Actress career
It is worth recognizing that Tatyana Lyusenovna Drubich became an actress largely by accident. When she was only 13 years old, her image attracted the director of the heroic adventure film “Fifteenth Spring” Inna Tumanyan. She was offered to play in this drama dedicated to the Great Patriotic War.
Real success came to her in 1975. Cult director Sergei Solovyov invited Tatyana Lyusenovna Drubich to play the main role in his melodrama “One Hundred Days After Childhood.” Soviet viewers remembered her wearing a wreath of wildflowers and reading “Letters of Love” in French.
This is a lyrical story about creative children who are relaxing in a camp. Tatyana Lyusenovna Drubich plays schoolgirl Ergolina, with whom pioneer Lopukhin is in love. Lermontov’s play “Masquerade,” which they are all working on, helps them express their emotions and feelings.
The key scene turns out to be the performance itself, which suddenly turns into a drama with unexpected confessions, outbursts of jealousy and resentment.
The film was a phenomenal success. Received one of the prizes at the prestigious Berlin Film Festival. Millions of Soviet viewers fell in love with Tatyana Lyusenovna Drubich. However, after graduating from school, she decided not to become an actress.
Tatiana Drubich
Born on June 7, 1959 in Moscow. Her father died when Tanya was 17 years old - this made a huge impression on her. Tatyana Drubich says: “The death of a father and parents in general is neither early nor late. Their departure is always a disaster, and your life begins again and differently.”
As Drubich admits, she never wanted to be anyone, especially an actress. Tatyana studied very well at school, and it didn’t matter where she went.
Tanya Drubich’s entire film career is a chain of random coincidences that might not have happened. And even, she believes, it would be better if they didn’t actually exist...
In 1972, she, then a thirteen-year-old school student, was invited to act in a movie for the role of Alena in Inna Tumanyan’s heroic adventure film “The Fifteenth Spring,” which tells about the events of the Great Patriotic War.
And then there was Sergei Solovyov’s lyrical film “One Hundred Days After Childhood,” in which the young actress appeared wearing a wreath of wildflowers and reading “Letters of Love” in French. It was a 100% hit. A beautiful, thoughtful teenage girl captivated not only the main character Mitya Lopukhin (Boris Tokarev), but also millions of viewers in our country... Summer. An old manor where a pioneer camp was organized. Here the main characters meet their first love, its charm and disappointment from the lack of reciprocity. And through these high feelings, teenagers get to know themselves. The picture is imbued with both joy and slight sadness, leaving a great bright feeling in the soul.
The film “One Hundred Days After Childhood” was a huge success and won several prizes, including the “Silver Bear” at the Berlin Film Festival. However, Tatyana Drubich, having graduated from school in 1977, did not become an actress, choosing a different profession.
After graduating from the evening faculty of the Moscow Medical Dental Institute. Semashko, Tatyana Drubich began working as a doctor at the First Homeopathic Hospital in Moscow. She still believes that medical education is the most valuable. “It can replace acting and almost any other when it comes to understanding a person, the motives of his actions, reactions, etc. But most importantly, it gives a different—full-fledged—perception of life. After all, nothing reveals and clarifies life... like death. And this is a medical fact,” says Drubich.
Actually, when Tanya refused to enter VGIK, where she was expected, and went to study to become a doctor, it became clear that she was a girl with character. And then, when she suddenly found herself in great demand and confidently took turns, becoming one of our first stars, she didn’t want to change anything in her life. A district clinic, receiving patients, an office with a stenciled inscription on the door “doctor T. Drubich”, a white coat on a hanger and stacks of plump medical records on the table. She valued this order and starched whiteness no less, and perhaps more, than festival prizes and the glossy covers of the Soviet Screen, where her portraits were regularly published. This was her real life, where she was responsible for herself, where she was absolutely confident in what she was doing, where she felt needed.
What about cinema? She returned to the cinema... sometimes... for...
After a not very successful role with Pavel Chukhrai in Confusion of Feelings, Tatyana Drubich again found herself on Solovyov’s set. In his new film “The Rescuer,” she played Asya, a sweet freckled girl attached to the strange, kind, open, but tough literature teacher Larikov. New collaborations between Solovyov and Drubich soon followed, and in 1983, after filming the film “The Chosen,” they got married. At the end of the 1980s, Tatyana Drubich played the main roles in the sensational films of the same Solovyov - in the famous “Assa” and in the film “Black Rose is the Emblem of Sadness, Red Rose is the Emblem of Love.”
Later, in the new century, Tatyana Drubich played in his film “About Love,” based on the works of A.P. Chekhov, and in the film “Ivan Turgenev. Metaphysics of love." In this film, Tatyana played Polina Viardot, and the role of Turgenev was played by Oleg Yankovsky.
Although the actress played her best roles to date with Solovyov, she has other interesting works to her credit - for example, Roman Balayan in the film “Keep Me, My Talisman”, Stanislav Govorukhin in the film adaptation of Agatha Christie’s detective novel “Ten Little Indians” and Eldara Ryazanova in the comedy “Hello, Fools!”
The plot of her relationship with Sergei Solovyov is, in general, traditional. The master saw a girl, the master fell in love with the girl, the master made the girl a star... As a rule, this plot is based on a real feeling, an unquenchable passion for creativity and... a decent age difference. Carlo Ponti and Sophia Loren, Jean-Luc Godard and Anna Karina, Nastassya Kinski and Roman Polanski, Pyryev and Skirda, Alexandrov and Orlova. How many times has everyone gone through this? Tanya Drubich and Sergei Solovyov also passed.
Tatiana: “It was happiness. I liked him so much. Talented, amazingly witty, lively. I didn’t think for a second that he was shorter than me, that we had such a difference in age, that together we probably looked comical. He treated me so kindly, so nobly. I was in love endlessly. Although I never perceived him as a person with whom I would live my whole life.
Marriage is very serious for me. I was raised in such a way that if I got married, it would be forever. But with Seryozha, I understood that it wouldn’t work out that way. Besides, he was married. He remained a god to me. It didn’t matter to me what my status was with him. Muse, actress, friend? Quite enough. I knew that the prospect of divorce was painful and unpleasant for him, so I didn’t insist on anything and didn’t rush him in any way.
Everything would probably have continued like this if he had not introduced me to his friend, now a world-famous violinist. The friend was young, smart, talented and, most importantly, completely single. In general, very soon he asked me to marry him. When Solovyov found out about this, not a trace remained of the former indifference to matrimonial problems. He developed a frantic activity: he instantly filed for a divorce, built everyone up, exchanged everyone, and before I even had time to come to my senses, he was introducing me to everyone as his wife.”
Despite these changes, little has changed in their relationship. She still idolized him, he still saw her only in leading roles, they still lived in two houses. It was a bit difficult in everyday life, especially after the birth of her daughter Anechka, but now Tanya remembers this time even with tenderness.
Tatyana Drubich is a classic type of femme fatale or femme fatale. No, not one of those crazy infernals of Dostoevsky who drink other people’s blood, fight in hysterics and burn money in the fireplace. And not one of the calculating lionesses prowling in search of rich prey and thrills. Another breed. A random companion on the way, a silent wanderer on the roads of life. She comes silently and disappears without explanation. Dark glasses, withdrawn and concentrated, barely holding the steering wheel, dialing a cell phone number, starting a business conversation in a calm voice. Only, perhaps, the headlights of her Land Rover will blaze with ruby light, signaling to all the madmen trying to rush in pursuit: “Danger to life, gentlemen!”
Before Drubich, our cinema hardly knew such women. Of her distant predecessors, one can name Vera Kholodnaya.
“I am a peace-loving person. I hate conflicts and ambiguous situations. For me, it’s easier to just say everything as it is. In my opinion, femme fatales do not behave this way. To dissemble, to play, to intrigue is not for me. I speak without any bravado. Rather, it is a recognition of one’s own primitiveness. Or maybe the costs of our common upbringing are taking their toll. After all, no one raised women in us. We were trained to become fighting buddies. To take you out of the battlefield, to stop a galloping horse, or, at worst, to defend your dissertation - you are always welcome. But to be capricious, to drive me crazy, to have the right to my own little quirks - this is already from some other life, unknown to me.
I never wanted to choose. And so in everything - from choosing a dress to choosing a profession. Life chose for me. And I didn’t go to medical school because I’m so terribly principled. I just understood: acting is not my thing. I envy the new generation. Now, when Anya and I go to the store, she already knows exactly what she wants, what suits her, what doesn’t. But I still get lost there. I mumble something, as if I’m to blame for everyone. And even in front of this kind saleswoman.”
She was twenty-five when perestroika began, new horizons opened up, everyone rushed to make money. But not everyone managed to preserve their inner spiritual structure, as Tatyana did. Drubich survived. She did not change her life principles, her value system. Tatyana continued to act in films and played Chekhov's heroines in the theater. Moreover, her new classes - business, economics - expanded Tatyana’s ideas about life, gave her new knowledge, strengthened her responsibility, and a stable financial situation made it possible to help those who needed it.
In the early nineties, she opened a fashionable nightclub, Assembly Hall. There was good music, “new Russians”, dancing on tables, constant calls to the police. But just as quickly as exoticism came into Tanya’s life, it disappeared just as quickly. Drubich again plunged headlong into medicine. But then representatives of a German company working in the field of healthcare appeared and asked for help organizing the case. And she took it, becoming a businesswoman.
Now Drubich has her own company in Germany, a house in Zhukovka and a huge black Land Rover that looks like a funeral hearse, which she drives skillfully and carefully, like an experienced driver. Raises daughter Anya. Idols among actors are still Tatyana Samoilova, as well as Romy Schneider, Jean Gabin, Bastor Keaton, Trintignant. And the genius of geniuses is De Niro.
Latest Best Movies
Assa
Ten Little Indians
One hundred days after childhood
Medical school
Tatyana Lyusenovna Drubich entered the evening faculty of the Moscow Medical Dental Institute named after Semashko. After receiving a specialist diploma, she began working in one of the capital’s clinics. The actress herself even today admits that the most valuable thing for her is her medical education.
All this despite the fact that Tatyana was expected at VGIK, even many teachers were sure that she would start studying there. But it didn't happen. Then it became clear that Tatyana Lyusenovna Drubich, whose height was only 165 centimeters, was already a girl with character.
However, she did not abandon her film career. She starred in films and continued to work as a doctor in a regular district hospital. Many noted that Tatyana Lyusenovna Drubich greatly valued her white coat and medical histories. The photos that were regularly published in Soviet Screen interested her much less.
"Own" director
Drubich became the actress who found “her” director. After the success of “One Hundred Days After Childhood,” she starred in Pavel Arsenov’s school drama “Confusion of Feelings.” Frankly, not very successful. And in 1980 she again found herself on the set of Sergei Solovyov. This time in the melodrama “Rescuer”.
She got the image of a sweet girl Asya, secretly in love with her former literature teacher Larikov (played by Sergei Shakurov).
After this, Tatyana Lyusenovna Drubich begins to regularly play in Solovyov’s films. In 1982 he played in the drama “The Straight Heiress.” And after filming a film about the life of Russian emigrants in Latin America, “The Chosen,” they get married.
Personal life of the actress
Tatyana Lyusyenovna Drubich, whose personal life was so well settled, was 23 years old at that time. Solovyov is 39. This was his third marriage after unions with actresses Ekaterina Vasilyeva and Marianna Kushnerova.
Drubich idolized Solovyov even when they had a relationship as between a director and an actress. He was still married then. And the heroine of our article didn’t really believe in the prospect of divorce, seeing how difficult and unpleasant these thoughts were for him.
After they finally got married, little changed in their relationship. For him, she was still more of a leading actress than a wife; for her, he was a god-like person. At the same time, the couple, in fact, lived in two houses. What became especially difficult after the birth of her daughter Anna in 1984. They divorced in 1989.
Anna chose a creative path for herself. She studied piano at the Higher School of Theater and Performing Arts in Munich. Now he writes music for films in Los Angeles.
At the peak of my career
Many films in which Tatyana Lyusenovna Drubich played became famous. Solovyov’s films “Assa” and “Black Rose - the Emblem of Sadness, Red Rose - the Emblem of Love” became real hits.
Their creator was Sergei Soloviev, and the heroine of our article got the main roles. Despite all this, success on the screen never particularly attracted her. And when perestroika began, she began to act much less often, taking up entrepreneurship and her own business.
Links[ | ]
- Tatyana Drubich on the website “Snob.ru”
- Biography on peoples.ru
- “Cloud Tanya” - Sergei Solovyov about Tatyana Drubich. From the book “Assa” and other works by this author on the Blogger website
- Tatyana Drubich, stills from the film “The Rescuer” (1978) on the Blogger website
- Interview in Smena magazine, March 1988 (review of “On the White Sheet of the Screen”)
- Tatiana Drubich (English) on the Internet Movie Database
- Tatyana Drubich - site about life and creativity
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Business success
At the same time, Tatyana Lyusenovna Drubich did not completely abandon films. She still played Chekhov's heroines on the screen, but in life she learned all the intricacies of private property and commerce. During these years, everyone began to frantically look for opportunities to earn money. Economics and business significantly expanded her understanding of the world around her.
In the early 90s, she became the owner of the fashionable club “Aktovy Zal” in the capital. It had everything you needed for a good holiday at that time. High-quality music, dancing on tables, dubious visitors with big money. She quickly became bored with such a life and such a business, and she returned to medicine.
Soon the opportunity to make money in this area arose. A German company working in the healthcare sector asked her to help organize a business in Russia. Drubich became rich and acquired real estate in Germany. At the same time, when she had a consistently high income, she became involved in charity work. Until now, she is the co-chairman of the Vera hospice charity foundation.
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In an interview with the Sobesednik newspaper in January 2013, she criticized the adoption of a law prohibiting the adoption of children by US citizens, and negatively assessed the situation in Russia as a whole: “After Dima Yakovlev’s law, I realized that the country is currently dead. There is nothing more to wait here. Change is possible. All sorts of things. I'm not waiting for them. If someone can leave, there is no need to live here. If apathy controls you, overcome it. But Russia has one serious advantage. Here, where there is winter for six months and many other incidental circumstances, you need to be able to counteract them with something very serious in order to be happy. If you can do this, you have already succeeded. But you have to know how. Because to live and never be happy is too great a luxury, a person cannot afford it.”
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