strength and courage to refuse waste paper: neither in "Strawberry" nor in other series, thank God, I do not star."

Disappointed in modern cinema, Natalya Varley became the TV presenter of the program "Household Chores". Here is how the program was born from the words of the actress herself: "Something similar was already offered to me by Andrei Razbash. That project was called "Kitchen", and "Knorr" was ready to act as its sponsor. Then I refused, stating that I do not act in advertising. But with ATV we made a program to some extent acting, where I am allowed to improvise and take some part of the preparation of the script on myself. We are written to from all ends of our still vast country. The letters are different - both with recipes, and with thanks, and indignant: how, they say, are you not ashamed to talk about pineapples in deep fat, when people in the regions are starving?! But we have amazing people who know how to cook a variety of lunches from what grows in their gardens.



Personal life

Natalya Varley likes to decorate the house with all sorts of trinkets. As she admits: "I have accumulated an incredible number of things - Khokhloma, ceramics, Zhostovo trays, carvings. And I felt that things began to displace me! Now I just give them away."

Legends are told about her cats - the actress has nine of them. "They are family members for me! All of them - Salary, Pension, twins Bondik and Pondik, etc. - relatives, unhanded kittens. Except for Kiski, whom fans threw to my neighbor, the Nanai Volodya Asimov. My mother could not reconcile herself with the fact that I had so many cats for a long time. But once, when she became ill with her heart, they literally plastered her and - it became easier. Since then, she treats them with respect. When my joints, spine (memory of injuries in the circus) begin to hurt, they begin to murmur, "sing" and knead me. Soon I begin to feel that strength is returning and the pain stops. So cats are the strongest home healers."

The eldest son Vasily graduated from the Institute of Modern Arts, in 1995 he had a son Zhenya. The youngest son Sasha is now studying at the University of Humanities at the Faculty of Journalism.

Recently, Natalya got married again: "Volodya appeared in my life. This is my young husband - we were married on the eve of Maslenitsa. What to say about him? Thank God, he is not an actor. We are newlyweds, and I don't want to talk much about this yet, although I'm not superstitious."

Natalya Varley still looks great today. As they say - the "Caucasian prisoner" is always twenty-five years old. She has no special secret of beauty: "I am too lazy to regularly exercise, sometimes I start running along the boulevard, then - swimming... I do not adhere to any system in nutrition. I eat what I want, what my eye "falls" on. But I always observe the posts strictly. And age, I think, is, first of all, the state of mind."

Anastasia Vertinskaya



Childhood

Anastasia Vertinskaya (born 12/19/1944, Moscow) is a representative of the glorious artistic dynasty of the Vertinskys. Her father, Vertinsky Alexander Nikolaevich (1889-1957), is a great Russian chanson singer, composer, poet, film actor, one of the founders of the domestic genre of author's song. Mother - Vertinskaya (Tsirgava) Lydia Vladimirovna, artist and actress.

Anastasia Vertinskaya's older sister - Marianna Alexandrovna Vertinskaya (1943) - is an actress of the Yevgeny Vakhtangov State Academic Theater.

The Vertinskys sought to give their daughters the best possible education, paying special attention to music lessons and the study of foreign languages. Anastasia Vertinskaya recalls her father: "He tried to develop us comprehensively: he taught us to love literature, art, music, he believed that regardless of who his daughters become in adult life, they must be comprehensively educated."



Once, waking up and deciding that they were raising children in the wrong way, "not in the Soviet way," the Vertinskys sent Nastya and Marianna to a pioneer camp. They collected two leather German suitcases, put warm clothes and all sorts of products there and sent their daughters to where they should have been made real Soviet citizens. "Oh, it was an experience, really! I don't remember anything about this camp, except for a wild feeling of hunger," Anastasia recalls. When they returned home, they had one fiber suitcase for two, in which there was a washed-out T-shirt with "Kolya K." embroidered on it and satin shorts with the inscription "4 squad". With wild swearing on all the letters of the alphabet, scratching their lousy hair until it bled, the sisters burst into the apartment. Without greeting their parents, they rushed to the kitchen and began to eat cutlets with their hands, continuing to swear. The stunned father stood for a long time in the hallway, and then in confusion went to his office. After futile attempts to get rid of lice, the girls were shaved bald, and then sent to a resort - to relax after the camp.

First Roles in Cinema

In 1961, while still a schoolgirl, Anastasia made her film debut, playing the main role of Assol in Alexander Ptushko's film "Scarlet Sails" based on the novel of the same name by Alexander Green, where many real and future stars of Soviet cinema were also involved, including Vasily Lanovoy, Ivan Pereverzev, Sergei Martinson, Oleg Anofriev. An extraordinary appearance, sincerity in performance helped the young actress win the sympathy of the audience.

However, Assol speaks in the film in the voice of actress Nina Gulyaeva. "Nastya was 15 years old, and she could not professionally voice her character," says Nina Gulyaeva. "Therefore, the director invited me to voice her."

Anastasia Vertinskaya herself reluctantly recalls her Assol, and says that later, becoming a famous actress, she hated her first role: "I didn't really know what to do in front of the camera, how to move and what to say."



The second role she played brought even greater fame - Vertinskaya played Guttiere in the fantastic film by Gennady Kazansky and Vladimir Chebotarev "Amphibian Man", based on the book by Alexander Belyaev.

In 1962, Vertinskaya at the age of eighteen was accepted into the troupe of the Moscow Pushkin Theater. The young actress toured a lot, as part of acting brigades traveled all over the country.



Roles of World Scale

The young Anastasia Vertinskaya was already at the crest of success and in the rays of audience love when fate presented her with a meeting with the Danish Prince - Innokenty Smoktunovsky. She, an eighteen-year-old unprofessional actress, was invited by director Grigory Kozintsev to play the role of Ophelia in the film adaptation of Shakespeare's "Hamlet", a role in the world repertoire. It was difficult to expect a deep immersion in the image from an unprofessional and, naturally, inexperienced artist, but Vertinskaya coped, she was helped to penetrate the image by the genius music of Shostakovich.

A year after the production of "Hamlet", Kozintsev will write in the introductory lecture "On Directing": "She had real eighteen years, magnificent external data very suitable for the Shakespearean image - fragility, purity, an appearance similar to portraits of the early Renaissance. But her spiritual content, to put it mildly, was not so great. Maybe she will suffer in life and her spiritual being will develop, but then, when I started working with her, it was tiny, and the image had to be sculpted. Everything was fine: both hands, and neck, and gait, but the heart did not beat. Shostakovich made the heart beat. That's how it happens."

Vertinskaya herself said then: "They say that to play such a role is to die. And if you are only nineteen years old, and you need to live, you need to work and prove every day with work that the "miracle" was not a miracle, that you can become an actress?"

Ophelia became a milestone role for Anastasia Vertinskaya. She realized for the first time that she wanted to become an actress. G. Kozintsev, the presence of I.M. Smoktunovsky, Shakespeare, the atmosphere, the approach to the material - everything merged into a profession that is not only a craft, but also a mystery.



After "Hamlet", Vertinskaya becomes one of the most sought-after actresses. Being a student at the B.V. Shchukin Theater School, she was invited to play the role of Lisa Bolkonskaya in Sergei Bondarchuk's film epic "War and Peace" (1966-1967). "Director Sergei Bondarchuk offered a bold and unexpected interpretation of the image, in which the "little princess" became a tragic figure," A.Vertinskaya recalls. - A short-sighted, unintelligent, limited woman. Charming, pretty, cozy. Perhaps, if she had stayed alive, we would not have loved her. After all, she was the wife of Prince Andrei, but what is she next to him?.. I think their paths would still have diverged, they were too different. But Lisa died. And in the soul of Prince Andrei for the rest of his life remained this silent tragic question: "Why? What for? Why did the person die?" It seems to me that Tolstoy warns here against that fatal mistake that we sometimes make, not noticing the love of our neighbor. While filming in "War and Peace", I realized that it is possible, without playing a tragedy, to create an image of tragic sound."



Marriage

In 1966, Vertinskaya married Nikita Sergeevich Mikhalkov, later an outstanding actor and film director. In the same year, their son Stepan was born. Their marriage lasted less than four years. Anastasia was already famous by that time, and Nikita had starred in his first films. There was a whirlwind of fans around them, and Nikita had already developed a certain formula for a wife: she should sit in the estate, that is, at the dacha, give birth to children, cook jam and wait for her husband. Anastasia theoretically agreed with this formula, but she herself, alas, did not fit it. Having parted with Nikita, she retained respect for him, never said a bad word about her father to her son. Subsequently, Anastasia married a second time - to the singer Alexander Gradsky. But this marriage suffered the same fate. This experience intensified the actress's dislike of marriage, and she never married again.



Princess Kitty

In 1967 Anastasia Vertinskaya graduated from the B. V. Shchukin Theater School.

Following "War and Peace", Vertinskaya starred as Kitty Shcherbatskaya in another film adaptation of Leo Tolstoy's "Anna Karenina" (1968). She was charming in the scenes of pregnancy of Tolstoy's heroines. Her little princess Kitty carried in herself the mystery before which the great writer bowed. Having played roles in film adaptations of the pinnacles of world classical literature at such a young age, Vertinskaya achieved extraordinary popularity.

Theater

Since 1968, Anastasia Vertinskaya has been an actress of the leading Moscow theaters: the Pushkin Theater, the Yevgeny Vakhtangov Theater, Sovremennik, later she played in the Theater of Drama and Comedy on Taganka, the Moscow Art Theater (1980-1989).

"Cinema did not give the necessary confidence," says Vertinskaya, "I must admit, I matured very slowly. And only after moving from "Sovremennik" to the Moscow Art Theater, I found myself at the necessary and adequate level of professionalism."

Among her works in the theater are Nina Zarechnaya ("The Seagull" by A.P. Chekhov), Elena Andreevna ("Uncle Vanya" by A.P. Chekhov), Liza ("The Living Corpse" by L.N. Tolstoy), Elmira ("Tartuffe" by Moliere), Dottie ("A Fine Sunday for a Picnic" by T. Williams), as well as leading roles in the plays "Peace We Only Dream Of", "Twelfth Night", "Valentine and Valentina". In a unique theatrical experiment by Anatoly Efros - the production of "The Tempest" by W. Shakespeare, Anastasia Vertinskaya played two roles at once - Prospero and Ariel.



Both on the screen and on the stage, Anastasia Vertinskaya embodies the images of literary heroines from works of various forms and genres, composed by writers of various eras and directions. She is an actress of refined psychological depth and, according to the outstanding director Anatoly Efros, "so physically natural and has such an exquisite acting grace that it seems incredible at times."

In 1989, Russian viewers were able to see her extraordinary performance of the role of her father in the play "Mirage, or The Road of the Russian Pierrot", conceived and staged by herself, dedicated to the 100th anniversary of Alexander Vertinsky. The play was written by Anastasia Vertinskaya based on her father's memoirs.

Popular Actress

Simultaneously with her work in the theater, Anastasia Vertinskaya continues to act a lot. After "Anna Karenina" came the films: "Lovers" (1969), "Don't Grieve!" (directed by G. Danelia, based on the novel by the French writer Claude Tillier "My Uncle Benjamin", 1969), "An Incident with Polynin" (based on the story by K. Simonov, 1971), "Premature Man" (directed by A. Room, based on the unfinished story by M. Gorky "Yakov Bogomolov"), "A Man in His Place"... Almost simultaneously with the work in the film based on the story by M. Gorky, Anastasia Vertinskaya starred in the film based on the fairy tale by Schwartz "Shadow". In 1978, Mikhail Kozakov shot a television film "Nameless Star" based on the play of the same name by the Romanian writer Mikhail Sebastian with Anastasia Vertinskaya in the main role. The role of Mona was organic for Vertinskaya, and therefore successful, which the actress always remembers with tenderness.



In 1979, director Georgy Yungvald-Khilkevich invited Anastasia Vertinskaya to voice the role of Constance