|Birth name||Marina Mstislavovna Neyolova|
|Date of Birth||January 8, 1947 (1947-01-08) (73 years old)|
|Place of Birth|
|Citizenship||USSR → |
|Years of activity||1968 - n. in.|
Marina Neyolova was born on January 8, 1947 in Leningrad in a family far from theater or cinema. Valentina Nikolaevna, the mother of Marina, who devoted her life to raising her daughter, encouraged her desire to express herself in art. At the age of 4, the girl began to practice ballet. Since childhood, Marina dreamed of becoming an actress.
In 1965, M. Neyolova entered the acting faculty of LGITMiK and in 1969 she graduated from it (workshop of Vasily Merkuryev and Irina Meyerhold). While still a third-year student, Neyolova made her film debut, playing three roles at once in Nadezhda Kosheverova’s film “Old, Old Tale”, and her work was immediately positively praised by critics.
The actress wanted to get into the BDT troupe to Tovstonogov, but did not dare to directly address the famous director with a request. In 1971, Marina moved to Moscow and settled in the Mossovet Theater to Yuri Zavadsky. Tried also by Efros. In 1974, Neyolova transferred to the "Contemporary". Valery Fokin and Konstantin Raikin introduced her to the play "Valentine and Valentine" instead of the retired actress. Since then, her professional life has been associated with this particular team.
In the movie, Neyolova began with fabulous and romantic roles, gradually expanding her range. In 1972, she starred in the psychological drama "Monologue", where her partner in the lead role was Mikhail Gluzsky. The film was a great creative achievement of the actress, and they started talking about her as a special phenomenon.
In the 1970-1980s, the creative career of Marina Neyolova developed quite successfully. She does not lack the proposals of the leading directors of the country. She embodied on the stage the images of the heroines of the famous productions of her time: Viola (Twelfth Night), Anya (The Cherry Orchard), Masha (The Three Sisters), Marya Antonovna (The Examiner). A notable achievement in cinema is her work by the leading masters of cinema of the country: George Danelia, Nikita Mikhalkov, Ilya Averbakh, Eldar Ryazanov, Vadim Abdrashitov and others.
Since the 1990s, the actress began to act much less, devoting more time to the family. In 1994-1997 she lived in France, and from 2003 to 2009 in the Netherlands with her husband, Ambassador Extraordinary and Plenipotentiary of the Russian Federation Kirill Gevorgyan, although she continued to play in the performances of the Sovremennik Theater. The repertoire of the theater was adjusted to the schedule of her visits.
Currently, Marina Neyolova lives in Moscow and continues to work in the Sovremennik troupe.
Essay on creativity
Faina Ranevskaya, speaking of a beginning actress, said: Her talent needs the care of the director, stage companions, everyone who is responsible for theatrical art, because talent is a jewel . The first roles of Neyolova are the embodiment of images of romantic and fairy-tale characters on the screen. The actress was very suitable for the role of the travesty with which she began, but it quickly became cramped for her. Along with Margarita Terekhova and Inna Churikova, Neyolova was immediately attributed to the brightest young talents of the 1960s.
The roles of fragile, vulnerable, suffering heroines trying to defend their “I” became classic for the actress. Neyolova succeeds in demonstrating the depth in everyday and everyday plots when her women on the screen become recognizable types of the modern world. Despite the versatile talent of Neyolova, household psychology is more suitable for her than the grotesque and eccentric of bright characteristic roles.
Playing a double role Viola-Sebastian in Twelfth Night, Neyolova breathed genuine humor into the image. Her characters are deeply feminine and inimitably sexy.
Vyacheslav Zaitsev, who created the costumes for Neyolova, said that Marina ... woven from sex . “A very good actress Neyolova is first class,” Andrei Tarkovsky noted in his diary in 1974.
Since the 1980s, the actress’s repertoire has been enriched with comedic roles with a penchant for easy farce (“Handsome Man”, “Alien Wife and Husband Under the Bed”). Critics noted a wide range of Neelova’s possibilities, professionalism and the ability to illuminate completely unexpected sides of the image.
Repeatedly Neyolova had to "enter the same river twice", playing different characters in the same productions and films. In Kosheverova’s Shadow, she played the Annunziata, and 17 years later in Mikhail Kozakov’s Shadow ... Julia Julie. In the stage version of Fantasy Faryatyev, directed by Lilia Tolmacheva, she got the role of Lyuba’s younger sister, and in Averbakh’s film she is Alexander’s older sister.
In 1990-2000, the actress began to appear less often on stage and on screen. However, as a performer of the Soviet school, she was not lost in the avant-garde search for a new time. So, since 2007, Neyolova has been playing the paradoxical role of Bashmachkin in Fokin’s production of “The Overcoat” on the stage of Sovremennik, receiving the warmest responses from the theater press.
The American critic Peter Marx wrote about Neyolova’s work in the production of The Cherry Orchard:
▪ Audience Jury Prize at the IFF Authors Cinema in Belgrade for the film “With You and Without You” (1975)
Anatoly Vasiliev - the first husband of Neelova
In 1970, aspiring actress Marina Neyolova married director and actor Anatoly Vasiliev. She was eight years younger than her husband.
The couple met during the filming of the graduation film Anatoly "The Color of White Snow", where Marina played the main role of the controller of the subway Nadi.
Amorous love arose between them, and Marina and Anatoly began to live together, then Vasiliev persuaded Neyelova to move from Leningrad to Moscow. The wedding was celebrated in the restaurant "Aragvi".
In the capital, Marina’s career as an actress in film and theater went uphill. But the more she starred and played on stage, the more popular she became, the more difficult their family relations with Anatoly developed.
They had no children. Neyolova and Vasilyev broke up without scandals and clarification of relations, agreed not to advertise their relations with the public and the press.
Marina was 37 years old when she came to visit the pianist Vladimir Krainev and met the young chess player Garry Kasparov. Between them began a stormy romantic relationship, despite the sixteen-year age difference.
But Kasparov’s mother, an imperious woman, Klara Shagenovna, was against the connection of her son with Neyelova. She was afraid that the romance would interfere with his career, Harry began to win one after another victory in chess tournaments.
However, the lovers ignored the claims of the mother. Kasparov then lived in Baku, Marina never was in his homeland. But every time he came to Moscow, he certainly stood on the threshold of her apartment.
Neyolova contributed to the introduction of Harry into the metropolitan society of bohemian youth. She introduced him to all her friends, eminent creative people.
After Kasparov left, the actress forever deleted him from life. Soon Neyolova realized that she was pregnant.
In 1987, her only daughter Nick was born, to whom Neelova gave her last name.
Neyelova’s second husband is Kirill Gevorgyan
After giving birth, Marina devoted herself completely to her daughter. Friends persuaded her to enter society when Nika was already two years old. This consent to go to a secular reception turned out to be fateful for Nelova.
Here she met with Soviet diplomat Kirill Gevorgyan, with whom she had been happily married for thirty years.
The second husband of Marina Neyolova is six years younger than her. He became a good stepfather for the daughter of the actress. True, the first five years they had to live in two countries.
Gevorgyan worked in Paris, and Marina could not leave her "Contemporary". The artistic director of the theater, Galina Volchek, as she could, was redrawing the schedule to her favorite actress.
Now Marina Neyolova and Kirill Gevorgyan live in Moscow.
Photo: Marina Neyolova
The actress grew up in a family that had nothing to do with cinema and theater. Mom, being a student, went to the front voluntarily and served as a radio operator in Murmansk. She participated in fierce battles.
From childhood, Marina was instilled with a love of art. Mom and daughter often went to performances and concerts. My father introduced the future celebrity to painting and hung his own watercolors around the house. In parallel, my mother took the baby to ballet classes. Therefore, Marina Mstislavovna has a special relationship with this type of art. But the main thing in the life of a girl has always been theater. She never imagined herself to be any other than an actress.
In 1965, after school, Marina Neyolova took the documents to the Leningrad Institute of Theater, Music and Cinematography. There the competition was always high - about a hundred people per place. Marina was modest, small, thin and scared and thought that she would never be accepted to college.
Nevertheless, before the examination committee, Neyelova took all her will into a fist and read an excerpt from the novel "War and Peace." The text was battered, it was read more than once at the entrance tests, but the girl was able to impress and the professors saw dramatic talent in Marina. She was accepted for the course of Irina Meyerhold and Vasily Merkuryev.
At the institute, Marina Neyolova showed herself to be a very extraordinary actress. One of her sketches Merkuryev noted with a very spectacular phrase: "Her biomechanical crow is just like living."
And so it happened, after the "Old, Old Tale" the director noticed a young actress. But while Tovstonogov was going to approach the actress, she left for Moscow.
In 1971, Neyolova came to work with Yuri Zavadsky at the Mossovet Theater. But I didn’t work there for long. She managed to play in the play “The Heart of Luigi, or Execution with a Blunt Sword” by Ivan Bukovchan.
Later, the director of Sovremennik Valery Fokin drew attention to the young girl. He, along with Konstantin Raikin, invited her in the play "Valentine and Valentine" in 1974. Before Neelova, this role was played by Irina Akulova and her name was Irina Muravyova. The performance for Marina Neyolova was a successful debut. And since then, the actress has served in Sovremennik for more than 30 years. She played in Twelfth Night, Cherry Orchard, Three Sisters, The Examiner, and others.
On stage, she is like a restless cat with the voice of a spoiled girl. At the same time, she has an erotic appearance, which very electrifies the audience. So critics spoke of Marina Neyolova. Her waist of 54 centimeters was appreciated by fashion designers. And dressing the actress for the play “The Cherry Orchard”, Vyacheslav Zaitsev specially went to Paris for lace and silk, because he considered that it was impossible to dress such a woman otherwise.
The film debut of Marina Neyolova took place in the third year of the institute. She appeared in the film "Old, Old Tale" by Nadezhda Kosheverova - played two roles: the innkeeper’s daughter and the princess.
In general, the first roles of Marina were fabulous and romantic (“The Prince and the Pauper”, “Shadow”, “Broken Horseshoe”) or lyrical (“We are waiting for you, boy!”, “The color of white snow”). But the dramatic talent helped to reveal the film "Monologue".
Marina Neyolova skillfully embodies the images of fragile, vulnerable, unprotected heroines who are trying to defend their independence. This, for example, is Stepanida in the film “With you and without you”, Sasha in the film “Just Sasha”, Valentine in the “Word for Protection”, Nina in “Photos on the Wall” and Alla in the “Autumn Marathon”.
In 1975, after working on the television movie “Night of Errors,” director Mikhail Kozakov admitted that he admired the actress’s performance: Neyelova was so serious about work that she did not face star disease.
After being approved in a dramatic role, Marina returned to lyrics and farce - this is proved by the paintings “Ladies invite gentlemen”, “Handsome man”, “Carousel”, “We are cheerful, happy, talented” and “Another's wife and husband under the bed”.
For the sake of work, Marina Neyolova sacrificed her health and comfort. She even starred in bed scenes in the winter, and even in a dilapidated house. This is a scene from the movie Autumn Marathon. The actors were under the covers, and between them was a heater.
But the director of the film “With You and Without You” Rodion Nakhapetov forced the actress, who played the laborer, to carry bags of stones for several weeks, get up early, milk goats and cows, mow the grass. In the same film, partner Juozas Budraitis was supposed to hit Marina Neyolova. A few takes he beat her very delicately, but the director thought it was not believable. It ended up that by the end of the day the actress had real bruises.
In the mid-80s, Neelova began a creative downtime - she is removed less often.Alternates dramatic roles (“You are my one”, “Dear Elena Sergeyevna”) and costume-historical (“The Inspector General”, “The Siberian Barber”, “The Shadow, or Maybe it will work out”).
The audience was interested in the painting “Prison Romance” by Evgeny Tatarsky, which was released in 1993. Marina got the main role - the investigator of the prosecutor's office, who fell in love with the prisoner.
Personal life of Marina Neyolova
All the male colleagues Marina evoked the same feeling all the time - the desire to protect. After the actress ended her 2-year-old love for chess player Garry Kasparov, almost the entire metropolitan artistic audience began to protect her. Actor Valentin Gaft, for example, publicly stated that they would not accept a chess player in any house.
Harry and Marina met in 1984 with pianist Vladimir Krainev. Then the chess player was 21 years old, and the actress was 16 years older than him. Kasparov lived in Baku and Marina never went to him, Harry sometimes came to Moscow himself. Relationships were interrupted by the athlete’s mother, an overbearing woman who recognized only her son’s career and believed that her son’s marriage could destroy her. Harry listened to his mother and terminated all relations with the actress.
Marina still found feminine happiness. On vacation, she met with diplomat Kirill Gevorgyan. Swift love ended in a wedding. At the same time, Neyolova sacrificed the theater for the sake of the family. With her husband and daughter Nika, she lived for five years in Paris, where Cyril was sent as an adviser to the Russian Embassy.
Marina Neyolova now
Recently, Marina Neyolova rarely acted in film. For example, she played in the detective story for Boris Akunin, Azazel, as well as in the film Lady for the Day.
Well, the theater keeps the actress afloat. Today she plays in Cherry Orchard, The Examiner, Steep Route, and We Play. Schiller ”and“ Sweet Bird of Youth ”.
The debut of Marina Neyelova in the movie took place in the 3rd year of the institute. Two roles immediately went to the young actress in the 1968 film, Old, Old Tale, in which the young artist played together with Oleg Dal.
The roles in the films “With and without you” and “Autumn Marathon” became vivid. Despite the fragile figure, modest growth (165 cm with a weight of 45 kg) and a boyish haircut, already in those years Neyelova attracted the attention of the public with her manicure and elusive charm, which have not disappeared over the years.
Marina Neyolova starred in such masters as George Danelia, Eldar Ryazanov, Nikita Mikhalkov. In the frame, her partners at one time became the stars of the Soviet screen Oleg Basilashvili, Leonid Kuravlev, Oleg Tabakov, Oleg Efremov and others. In 1988, Marina Mstislavovna played one of her most popular roles - she appeared in Eldar Ryazanov’s picture, “Dear Elena Sergeevna.”
In mid-2017, a long-term break in the cinematic biography of Marina Neyolova ended. The actress starred in the comedy "Carp Frostbite". She played pensioner Elena Mikhailovna, who worked all her life in the only school in a provincial town.
Interestingly, the same carp was used during the filming. The fish got used to the actress and swam to the edge of the trough, where the carp were kept, when Marina Neyolova approached him. And on the last day, when the artist was waiting for the filming to start and was sitting next to the trough, the carp jumped out of the water onto her lap.
Watch the video: Sibéria 1998, Richard Harris & Julia Ormond, Filme Completo, Legendado (April 2020).
Marina Neyolova: biography