“Personally, I would not call war a school. Let the person better study in other educational institutions. But still there I learned to appreciate Life - not only my own, but the one with a capital letter. Everything else is not so important ... "
Anatoly Papanov was born 31 October 1922 in Vyazma. His mother, Elena Boleslavovna Roskovskaya, worked as a modist - a master in the manufacture of women's dresses and hats, and his father, Dmitry Filippovich Papanov, served in the protection of the railway junction. The family had another child - the youngest daughter Nina. In the late twenties of the last century, the Papanoffs moved to Moscow, settling on Maliye Kochki Street (today Dovator Street) in a house located next to the bakery. In the capital, Dmitry Filippovich, becoming a civilian, worked at a construction site. He changed her profession and Elena Boleslavovna, sitting at the factory as a planer. As for young Anatoly, he told himself about himself: “I read little then, I studied poorly ... But I loved cinema very much. The closest "cultural point" was the House of Culture "Rubber". I went there to watch films, concerts and performances of the local drama group. ” In the eighth grade, Papanov seriously became interested in theater, having begun to engage in school drama circle. And at 1939, after graduating from school, he got a job as a caster of the second capital ball bearing factory.
Dreams of stage activity did not give Anatoly peace, and soon the young man enrolled in a factory theater studio, which, by the way, was led by the actors of the Theater. Vakhtangov. After working for a ten-hour shift, young Papanov fled to classes in a theater group. In addition to classes in the studio, the youth often visited the Mosfilm corridors. On his account, participation in the crowd in such films as Lenin in October, Suvorov, Stepan Razin, Minin and Pozharsky. Of course, the dream of a seventeen-year-old guy was to catch the eye of some famous director and get even a tiny, but separate role. Alas, this dream came true in those years.
In 1941, an incident happened that almost broke Anatoly Dmitrievich’s life. Someone from the workers of his brigade carried out several parts from the territory of the ball-bearing plant. By today's standards - the crime is not the gravest, but in those years such a misdemeanor was severely punished. Police, who arrived at the plant after the discovery of the theft, arrested the entire brigade, including Papanova. During the interrogation, all the workers were sent to Butyrka. Only on the ninth day, the investigators, having made sure that Anatoly Dmitrievich was not involved in the theft, let him go home. And three months later the war began.
On the first day - 22 June 1941 - Anatoly Dmitrievich went to the front. He said: “I, like most of my peers, believed in victory, lived by this faith, felt hatred for the enemy. Before me was the example of Pavka Korchagin, Chapaev, the heroes of several films “Seven brave” and “We are from Kronstadt”. Anatoly Dmitrievich commanded the anti-aircraft battery and fully studied the difficult soldier’s profession. Bravely fighting, Papanov was promoted to senior sergeant, and in 1942 he was on the Southwestern Front. At that time, the Germans launched a powerful counteroffensive in this direction, and the Soviet troops retreated to Stalingrad. For the rest of his life Papanov remembered the bitter taste of retreat, the creak of the earth on his teeth and the taste of blood in his mouth. He said: “How can we forget about the two-hour battle that killed twenty-nine people out of forty-two? .. We dreamed, made plans, argued, but most of the comrades died before my eyes ... I still see clearly how my friend Alik fell. He wanted to become a cameraman, studied at VGIK, but he did not ... Of the survivors, a new regiment was formed - again in the same places, and again the battle ... I saw people change completely after the battle. Saw saddles in one night. I used to think it was a literary device, it turned out to be a method of war ... They say that a person can get used to everything. I'm not sure about that. I could not get used to the daily losses. And time does not soften all this in memory ... ”.
In one of the fights next to Papanov a German shell exploded. Fortunately, most of the fragments whistled past, and only one landed in the foot. The injury turned out to be hard, two fingers were amputated at Anatoly Dmitrievich, and he spent almost half a year in a hospital located near Makhachkala. Subsequently, when the actor was asked about the injury received, Papanov answered: “The explosion, I don’t remember anything further ... I woke up only in the hospital. I learned that all who were nearby, were killed. I was covered with earth, the soldiers came to the rescue in time ... After being wounded, I could not return to the front. Commissary cleaned and none of my protests and requests did not help ... ".
A 21-year-old youth left the hospital with a third group of disability. From the army he was commissioned, and in the fall of 1942 Papanov returned to Moscow. Without thinking twice, he filed documents with GITIS, the artistic director, who at the time was a wonderful artist Mikhail Tarkhanov. By the way, examinations for the acting department of the institute had already ended by that time, but there was a strong shortage of male students due to the war. When, relying on his wand, Anatoly Dmitrievich came to GITIS, Mikhail Mikhailovich, skeptically looking at the young entrant, asked: “What are we going to do with your leg?” Can you walk on your own? ”Papanov confidently answered:“ I can. ” There were no doubts about the honesty of Tarkhanov’s answer, and the young man was accepted into the acting faculty, led by artists of the Moscow Art Theater Vasily and Maria Orlovy. From the very first day of training, except for the general for all disciplines, Anatoly Dmitrievich, overcoming pain, until exhaustion, was engaged in dancing and gymnastics. The improvement did not come immediately, and only at the end of the fourth year the young man finally threw away the cane that had become disgusted with him. By the way, there was a novice artist and another problem - pronunciation. The teacher of speech technology repeatedly told him "Papanov, when will you get rid of this terrible sizzling ?!". However, the young man had a wrong bite, and four years of classes could not correct his reprimand.
During his studies at the acting department, Papanov met with his future wife, Nadezhda Karataeva. She herself said: “We are both Muscovites, we lived nearby, even studied for some time in the same school ... In 1941, I entered the acting department, but the war started and my studies were suspended. The teachers were evacuated, and I decided to go to the front. After graduating from nursing courses, I got into the sanitary train. I worked there for two years. The 1943 train was disbanded, and I returned to GITIS. Here I saw Anatolia for the first time. I remember stripes of injuries, faded tunic, wand. At the beginning, we had just friendly relations - we lived nearby and went home by tram. Our affair began when, during our student holidays, we set off from the district Komsomol committee to serve military units in Kuybyshev. After returning to Moscow, I told my mother: “Probably I will marry” ... After I introduced him to my mother, she said: “Good guy, that's just not very handsome.” I replied: “But he is so interesting, so talented!”. And mom: "Everything, I do not mind." Anatoly and Nadezhda got married right after the Victory 20 in May 1945. It is curious that during the wedding in the house the lights suddenly went out, and the end of the celebration was held by candlelight. Some guests saw this as an unkind sign, but life showed the fallacy of omens - the couple lived together almost the year 43. Subsequently, Papanov often repeated: "I am Monogamous - one woman and one theater."
On the 1946 state exam in November, Anatoly Dmitrievich played a young Konstantin in The Children of Vanyushin by Naydyonov and a deep old man in the comedy Don Gil by Tirso de Molina. In the hall there were many spectators, in the first row were members of the state commission, recognized masters of the Soviet theater. Papanov passed the final exam with “excellent”, and immediately after that he was invited to three famous metropolitan theaters - the Moscow Art Theater, the Theater. Vakhtangov and Small. However, the young actor was forced to refuse the proposals. The thing was that his wife was assigned to the Lithuanian city of Klaipeda, and he decided to go with her. Upon arrival, they were given an old, destroyed mansion, which Papanova had to restore on his own.
In early October, the 1947 Russian Drama Theater in Klaipeda opened its doors to the public. 7 November on its stage was the premiere of the "Young Guard", in which Anatoly Dmitrievich played the role of Tyulenin. A couple of days later, the newspaper Sovetskaya Klaipeda published the first review of his speech in Papanov’s life: “Particularly successful is the role of Sergei Tyulenin performed by the young actor Anatoly Papanov. He is distinguished by initiative and inexhaustible energy, impetuousness and passion, immediacy in the expression of feelings. From the first minutes the viewer warmly sympathizes with the actor. ” In addition to this production in the Klaipeda Drama Theater, Papanov appeared in the performances “Masha”, “The Dog in the Hay” and “For Those in the Sea”.
Meanwhile, fate would have it, if Anatoly Dmitrievich returned to the capital of Russia. In the summer of 1948, he and his wife came to Moscow to visit their parents. One evening, while walking along Tverskoy Boulevard, the actor met with the young director Andrei Goncharov, whom he knew well from his days at GITIS. But now Andrei Alexandrovich worked at the Theater of Satire. They talked for more than an hour, after which Goncharov made an unexpected offer: “Come with my wife to me.” And Papanova agreed. The first years of work at the Moscow Theater of Satire, the spouses lived in a dormitory, where they were given a room of nine square meters. By the way, their neighbors were the famous Soviet actors Vera and Vladimir Ushakov, as well as Tatiana Peltzer and her father.
Anatoly Dmitrievich was accepted into the theater, but no one was in a hurry to give him the main roles. To grumble on the fate of the former front-line soldier did not like, and his obscurity was quite stoic. So a few years have passed. Nadezhda Karataeva became the leading actress of the theater, and Papanov still appeared on the stage in episodic roles, otherwise called “Eat Served”. Unclaimedness led to despair, lack of self-confidence and longing, the actor began to abuse alcohol, quarrels with his wife began. The turning point in the fate of Anatoly Dmitrievich came in the mid-fifties. At this time (1954) he had a daughter, Lena, and on the same days the actor got his first real work - a role in the production of “Fairy Kiss”. Nadezhda Yuryevna recalled: “Before the birth of a daughter, her husband played very little, mostly small roles. And exactly when I was in the hospital, Anatolia smiled good luck. Everything happened by chance - one of our actor fell ill, and Papanov was promptly introduced into the play. And after - they believed in him. I remember well how my husband often repeated: "Helen brought me happiness." Sensing the changes in his life, Anatoly Dmitrievich immediately tied up with alcohol. Nadezhda Karataeva said: “My husband hid enormous willpower behind his external softness. Once he told me: “Everything, I do not drink more”. And how cut. Buffet receptions, banquets - he set himself only Borjomi. ” It should be said that Anatoly Dmitrievich quit smoking in a similar volitional way.
In the cinema, the actor's fate of Papanova was as difficult as in the theater. He played his first tiny role as adjutant in 1951 in Alexandrov's film "The Composer Glinka". After that, Anatoly Dmitrievich had not been demanded for four years, until in 1955 the young Eldar Ryazanov did not call him to go for the role of director Ogurtsov in the film “Carnival Night”. But Papanov did not succeed in playing in this film - the samples were unsuccessful, and Igor Ilyinsky played the role of Ogurtsov. Ryazanov recalled: “I didn’t like Anatoly Dmitrievich at that moment - he played too“ theatrically ”, in a manner appropriate in a brightly grotesque performance, but contrary to the very nature of cinema, where the eyebrow movement is already expressive stage setting ... Our first meeting was for me without a trace, but for Papanova she turned into a new emotional trauma. ”
Having failed on the cinema front, Anatoly Dmitrievich knew the joy of success on the theater stage. At the end of the fifties, Hikmet's Damocles Sword appeared in the repertoire of the Theater of Satire, in which Papanov got the main role of Boxer. When the theater actors found out about this appointment, many were surprised. It seemed to them that Papanov did not cope with the role. After a series of high-profile speeches, Anatoly Dmitrievich himself began to doubt his abilities. However, the director was adamant and the performance with the participation of Papanova still held. At the time of work on the role of the actor took lessons from the famous boxer Yuri Egorov. He said: “I trained on the paw and with a punching bag, practiced punches and jumped with a rope, doing general training. We also had training battles. ” The performance was a huge success, and the same Ryazanov in 1960 again invited Papanov to play in the movie “Nowhere Man”. By the way, this time the director had to put a lot of effort in order to convince the actor to return to the cinema. Papanov, who was completely convinced by that time that he was not “film-like,” flatly refused to act. Another great Soviet actor, Yury Yakovlev, became the partner of Anatoly Dmitrievich in the film. He talked about the shooting: “During the tests, I saw a man who was afraid, shy, was worried about his lack of confidence in the ability to master the most difficult acting transformation in the cinema. I unwittingly thought how hard it would be for him - the partnership for me is the basis of creative life on the set. However, after the third trial, it seemed to me that the alliance with Papanov could well take place. Tolya relaxed, became cheerful, joked a lot, juicy. I was glad that all my concerns were left behind. Our partnership subsequently grew into mutual friendly sympathies ... ".
Unfortunately, the film “The Man from Nowhere” never appeared on a wide screen - its premiere took place only twenty-eight years later, when Anatoly Dmitrievich was no longer alive. Meanwhile, this film was not the last in the joint work of Papanova and Ryazanov. In 1961, a ten-minute short film “How Robinson Was Created” was released, in which the actor played the Editor. At the same time, Papanov appeared in Mitta and Saltykov’s film “Beat the Drum” and in the film Lukashevich “A Knight's Move”. In 1962, three directors already paid attention to him - Tashkov from the Odessa Film Studio, Mikhail Ershov and Vladimir Vengerov from Lenfilm. The actor agreed to all three of them, and in 1963-1964, three films with his participation (“Empty Flight”, “Come Tomorrow” and “Native Blood”), which had different success with the audience, were released. Despite the fact that critics noted the excellent game of Papanov, he could not get into the first cohort of Soviet movie stars at that time.
Real success was waiting for Papanova in 1964. In the early sixties, Konstantin Simonov saw Anatoly Dmitrievich in the play "The sword of Damocles". The game of Papanova shook him so much that the famous writer convinced the film director Stolper, who decided to film the book The Living and the Dead in 1963, to take the actor as General Serpilin. At first, Alexander Borisovich hesitated, because Papanov was known as a performer of negative and comedic roles. In his ability to play the role of a positive, heroic hero, Anatoly Dmitrievich himself doubted for a long time, despite the fact that the theme of the war, as a war veteran, was very close to him. Nadezhda Karataeva said: “They called him several times a day, urged him, and we all stood in the hostel and listened to how he unlocked to play Serpilin:“ Which of me is a general? That you, I can not ... ". When the tape came out on a wide screen, Anatoly Dmitrievich gained all-Union fame. 1964 Live and Dead ranked first, viewed by more than forty million people. In the same year, the film won prizes at festivals in Acapulco and Karlovy Vary, and in 1966 was awarded the State Prize of the RSFSR.
After such a success, the demand for an actor has grown incredibly. In particular, only in 1964 on “Lenfilm” ten films were launched into production, and at eight they invited Papanova. He, by the way, accepted all the offers and, after passing the tests, was approved for all eight films, which is a rare case in Soviet cinema. True, he later gave a polite refusal to everyone - he was too busy in the theater. However, Anatoly Dmitrievich did not refuse the proposals from Mosfilm received at the same time. The shooting of the paintings “Our Home” and “Children of Don Quixote” took place in Moscow, and Papanova was completely satisfied with this. Both tapes, in which he played the main roles, appeared on the screen in 1965 and had a successful rolling fate.
Meanwhile, in the same year, Eldar Ryazanov once again remembered about Papanov, offering him a role in the film “Beware of the car!”. When the shooting of the film started, many participants in the shooting process suddenly came out against Anatoly Dmitrievich. About the reason for this, Eldar Alexandrovich himself said: “In the tape, actors with a slightly different nature of humor than the ones of Papanova - Smoktunovsky, Mironov, Evstigneev, Efremov got in the tape. Anatoly Dmitrievich of his hero played in the close and, as if, quite appropriate style of the grotesque. However, at some stage of work, many people began to talk that the actor falls out of the general ensemble, destroys the style and integrity of the picture. A meeting was convened on this topic. Fortunately, Papanov himself did not know about our evil intentions. Even I for a moment flinch, but kept me from hasty decisions. I still praise myself for it, as it soon became clear that Anatoly Dmitrievich created one of his best roles in the film, and his infectious phrase “Freedom to Yuriy Detochkin”, having adopted a generalized meaning, went from the screen to the streets. ”
In the sixties, Papanova’s cinematic career was filled with roles of a very different level. Here are just a few famous films: “Give the Complainant Book”, “Adjutant of His Excellency”, “Two Comrades Served”, “Retribution”. In 1968, Gaidai’s film “The Diamond Hand” was released on screen, which was a resounding success and scattered over quotes. In this film, Anatoly Dmitrievich again played with his theater colleague Andrei Mironov. By the way, Andrei Aleksandrovich treated Papanov with great respect and addressed him exclusively by name and patronymic. Nevertheless, these great actors did not become close friends - Papanov’s closed nature was reflected.
Another facet of Anatoly Dmitrievich's talent was dubbing of multilms, it suffices to recall only the water one in the Flying Ship. However, the legendary “Well, wait!” Kotenochkin became his calling card. Having voiced the Wolf in 1967, Papanov became the idol of millions and millions of children around the world. In the race for survival, spectator sympathies were entirely on the side of the gray hooligan, who was constantly tormented by the correct Bunny. Anatoly Dmitrievich managed even to subdue the strict authorities - the wolf in the cartoon was forgiven by everyone: fights, cigarettes, even “non-normative” growling. It is curious that the glory after years became so huge that it began to lead to negative consequences. Nadezhda Yuryevna recalled: “Tolya was a little offended when he was recognized only as a performer of the Wolf. He told me: “As if, besides“ Well, wait a minute! ”, I did nothing more.” And once when I had such a case - we were walking down the street, and one woman, seeing him, told her child: “Look, look, the Wolf is coming.” This, of course, he did not like. "
In the sixties, Anatoly Dmitrievich worked quite actively in the Theater of Satire. He played in the performances: "The Twelve Chairs", "The Apple of Discord", "Intervention", "Profitable Place", "Last Parade". In 1966, Papanov played the main role in the production of “Terkin in the Other World”, but the performance in the theater repertoire lasted only a couple of weeks, and then, for censorship reasons, was filmed. For the actors, and for Anatoly Dmitrievich in particular, this was a heavy blow. Meanwhile, in the seventies, his acting fame reached a peak. Throughout the territory of our great country there was no man who did not know Papanova. His appearance in any episode was equal to the whole role, and with one close-up a brilliant actor managed to play the entire biography of the hero. Anatoly Dmitrievich himself remained at home an unusually modest and unpretentious person, which was repeatedly noted by many directors who worked with him. Wife Papanova recalled: ““ He is from a simple family, he was a secondary student and in general was a sort of yard hooligan. And when it came to him how knowledge was important, the war began, and Anatoly went to the front. Therefore, as soon as the opportunity arose, he took up self-education - he read a lot, did not find it shameful to watch the scenes while playing his colleagues ... Anatoly did not know how to lie and, being a believer, he tried to live according to the commandments of Christ. He had no star fever. Sometimes, we went to the theater somewhere. Everyone always tried to get on the bus to the first places where they were shaking less. He, to not disturb anyone, sat behind. He was told: "Anatoly Dmitrievich, go ahead". And he: “It's okay, I feel good here too ... What he did not tolerate was arrogance and familiarity. Many actors after performances on tour tried to drag him into a restaurant. Papanov gently, but firmly, refused, securing himself in a room with a kettle and a book, or secretly going to the people, in search of his future heroes. ” Famous artist Anatoly Guzenko said: “We were on tour in Tbilisi. The beginning of October, the sun shines brightly. Teplyn, khachapuri, wine, kebabs ... As I walk along the avenue among beautifully dressed people, and suddenly I meet ... a spy. Cloak-Bologna, takes, pulled over to the forehead, dark glasses. When the spy approached, I recognized Papanov in him. ”
By the way, Anatoly Dmitrievich devoted little attention to his outfits all his life. Well known история how once, while in Germany, he arrived at the reception to the Soviet ambassador in a windbreaker and jeans. Together with him was Vladimir Andreev - artistic director of the theater. Yermolova, - dressed in a black suit and dazzling shirt. He later confessed that the look of Papanov scared him. But the ambassador smiled at Anatoly Dmitrievich as his own: “Well, finally, at least one person is well dressed!”.
In the seventies, fifteen more films with Papanoff were released: “Incognito from St. Petersburg”, “Belorussky Station”, “Fear of Heights”, “Twelve Chairs” and others. And in 1973 he was awarded the title of People's Artist of the USSR. It is curious that, despite all the awards received, the actor had one very significant gap in the questionnaire - Papanov was not a member of the party, to which his superiors repeatedly paid attention. However, the artist invariably declined to join the CPSU, even knowing that this brings his wife, who was a member of the party bureau of the theater. Nadezhda Yuryevna recalled: “The husband was non-partisan, and I was a member of the party with 1952. In the district committee I was told that if I persuaded Anatoly to join the party, they would give me the title of Honored Artist. But Tolya did not agree. He was always very important, he even received awards only for creative achievements. And I was given the title many years later. ”
The actor was a great family man. According to his wife, for all forty-three years of marriage, he never gave her any reason to doubt marital fidelity. When in the mid-seventies his only daughter, Lena, who had studied at the theater institute in those years, married a classmate, Anatoly Dmitrievich bought them a one-room apartment. In 1979, the first child was born to young people - a girl named Masha, and the second granddaughter of Papanova, named after grandmother Nadia, was born six years later.
In late August, 1979 died Konstantin Simonov. At the funeral, Anatoly Dmitrievich said: “He was my destiny. He told Stolper: “This actor Serpilin! And only he! And my whole planet began to spin differently ... And now a piece of life has been cut off ... a giant piece ... After such a loss, I feel that I will become different. I still don’t know how, but I’ll change a lot ... ”
At the end of 1982, when Papanova was sixty years old, he bought a Volga car. Interestingly, Anatoly Dmitrievich used the car only on trips to the country. The actor went to the theater on foot, explaining that he needed time to tune in to the play: “In general, it’s nice to go out, meet good people, think and dream.” However, there was another reason why Papanov did not come to work by car. He said: "It is inconvenient to drive around on a car when young actresses in darned tights go."
In the eighties, in addition to working in cinema and theater, Anatoly Dmitrievich was actively involved in social activities. He was a member of the Society for the Protection of Nature, together with the writer Vladimir Soloukhin, headed the All-Union Bath Society. The work of this organization was to monitor the maintenance of the necessary order in the baths and the improvement of customer service. During the period from 1980 to 1987, Papanov starred in three films: “Time for Desires”, “Fathers and Grandfathers”, “The Cold Summer of the Fifty-Third”. During the same time, he received four new roles at the Theater of Satire, but, in his own words, he did not experience satisfaction from these works. The comrades insistently suggested that he go to another theater, but Papanov, with a sad shrug, said to them: “They gave me the title here, they gave me the orders here. What a bastard I will be if I leave the theater. ” Director Vladimir Andreev recalled: “I knew that Anatoly Dmitrievich was not satisfied with something in the Theater of Satire. I worked in the Small, and decided to talk with him about the possibility of transition. Without hesitations, he asked: “Isn't it time for such a master to appear on the oldest Russian stage? Here both “The Inspector General” and “Woe from Wit” are your entire repertoire ... ”. He quietly and seriously replied: "Volodya, it's too late for me." I told him: “It's never too late! Come with the whole family: with Nadia and Lena. ” He did not go, could not betray his theater. Happened him and scolded and offended. But he could not betray. ”
At 1983, Anatoly Dmitrievich decided to try himself in the teaching field - at GITIS they entrusted him with the leadership of a Mongolian studio. Nadezhda Yuryevna dissuaded him from work, but Papanov, as always, did it her own way. In the words of the same Andreev: “Anatoly was only able to scold an equal, and he was even embarrassed to conduct disciplinary conversations with students. The Mongols, meanwhile, allowed themselves in the dorm to gossip and even fight. The dean asked the actor to use the power of the artistic director of the course, but Papanov confusedly replied: "I somehow do not know how ...". He influenced his students by some other means, without “sticking”.
In 1984, the fathers and grandfathers film directed by Egorov was sent to the Italian film festival. Anatolii Dmitrievich and Avellino went to the town and won a prize for the best male role there. The award was called the “Golden Plateau” and a very entertaining story is connected with it. When the artist returned to his homeland, the Literary Gazette that was popular in those years told about this award in a joking style. In particular, it was reported that during the inspection of baggage at Sheremetyevo, a passenger of the Rome-Moscow flight, a famous actor Papanov, was detained. In the cache of his suitcase between the kettle and the T-shirts, a piece of precious metal was found. The smuggling was confiscated, and the artist himself is under investigation. After the release of the issue, a hail of calls, telegrams and letters fell on the editorial office of the newspaper. Thousands of people reported: “Anatoly Dmitrievich is not to blame! He is our favorite artist and honest man! Do not plant Papanova! ". After a series of calls from alarmed fans of the artist to the KGB and even to the Central Committee of the CPSU, Litgazet was forced to publish a refutation. In the article "On the sense of humor and customs," the newspaper said that "she was confident that over the years she had brought some sense of humor to her readers, but the history that had happened had debunked this confidence." However, it was not at all in the absence of a sense of humor, but in the immense, boundless love of the Russian people for an amazing person and a great artist - Anatoly Papanov.
In the last year of his life, Anatoly Dmitrievich was unusually active. He finally convinced the chief director to give him a chance to put on a performance himself. As a material for the work, Papanov chose Gorky’s play “The Last.” Nadezhda Karataeva said: “The actors who worked with him said that we didn’t know such a director, he treated us like a father ... The script performance ended with the death of one of the heroes. Tolya, who decided that church chants should sound in this tragic moment, was very worried that the performance would be banned. However, the censorship missed the scene. ”
In 1986-1987, Papanov accepted the offer of director Alexander Proshkin to play in the movie “The Cold Summer of the Fifty-Third” as Kopalych. Friends discouraged the actor from filming, believing that he was already too busy in GITIS and in the theater, but Anatoly Dmitrievich answered: "This topic worries me - I can tell a lot in it." The shooting began in Karelia, in a remote village. Alexander Proshkin said: “We worked normally for a week, and the residents helped us as much as we could. There were no surprises foreseen, since the village was isolated from three sides by water. And now - the first shooting day Papanova. We begin to shoot, and ... I do not understand anything - all the outside boats will be everywhere. A lot of boats, and all are moving towards us. They swim up, moor, and I see - in each boat, a grandfather or grandmother and two or three children, in whose hands they have a notebook or book. It turns out that everyone came to meet with "Grandpa Wolf." I gave up and stopped shooting. The cinema administration, in its harsh manner inherent to it, tried to apply “pressure,” but Anatoly Dmitrievich intervened in the matter: “What are you doing! Let's get everyone together. ” Children were seated, and Papanov wrote something to everyone and said something to everyone. I watched this scene, forgetting about the price of a ripped shooting day. It was clear from the faces of the children that they would remember this meeting for the rest of their lives ... ”
The film "Cold Summer 53-th" was the last in the life of a great actor. At the end of filming in early August 1987, he arrived in Moscow. Nadezhda Karataeva recalled: “I was on tour with the theater in Riga ... Having gone home, Anatoly decided to take a shower, but there was no hot water in the house. Then he, tired and excited, climbed under the cold stream ... When Anatoly did not come to Riga on the appointed day, I got worried and called my daughter. The son-in-law, through the neighbor's loggia, got into our apartment, and found him in the bathroom ... The diagnosis of doctors is acute heart failure. ”
Thousands of people attended the funeral of a wonderful actor. Valery Zolotukhin said: “I, hurrying for the last meeting with Papanov, took a taxi from Belorussky Station. When the driver heard where I was going, he opened the door and told his colleagues about the death of Anatoly Dmitrievich. They immediately darted to the flower market, bought a carnation, handed me: "Bow to him and from us ..."
A few days later, another eminent Soviet actor, Andrei Mironov, died on the Riga scene.
Based on materials from the site http://chtoby-pomnili.com/ and the book of F.I. Razzakov "Anatoly Papanov".