Queen of the episode. Faina Georgievna Ranevskaya
“Talent is insecurity and painful discontent with oneself and one’s own shortcomings, which I have never met with mediocrity.”
F.G. Ranevskaya.
F.G. Ranevskaya.
The real surname of Faina Georgievna is Feldman. Born great actress 27 August 1896 in the city of Taganrog. Her father, Hirshi Khaimovich, was a wealthy merchant, owner of a dry paint shop and factory, had several houses, as well as the steamer “Saint Nicholas”. All this ensured the family a comfortable existence. The Feldman family had five children: two girls (the youngest Faina and the elder Isabella) and three boys. Faina's younger brother, Lazarus, died when she was five years old.
In the parental home, the future actress felt lost and lonely. In part, this was due to the fact that she stuttered, in part from her heightened vulnerability and difficult relationship with her father. It is known that Girshi Khaymovich spoke about his child: “Fanechka is far from beautiful, and besides, he stutters. Poor child.
In 1904, parents sent their youngest daughter to the famous Mariinsky gymnasium for girls. The young schoolgirl studied poorly, the most difficult thing was Faina Feldman who was given arithmetic. Having hardly finished junior classes, she began to ask her father to allow her home schooling. Her further education was typical of the children of wealthy families of that time — the main emphasis was on singing, music, and foreign languages. However, since childhood, the future actress loved to read, and at the age of fourteen she became fascinated with theater. Faina attended all the city performances, the performance of Chekhov's play The Cherry Orchard staged by Stanislavsky had the greatest impression on her. It is curious that the pseudonym itself Faina Georgievna later chose the name of one of the heroines of the play.
Soon the young girl had already decided to become an actress. To this end, she became engaged in a private theater studio. Its main goal was to overcome stuttering. Also in the classroom Faina Georgievna studied stage speech, learned to move correctly. Her parents, Hirshi Khaymovich and Milka Rafailovna, were condescending towards her daughter's passion, but only until she announced that she seriously wanted to become a professional actress. A major scandal broke out in the house. However, Faina Georgievna was adamant in her decision, and in 1915, one went to Moscow to continue studying acting.
So just a girl's dreams come true was not destined. None of the metropolitan theater schools she was accepted "by incapacity". Then Faina Georgievna began to visit a private institution. Money to pay sorely lacked, and Ranevskaya had to leave this attempt to become an actress. In a difficult moment, she met Yekaterina Geltser. The meeting took place at the columns of the Bolshoi Theater, where many fans of the famous ballerina gathered in anticipation of their idol. Smiling, Ekaterina Vasilyevna asked: “Who is the most cold here?”. The most frozen was Faina Georgievna. Subsequently, Geltser introduced her to many of her friends - famous art and culture figures of that era, among whom were: Vladimir Mayakovsky, Osip Mandelstam, Marina Tsvetaeva. Together they went to the Moscow Art Theater for performances, Ekaterina Vasilyevna helped Ranevskaya get settled into the Summer Theater extras in the village of Malakhovka, located ten kilometers from Moscow. For Faina Georgievna it was a great happiness to be close to the most popular actors: Marius Petipa, Olga Sadovskaya, Illarion Pevtsov. By the way, it was Illarion Nikolayevich who first predicted that Ranevskaya would become an outstanding actress.
In the 1916 year after the end of the theatrical season, Faina Georgievna was left without work. So began her wanderings in various provincial theaters. Ranevskaya visited Kerch, Feodosiya, Kislovodsk and Rostov-on-Don. Mother secretly sent money to her daughter from her father. And in 1917, a wealthy Jewish Feldman family was forced to flee from a revolution that did not promise anything good for it. They decided to emigrate on their own boat. Together with his parents, their son Jacob set off (the second son Rudolph served as a white officer and died during the Civil War), but the younger daughter categorically refused to go abroad - Ranevskaya was intolerable parting with her beloved homeland. She wrote about the moment of separation: “Mom cried, I did too, but I couldn’t change my decisions. I was scared and painfully hurt, but I was stubborn as a telegraph pole. And finally, I was left alone without any means of livelihood. ” Years later, the actress spoke about the reasons for her stubbornness: “She stayed for two reasons: she couldn’t imagine her life without a theater, and Russian theater was the best in the world. But this is not the main thing. How can you leave the land where Pushkin is buried, where every breath of the breeze is filled with the talent and suffering of your ancestors! ”
In 1918, in Rostov-on-Don, Faina Georgievna met Pavel Wulf, a woman who became her faithful friend and mentor for the rest of her life. In those years, Pavel Leontievna was already a renowned provincial actress. She recalled how once after the performance a “red, inconsistent girl” burst into her dressing room, immediately beginning to show her admiration and ask to help her become an actress. Irritated by the behavior of a stranger, Wulf recommended her to learn any role of her choice from the proposed play. Ranevskaya preferred Italian character.
In order to avoid failure and knowing full well that this is her only chance, Faina Georgievna sought out an Italian baker in the city and diligently rehearsed with him for more than a week. When she spoke to Wulf, she quickly realized that she had met a real talent. At that time, her troupe went to the Crimea, and there was no way to arrange Ranevskaya. And then Pavel Leontievna made the only possible decision - she took the girl to her place. Since then, Faina Georgievna was both her student and a full member of the family. Ranevskaya said: “I would not become an actress without her support. She taught me to be human. She taught to work, work and work .... No gatherings with anecdotes, wine and fornication, no nightly meetings with the actor's brotherhood ... She took the museums to see what created the meaning of life for me. She forbade simply to read books, she gave the best in world literature to taste. ” Becoming known, Faina Georgievna did not tolerate comments from anyone except Wolf, and only trusted her fully. Ranevskaya adored Alexei Shcheglov - grandson of Pavla Leontievna - and affectionately called him “ersatz grandson”. Paul Wolfe died in 1961 in the hands of Ranevskaya, for whom her death was a great shock - she even quit smoking, although she could not do fifty years of her life without a cigarette.
The terrible years of the Civil War found Faina Georgievna in the Crimea. The power here was constantly changing, Crimea shifted from white to red, from Makhnovists to green, and it was impossible to guess what would happen tomorrow. Memories of those hard days, hunger and endless massacres pursued the actress all his life. In many respects because of this, she subsequently could not finish her memoirs in any way, eventually breaking off all the notebooks with the notes. The truth was too scary, but she did not want to lie. Faina Georgievna told: “There was hell in the Crimea. We went to the theater, tried not to attack the dead. They lived in the monastery cell, the monastery itself was empty - from hunger, from cholera, from typhus. ”
The family of Pavla Woolf managed to survive in these years thanks in large part to the help of the remarkable Russian playwright Maximilian Voloshin. He came to them in the morning with a small backpack on his back. There he laid bread, small fish and castor oil, in which the fish and fried. Warm memories of Voloshin Ranevskaya carried through his life: “I did not come across people of his mind, his knowledge, some kind of unearthly kindness. He had a guilty smile, as if he always wanted to help someone. In his full body there was a kindest soul, a most tender heart. ”
At this time in the creative career of Ranevskaya there were some changes. Through the efforts of Pavla Leontievna she was accepted into the Theater of the actor, directed by Pavel Rudin. Faina Georgievna's debut was the role of Margarita Cavallini in the play “Roman”. Then she played in the performances of “Guilty without guilt”, “Last victim”, “Thunderstorm”. One of the best was her performance as Charlotte in The Cherry Orchard. In 1925, Ranevskaya and Wolf were accepted into the mobile Theater of the Moscow Department of Public Education. Unfortunately, this work was not long - the theater was closed, and the girls had to return to the province again. The troupes changed again, they worked in the theaters of Baku, Smolensk, Stalingrad and Arkhangelsk. Their wanderings continued until Ranevskaya sent a letter to Alexander Tairov, the director of the Chamber Theater in Moscow. She became an actress of this theater in 1931, it was then that the “Moscow” period of her life began, as well as her cinematic career.
The film debut of Ranevskaya took place in 1934 year in the movie “Pyshka” by Mikhail Romm, based on the Maupassant story. In the future, Romm, then just starting his career, became the favorite director of the actress. She wrote: “I have never met such a benevolent director teacher. His tips, tips were necessary and accurate. I have forever retained my gratitude to Mikhail Ilyich for the help that he gave me in the work on the role ... ”. Faina Georgievna got the role of Mrs. Loiseau, and played her superbly. The popular writer Romain Rolland, who came to the Soviet Union, saw the film, was delighted with it, and among the actors, it was Ranevskaya who first of all singled out. He asked to show the film in France, and there “The Donut” was also a huge success. By the way, the picture was mute, however, in order to feel its role, Ranevskaya learned all the phrases of her heroine in the original language. The shooting conditions were also harsh - the temperature in the pavilions was like in the freezers, Faina Georgievna suffered from the hustle and hustle that was unusual for her and the noise of the constantly emerging disorder. At the end of the filming, Ranevskaya made the decision to never again appear in the cinema, however, fortunately for the audience, she did not keep her promise.
In her youth, Faina Georgievna was an avid fan of actor Vasily Kachalova. Soon after she met this talented actor, they became good friends. Aware of her desire to get a job at the Art Theater, Kachalov organized a meeting with its founder, Vladimir Nemirovich-Danchenko, in Ranevskaya. Before the long-awaited conversation, the actress was very worried. After Vladimir Ivanovich told Ranevskaya that she was thinking about including her in the theater troupe, Faina Georgievna jumped up from her chair and rushed to thank the master. Agitated news she confused his name and patronymic: "Dear Vasily Stepanovich, I am so touched." Already realizing that something was wrong, Ranevskaya burst into tears and, without saying goodbye, ran out of the office. Kachalov, having learned about the incident, went to Nemirovich-Danchenko, asking him to accept the actress again. But the director answered Vasily Ivanovich: “No, and do not ask. She, excuse me, is not normal. I fear her.
In 1935, due to the lack of roles, Faina Georgievna left the troupe of the Chamber Theater and moved to the Central Theater of the Red Army. Here she happened to play the main character of Gorky’s play “Vassa Zheleznova”, then Oksana in “The Death of a Squadron” based on the play by Korneychuk and the matchmaker in the performance “The Last Victim” after Ostrovsky. And in 1937, Ranevskaya was awarded the title of Honored Artist of the USSR. In 1939, she received an offer from the Maly Theater. They did not want to let her go from the old place, but for Faina Georgievna it was a great honor to perform on the stage where Yermolova herself once played. With the scandal she left the theater of the Red Army, however, as it soon became clear, the elders of the Maly theater opposed the arrival of the new actress, and Ranevskaya was left without work.
Fortunately, at that time she was in demand in the movies. Faina Georgievna immediately appeared in three films: “The Man in the Case”, “The Error of the Engineer Cochin” and “The Foundling”. The role of the self-confident lady from the last film presented Ranevskaya with national love. For Tatiana Lukashevich’s comedy, the actress herself came up with a number of phrases. One: “Mule, do not make me nervous!” - then pursued her all her life. Many people, meeting Faina Georgievna, jokingly said words to her, which, in theory, were intended for the henpecked husband, and not the heroine of Ranevskaya herself. This irritated the actress, who later hated the role that brought her popularity. Exists storythat in 1976, Leonid Brezhnev, handing Faina Georgievna the Order of Lenin, instead of greeting, cried out: “Mule, do not irritate me!”. Ranevskaya instantly responded: "Leonid Ilyich, either hooligans or boys address me like that." Embarrassed, the secretary general only said: "Sorry, I love you very much."
In her youth, Sergei Eisenstein gave Ranevskaya one piece of advice, which later played a huge role in her life. The famous director said: “You will die, Faina, if you do not find a way to demand attention to yourself, to force others to obey your will. You will be lost, and the actress will not leave you! ". Ranevskaya learned these words well, - Eisenstein himself after a few years was convinced of this. The director wanted to make Faina Georgievna in his film “Ivan the Terrible”. However, the actress didn’t pass the screen tests, the Minister of Cinematography Ivan Bolshakov said: “The Semitic features of Ranevskaya’s face show up very clearly, especially on large plans.” When she learned that the role she was preparing for with enthusiasm, she did not get it, Faina Georgievna got angry and said: “I’d rather sell skin from ... than with Eisenstein”. When the director found out about the words of the actress, he immediately sent her an enthusiastic telegram: “So how is the sale going?”. It is curious that, in the end, the role of Ranevskaya in the film was performed by actress Serafima Birman, also the owner of Jewish roots. It is possible that it was not at all the nationality that caused Ranevskaya’s refusal, but completely different motives that remained unknown. Be that as it may, the leaders of the Soviet people highly appreciated the game of Faina Georgievna. Joseph Vissarionovich said: “A good actor, Comrade Zharov, glues sideburns, mustaches, fastens beards, but you can still see immediately - this is Zharov. But Ranevskaya does not stick anything to herself, and she’s always different. ”
In 1940, Mikhail Romm invited Ranevskaya to play in another film - the drama “Dream”. Faina Georgievna succeeded in brilliantly playing Madame Rosa Skorokhod, the mean owner of the furnished rooms, who, however, were not alien to compassion and pity. At the very beginning of the war, Faina Georgievna, along with the entire family of Wulf, was evacuated to Tashkent. There she was up to 1943. During the evacuation, the actress met Anna Akhmatova. They became friends, for the responsiveness and wisdom of Ranevskaya called the famous poetess "Rabenka" or "Raba". Their perception of the world was in many ways similar, and two other women were united by passionate love for Alexander Pushkin. The close relationship between the great poetess and the great actress continued after the war. When Faina Georgievna came to Leningrad, she was sure to visit Anna Andreyevna outside the city. After the death of the last, Ranevskaya said: “They ask me why I don’t write anything about Akhmatova, we were friends ... I answer - I don’t write because I love her very much.”
Returning to the 1943 year from evacuation, Ranevskaya settled in the Drama Theater. This was followed by several film roles, among which was the Mummy from “The Wedding”. By filming the film, the director Annensky managed to collect on one platform the best actors of the time: Mikhail Pugovkin, Alexey Gribov, Sergey Martinson, Vera Maretskaya and many others. The film wittily mocked the human vices, showed the negative aspects of petty-bourgeois life. Images taken from life were loved by the audience, many phrases “Weddings” became winged. However, Faina Georgievna herself reacted critically to this work, she considered that the director had too much altered Chekhov's prose, and the talented actors could not show everything that they were capable of.
In 1947, the comedy Spring came out with the inimitable Love Orlova and Nikolai Cherkasov. The tiny episode, relegated to the heroine of Ranevskaya, the actress composed herself - the film director Grigory Alexandrov allowed her to create a role for herself. Together with Rostislav Plyatt, she introduced into the film entertaining comedic phrases, and as a result, the couple remembered even more than the main actors. At the same time, Faina Georgievna appeared in the role of Stepmother in the famous fairy tale “Cinderella”. Screenwriter Eugene Schwartz, extremely painful to any extra word, also allowed her to think out the lyrics herself. The negative character in its performance came out so charming and believable that for more than half a century, the audience of different generations has been happy. Soviet writer Gleb Skorokhodov wrote: “In Stephen Ranevskaya’s stepmother, in spite of luxurious medieval clothes, people recognized a colleague, a neighbor, a squabbler, just a friend, who introduced the regime of his own dictatorship to the family.” By the way, this work was one of the few with which Ranevskaya was truly pleased. In the same year, the actress received the Order of the Badge of Honor and the title of People's Artist of the RSFSR.
During her life, Ranevskaya changed many theaters and always for various reasons. She said: "I happened to live with many theaters, but never received pleasure." Not a single theater ever gave her the role she had been waiting for all her life. Being at the age of Faina Georgievna often repeated: “I only have 45 minutes to live. When will I finally be given an interesting role? ” One day she was offered to play a small role of an elderly actress in the play “Dinner in Senlis” by Jean Anui. Ranevskaya expressed her opinion to Marina Neyolova: “Imagine that a hungling person is offered monopansie. Did you understand me?".
In 1949, Faina Georgievna moved from the Drama Theater to the Moscow Council Theater. At that time, there were mostly boring performances dedicated to the days of the Soviet holidays. With great difficulty, they persuaded her to play the old woman in "Dawn over Moscow." Ranevskaya turned the role into a “kapustnik”, each of her entering the stage was broken by a hail of applause. Even more amazing was her appearance in the play "Storm", set in 1954 year. From the insignificant role of Manya-speculators, Faina Georgievna created a masterpiece. The secret of success lay in two points: Ranevskaya independently invented the entire text and very accurately conveyed this grotesque image. Her character was the brightest in the whole performance, many viewers came to him only for the sake of Ranevskaya. Some of them left the auditorium immediately after the scene with the participation of the great actress, which infuriated the director of the Zavadsky Theater, who later succeeded in excluding her character from the play. Of course, this, in turn, did not suit Faina Georgievna, and therefore in 1955, she switched to the old Chamber Theater, which had changed its name to Pushkin Theater by that time. Here she began her “capital” career many years ago, but by that time there was not a trace of the old order. After working there for eight years, Ranevskaya returned to the unloved Zavadsky.
There are many stories about the complicated relationship of Ranevskaya and the chief director of the Theater of the Moscow Soviet. The actress considered him a talented, overly fussy person. The director, knowing this, also tried in every way to annoy her. Once he from the hall shouted to her: “Faina, you have devoured all my plans with your antics”. The actress retorted: “That’s what I feel like I ate on ...”. Zavadsky, struck by her audacity, threw out: “Get out of the theater,” to which Ranevskaya, approaching the front stage, replied: “Get out of art.” According to some data, the theater “pushed” not only her, but also the whole troupe, Lyubov Orlova. Preference was given to Vera Maretskaya, a wife of Yuri Zavadsky. Already at the end of her life, Orlova wrote to Faina Georgievna: “We behaved incorrectly. We had to make trouble, yell, complain to the Ministry ... But our character is not the same. Does not allow dignity. Nevertheless, Zavadsky for a long time remained the object of the barbs of Ranevskaya. She called him a "marazmatic trickler", "Meyerhold discounted", "perpetuum Kabbalah", with a sad face, remarked: "The family is not without a director." Her record was preserved: “I would have beaten the hackers with gusto, but I endure it. I tolerate lies, endure ignorance, endure a wretched existence, endure and will endure to the end of life. I tolerate even Zavadsky. ”
In 1960, the actress played a major role in the movie “Beware Grandma!” By Nadezhda Kosheverova. The film turned out to be a failure, Ranevskaya took it as an insult and quarreled with the director. According to her: "To appear in a bad tape is the same as to spit in eternity!"
It is curious that in five years Kosheverova again invited the aged actress to act in her next work “Today - a new attraction”. Faina Georgievna agreed, but remembering the old conflict, she put forward to the director a long list of conditions, among which she, who played the role of the director of the circus, should not have contact with animals, get to the filming site only in a separate compartment, live in a hotel overlooking the Russian Museum, and .d Nadezhda Kosheverova agreed, but in fact most of the conditions were never fulfilled.
Talking about Faina Ranevskaya, it is necessary to note her extremely difficult relationship with her colleagues. Everyone talked about her: some artists complained about her self-will and intolerable character, others adored and sincerely admired. One thing is for sure - she did not belong to those people who hesitated to speak the truth in the face. The statements of Ranevskaya became the basis of more than one collection of aphorisms, only she could so sarcastically and accurately reflect reality. Many colleagues were seriously afraid to turn into the object of its bites. But in fact, Faina Georgievna was an extremely vulnerable person, understanding and sympathetic. Her sharp humor was a kind of protection from the surrounding reality. Close people knew perfectly well that behind the causticity of phrases and external malice hides the kind heart of a responsive person. Since childhood, the actress has pursued various doubts and fears, and at first glance naughty antics were often dictated by necessity. Ranevskaya, for example, was afraid of closed and open spaces, moved only by taxi, because she could not bring herself to take the subway. All her life she was worried about her appearance, and in her youth, oddly enough, she was afraid of the scene and even turned to doctors who helped her develop her own method of self-suggestion.
Being at the age of Ranevskaya, with her quibbles, she once brought tears to young actress Yew Savvina. In the evening, she called her, sincerely apologized and said: “I am lonely, all my friends have died, my whole life is work ... I envied you, the ease with which you work. I work hard, I am haunted by fears of the future public, in front of the stage, in front of partners ... All this is not whims, it is fear. He is not from pride - not failure, not failure, I'm afraid, but - how to explain? “This is my life, and how terrible it is to dispose of it wrong.”
Faina Georgievna often said to herself: "I am a household fool." Households were for her genuine hard labor. To save herself from the endless struggle with washing, ironing and cleaning, which were unbearable for her, the actress always had to keep housekeepers and spend a large part of her salary on them. The latter did not always come across in good faith - it happened that valuable things disappeared from the apartment of Ranevskaya, which was already not rich. However, there were decent girls. The brightest of the many successive female actress assistants was Elizabeth, a resourceful and determined girl. When she married, Ranevskaya bought her a luxurious bed, although she had slept on the couch all her life. In general, this was a feature of her character - wanting to make a person enjoyable, to give away things that she herself did not have. She had a strange relationship with money - Ranevskaya's salary instantly flew away on trips by taxi, housekeepers, gifts to friends and good acquaintances. The actress said: "Money is in the way, when it is not there, and also when it is there." They said that when Faina Georgievna received her first fee for shooting, the bundle of bills scared her very much. She went to her theater, where she began to ask all of her counterparts if they needed money to buy something. Afterwards, she reproached herself, but not that she left nothing for herself, but that she distributed the money to those whom she wanted. And the phrase from the notebook of the actress is also preserved: “The third hour of the night ... I do not sleep, I think, where to get money for a vacation. I searched all my pockets, rummaged through all the papers and did not find anything resembling banknotes ... ”.
Faina Georgievna did not find happiness in her personal life, she had neither children nor her family. She said: “Everyone who loved me didn’t like me. And whom I loved - they did not love me. ” Nevertheless, Ranevskaya clearly did not have any complexes in questions of mutual relations between the sexes - among the aphorisms of the actress are many of those that concern women and men. There are very few stories about the novels of Ranevskaya. There were rumors about her meetings with Marshal Fedor Tolbukhin. They met in Kislovodsk in the middle of the 40s. Without the slightest irony, so peculiar to her, with tenderness Faina Georgievna told her relatives about this man. However, there was no evidence of the novel as such, maybe it was just a friendship, which, unfortunately, did not last long - Tolbukhin did not become in 1949. Already in her advanced years, Ranevskaya said: “When I was twenty, I thought only of love. Now I just love to think. ”
The actress was not lucky with the shelter for a long time. In 1948, the Wolff family moved to Khoroshevka, located far from the center. Ranevskaya was left alone in a communal apartment in Staropimenovsky Lane. The window of her room blocked the wall of the adjacent building, as a result of which even in the afternoon it was dark in the room. Later Faina Georgievna received an apartment on the Kotelnicheskaya Embankment. There, her windows opened onto the inner courtyard, where during the day, incessantly cursing, the movers unloaded bread vans, and in the evening the crowds coming out of the Illusion walked noisily. On this occasion, Ranevskaya said: "I live above the bread and the spectacle." In 1969, the actress moved to a “quiet center” - a sixteen-story house in Bolshoy Palashevsky Lane. Here she was much better - a nice apartment, a theater nearby, often guests came. The ersatz grandson Alexey Shcheglov and his wife helped her move.
In the sixties, Faina Georgievna, even for a short time, was not alone. Her relatives found her, and on 1957 she was even able to go to her mother in Romania. And soon from emigration to her sister arrived. Isabella Allen lived in Paris for many years, then moved to Turkey. When her husband died, with the assistance of the Minister of Culture Furtseva, she returned to the USSR. Sisters began to live together. Isabella was greatly surprised that Faina Georgievna - the winner of many state awards - lives so modestly: neither dachas, nor cars, poor furnishings in the apartment. They lived together for several years, and then they discovered cancer in Isabella. Ranevskaya found the best doctors, spent the nights at the bedside. However, nothing helped, and in 1964, she passed away.
In 1970, Ranevskaya was pleased with the youngest TV viewers - in the animated film “Carlson Returned”, the charming housemaker Freken Bok spoke in the voice of Faina Georgievna. Also on television screens, residents of our country saw Ranevskaya in the TV version of the play “Next - Silence”. For thirteen years this production of the Theater of the Moscow Soviet has enjoyed spectator success. And in October 1983 Faina Georgievna left the scene forever - the health of the actress became too weak. She went away casually, without speeches and wires, simply notifying the theater director of her decision.
For many years of creative work, Faina Georgievna has not played a single leading role from the world repertoire. Ranevskaya often repeated that she had failed to fulfill her mission to the end: “I know well that I am talented, but what did I create? She squealed and only ... I came to the world undeclared and leave life unproven. ” However, national love claims the opposite. The number of its screen and stage works is not great, but what kind of work it is! The episodic characters she played smashed the viewer into memory much more than the main role. Her life credo was the phrase: "I do not recognize the words" play. " Playing cards, checkers, at the races. You have to live on the stage. ” Faina Georgievna often recalled the words spoken to her by one saleswoman, from whom she bought cigarettes: “We love you very much. You look at your roles, at you, and your own troubles are forgotten. For rich people, of course, you can find more luxurious artists, but for our class, you are exactly what you need! ” Ranevskaya really liked this assessment of creativity. In 1992, one English encyclopedia included Ranevskaya in the ten most prominent melpomene ministers who lived in the twentieth century.
In her old age, Faina Georgievna was very lonely, despite constant visits from friends. She joked about this: “Old age is a time when candles on the birthday cake are more expensive than the cake itself, and half of all the urine is spent on tests” and “Loneliness, as a condition, cannot be treated”. The only joy of the actress was the dog, whom she called the Boy. The boy was an ordinary mongrel, who was barely alive with broken paws found on the street and rescued. Being alone, the dog began to howl terribly and, nevertheless, was beloved by its owner.
In the spring of 1984, Ranevskaya with pneumonia and suspicion of a third heart attack were admitted to hospital. In the summer she fell, broke the neck of the thigh. Terrible pains chased her to the last days of her life. On July 19, the great actress died and was buried next to her sister in the necropolis of the Donskoy Monastery.
According to the materials of the book A.V. Shcheglova "Faina Ranevskaya. Whole Life "and the weekly edition" History in Women's Portraits "issue №4, 2013g
Aphorisms and quotes by Faina Georgievna Ranevskaya from the site Lukomorye
“I’m opening the money, but the shame will remain” - Ranevskaya’s answer to the offer to play in a picture.
Ranevskaya was stuck in an elevator with some man, and when an hour later they opened the door (a crowd of people gathered) she went out and told him: “After everything that happened between us, you simply must marry me.” The comic of the situation is that “by some sort of a man” the young Gennady Bortnikov was wildly popular at that time. Well, the Great One at that time was already far beyond ...
“Old age is when not bad dreams worry, but bad reality.”
"Health is when you have a pain every day elsewhere."
“I can't eat meat. It went, loved, looked ... Maybe I'm a psychopath? No, I consider myself a normal psychopath. But I can't eat meat. ”
"You want to sit on the neck - spread your legs!"
"Sclerosis cannot be cured, but you can forget about it."
"I feel, but badly."
"Beautiful people shit too."
“The second half is only in the brain, in the ass and in the pill. And I was originally a whole. "
"Optimism is a lack of information."
Ranevskaya invites to visit and warns that the call does not work: "When you come, knock with your feet." “Why feet, Faina Georgievna?” “But you are not going to come empty-handed!”
“Family replaces everything. Therefore, before you start it, you should think what is more important to you: the whole or the family. ”
"To get a confession - you have to, even have to, die."
"I hate cynicism for its accessibility."
"If I often looked into the eyes of Jokonda, I would have gone mad: she knows everything about me, and I know nothing about her."
“Lesbianism, homosexuality, masochism, sadism are not perversions,” Ranevskaya strictly explains. “There are only two distortions: field hockey and ballet on ice.”
Explaining to someone why the condom is white, Ranevskaya said: “Because white is full”.
“Amazing,” Ranevskaya said thoughtfully. - When I was 20 years old, I thought only of love. Now I only love to think. ”
At the same evening, Ranevskaya was asked: "Which women do you think are prone to more loyalty: brunettes or blondes?" Without thinking, she replied: "Gray!"
"You will not believe, Faina Georgievna, but no one except the groom has kissed me yet." - “Is it you bragging, honey, or complaining?”
An employee of the Radio Committee N. constantly worried about the drama because of her love relationship with her colleague, whose name was Sima: now she was sobbing because of another quarrel, now he was throwing her, or she was abortion from him. Ranevskaya called her "the victim of HeraSima."
Putting dots over i, the interlocutor asks Ranevskaya: “So you want to say, Faina Georgievna, what do N. and R. live like husband and wife?” - “No. Much better, ”she replied.
"Lyubov Petrovna Orlova has so many furs in her closet that a moth cannot learn to fly."
“Faina,” an old friend asks her, “do you think medicine is making progress?” “But how? When I was young, the doctor had to undress every time, but now it’s enough to show a language. ”
Ranevskaya once said that according to a study conducted among two thousand modern women, it turned out that twenty percent, that is, one in five, do not wear underwear. “Forgive me, Faina Georgievna, but where could it have been printed here?” - “Nowhere. The data I received personally from the seller in a shoe store. "
“A woman, in order to succeed in life, must possess two qualities. She should be smart enough to like stupid men, and stupid enough to like smart men. ”
Ranevskaya was completely naked in her dressing-room. And smoked. All of a sudden, the managing director of the Mossovet Theater, Valentin Shkolnikov, entered her without knocking. And froze dumbfounded. Faina Georgievna calmly asked: "I hope I did not shock you that I smoke Belomor."
“I don’t drink, I don’t smoke and I’ve never cheated on my husband because I’ve never had him,” Ranevskaya said, anticipating possible questions from a journalist. “So what,” the journalist does not lag behind, “does it mean that you have no flaws at all?” “In general, no,” Ranevskaya answered modestly, but with dignity. And after a short pause, she added: “True, I have a big ass and sometimes I embrace a little bit!”
“For a number of reasons, I cannot answer you now with the words that you use. But I sincerely hope that when you return home, your mother will jump out of the doorway and properly bite you. ”
"If the patient really wants to live, doctors are powerless."
“My favorite disease is scab: I scratched and still want to. And the most hated one is hemorrhoids: neither to see yourself nor to show people. ”
“A real man is a man who accurately remembers the birthday of a woman and never knows how old she is. A man who never remembers the birthday of a woman, but knows exactly how old she is — her husband. ”
"Well, this one is like her ... Such a broad-shouldered ass ..."
"Spelling errors in the letter - like a bug on a white blouse."
“Loneliness is a state that there is no one to tell about.”
“Oh, those unbearable journalists! Half the lies they spread about me are not true. ”
"Let it be a little gossip that should disappear between us."
“A fairy tale is when I married a frog, and she turned out to be a princess. And profit is when the opposite. "
“Making a bad movie is like spitting into eternity.”
“The union of a stupid man and a stupid woman breeds a mother-heroine. The union of a stupid woman and an intelligent man begets a single mother. The union of an intelligent woman and a stupid man breeds an ordinary family. The union of a clever man and a clever woman creates easy flirting. ”
“Ma'am, could you exchange a hundred dollars for me?” - “Alas! But thank you for the compliment! ”
"What I do? I simulate health. "
"So that we see how much we overeat, our stomach is located on the same side as the eyes."
"I hate you. Everywhere I go, everyone looks around and they say: “Look, this is Mula, do not make me nervous, goes” ”(From a conversation with Agnia Barto).
“There are people in whom God lives; There are people in whom the devil lives; And there are people that live only worms".
"All my life I have been swimming in the toilet with the butterfly style."
“Faina Georgievna, how are you doing?” - “You know, dear, what is shit? So it is compared with my life - jam. "
“How is your life, Faina Georgievna?” - “I told you last year that shit. But then it was marzipan. ”
"Critics - Amazons in menopause."
About the director Zavadsky: "Perpetual dog". About him: "B in the cap."
“Get out of art!” Is a replica of Zavadsky’s shouting to the subject “Get out of the theater!”.
"I am like an old palm tree at the station - nobody needs it, but it's a pity to throw it away."
"I spoke for a long time and unconvincingly, as if I were talking about the friendship of nations."
(in response to the director's phrase: “Faina, you have devoured my entire script with your antics!”) “That is how I felt like I had eaten shit.”
Once she tried to explain Archimedes' law: “Well, that’s why, when you get into a bath full of water, does the water run out over the edge?” Ranevskaya looked down - “This is because my ass is thick ...”
(smelling smells in a stuffy, crowded bus) "It seems that someone had a second wind!"
“To eat one, my dear, is as unnatural as shit together!”
“Why are all fools such women ?!”
Once on the set, Ranevskaya left for the toilet. Absent more than an hour. The film crew has already started to get seriously worried when Faina Georgievna suddenly returned. In response to the interrogative glances rushing in her direction, she loudly declared: “I never would have thought that in such a small person there could be so much shit!”
Once, Ranevskaya was presented with a set of expensive and scarce underwear on 8 in March. Having carefully studied the gift, Faina Georgievna izrekla: "My doctors will be delighted."
"I like eggs - I participate, but I do not enter."
"She says - as if in a zinc bucket pissed."
“My funeral belongings” - said Faina Georgievna about her awards
"I am talking in a dream" - the answer to the special services, who tried to recruit her
“I will not play with this Plyatyu!” (Emotional statement to the director, in which she had her stage partner Rostislav Plyatt in mind)
To the question "Are you sick, Faina Georgievna?" She usually answered: "No, I just look like that."
Somewhere after sixty, Ranevskaya decided to join the CPSU. To the question "Faina Georgievna, why do you need this ?!" she replied: "Well, I should know at least before my death that this bitch Verka Maretskaya speaks about me at party meetings."
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