Popularity did not play the best role in the actor's personal life - he could not stand the test of fame and big money, perhaps that is why his first marriage broke up - the wife of Sergei Filippov Alevtina Gorinovich, tired of her husband's constant feasts, taking her son, left him. Later Alevtina Ivanovna emigrated to the United States, and this ended the actor's communication not only with his ex-wife, but also with his son, whom he never saw again.
With Alei Gorinovich Filippov met within the walls of the Leningrad Variety and Circus College, they began to meet, and soon got married. They had a son, Yuri, and the first years of the ten they lived together, the couple lived very happily.
Sergei Nikolaevich loved Alya very much, and she was insanely jealous of him, and she was also offended that fame was dearer to her husband than she and her son.
When the deafening popularity came, the personal life of Sergei Filippov began to crumble - not only feasts with colleagues and fans appeared in it, but also other women with whom he had affairs.
This reached Alevtina Ivanovna, she suffered and worried, and then left Filippov. Having left Russia, Gorinovich never returned to her homeland, and therefore they never parted with Filippov officially.
The second wife of the actor was the children's writer Antonina Golubeva, whom he met in the restaurant of the Astoria hotel, where he lived in a room filmed for him by the director of the Comedy Theater Akimov.
This happened almost immediately after parting with Alevtina Ivanovna, and Filippov opened up from the hotel to Golubeva. Antonina was thirteen years older than Filippov and followed him everywhere.
She made sure that he did not start romances on the side and tried to wean him off drinking.
And she was also against communication between Sergei Nikolaevich and his son, but he still continued to visit Yura until he and his mother left for America. Antonina Golubeva also had a daughter from one of the previous marriages and a granddaughter, but she did not communicate with them.
Everyone who knew this couple was surprised that he kept them together - Antonina was always unhappy with something, and Filippov himself often said in moments of revelation that he did not love his second wife, and that Golubev was unimportant as a mistress.
They say that at home they always had a mess, the actor often came to the theater untidy dressed, but he did not attach any importance to this.
They lived together for forty years until Antonina Golubeva died. No matter what they say, the actor's second wife was his savior - she supported her husband when he was fired from the theater, nursed him after a difficult operation.
The death of Antonina became a black day in the biography of Sergei Filippov - he turned out to be useless to anyone and could barely make ends meet, living on a meager pension, he began to have mental problems. The actor survived his wife for only a year and died alone in his apartment in an atmosphere of terrible poverty.
Today Sergei Nikolaevich Filippov would have turned A hundred years !
He is rightfully considered the legendary and brightest comic actor of the Soviet theater and cinema.
And although he almost did not play the main roles, the most famous artists of the country considered it an honor to meet him on the stage or on the set. They recognized him immediately. Acting mainly in small negative roles, Filippov created images that will be remembered for decades. This is Kazimir Almazov in "Tiger Tamer", a lecturer in "Carnival Night", Kisa Vorobyaninov in "Twelve Chairs", the Swedish ambassador to "Ivan Vasilyevich changes his profession."
In the middle of the 20th century, to the traditional questions "Who is to blame?" and "What to do?" added one more: "Is there life on Mars?"
This phrase became winged with the filing of the famous comedian Sergei Filippov, who played the lecturer in the sensational film "Carnival Night".
For the actor, this episodic role became the main one in a huge track record, and the glory of the king of the movie episode haunted Filippov all his life. It was enough for him to appear on the screen so that the whole country was delighted with his unique, absolutely anti-glamorous physiognomy.
But as often happens with comic actors, Filippov's life behind the scenes was dramatic. The son of a great artist does not like to appear in front of the camera, but for this film he made an exception. Over the years, it is no longer possible to establish one hundred percent of some facts, and the dramatic fate of the artist in different versions is presented ambiguously, because each of Sergei Filippov's numerous entourage has its own truth about the actor.
From the diary of Sergei Filippov. "Since I had to play the majority of negative characters, I did not experience any special searches. My childhood passed in those turbulent years, when there was more disagreement than good. And the actor is he, after all, like a sponge, he absorbs everything into himself." ...
Sergey Filippov was born in Saratov in 1912. His father Nikolai Georgievich was a locksmith, his mother Evdokia Terentyevna was a dressmaker and lacemaker. The family lived on the first floor of a wooden house, they did not live well, and the parents wanted Serezha to master the craft and grow up to be a hard worker. The boy worked part-time as a baker, then as a carpenter, then as a loader, until he became interested in choreography.
In 1929, it was time to choose your path in life. 17-year-old Sergei did not hesitate to go to Leningrad and entered the ballet school. But the famous Vaganova excluded Filippov from the list of students, because the young dancer constantly argued with her. So already in his youth, his character was manifested. However, ballet classes gave the artist the accuracy of the movements with which he surprised us in the cinema.
Sergei entered the circus vocational school on Mokhovaya Street. He immediately liked the beautiful fellow student Alevtina Gorinovich, in 1932 she became his wife. In 1933, Filippov graduated from the circus vocational school and joined the troupe of the famous Kirovsky, now the Mariinsky Theater. He made his debut in the play "Red Poppy", but already at the fourth performance the artist became ill. Doctors found Sergey's heart defect and forbade him to dance. Filippov had to look for himself again, and he was pretty nervous. For some time, the artist performed on the stage with parodies, and in 1934 he met the artist and director Nikolai Akimov. He instantly appreciated the appearance and talent of Sergei, and after heading the Leningrad Comedy Theater in 1935, he immediately invited him to the troupe. Filippov immediately rushed to the theater and was surprised at how some artists reacted to his appearance: "Who is this artist with the face of a killer?" Sergei Nikolaevich Filippov had many envious people, and there was every reason for envy. Sergei immediately became a star of the first magnitude. Finally, stability came to the family of the young artist, the whole city went to Filippov. The audience wondered: in what role will the favorite artist appear this time? What unexpected escapades will surprise them?
Numerous admirers inspired Filippov that the fastest way to be recognized by the people was through drinking companions. Sergei was always not averse to a drink. The main director of the Comedy Theater Nikolai Akimov was ready to forgive him everything for many years. He said: "One talented drunkard is dearer to me than a hundred sober mediocrity."
The great comedian's peculiar sense of humor is still legendary. Some of Sergei Filippov's aphorisms are perceived as Russian folk sayings, for example, he owns the famous expression "pies with kittens."
In 1938 Alevtina Gorinovich gave birth to a son, Yura, to Sergei. She had to forget about the career of an actress. Alevtina consoled herself with the thought that Sergei would spend all his free time with her and the child. But Sergei did not sit all night long at the cradle of little Yura. Then Filippov could not even imagine how difficult his relationship with his son would be in the future. The artist was intoxicated by success, applause, he was constantly attracted to the theater. In those days, women really liked him, they were ready for anything to get the cherished autograph of the idol. Well, the young actresses of the Comedy Theater were completely in love with Filippov.
The star of the artist Filippov rose more and more rapidly, but at home it seemed that they did not appreciate it at all. The artist's first wife Alevtina Gorinovich could hardly endure the success of Filippov with numerous fans, which he enjoyed with pleasure. And she loved Sergei. In addition, the long-awaited son Yura was born to the Filippovs only 6 years after the wedding. The artist's addiction to alcohol also did not strengthen the family. And although Sergey loved his family, success came first for him. He said to his wife: "If you interfere with me, I will not look at either you or Yurik. I will sacrifice everything for the sake of glory, I will abandon everyone."
In the end, his wife kicked Sergei Filippov out of the house - after almost 10 years of marriage. But the age-old Russian addiction to alcohol constantly shifted Filippov's priorities. As if to spite himself, Sergei left the apartment where his wife and two-year-old son remained. This happened just before the start of the Great Patriotic War.
Filippov spent the first months of the blockade in besieged Leningrad. The frosts were fierce, and the hunger was so terrible that the actors of the Comedy Theater once ate a cat. Filippov managed to feel the blockade on himself. And when he took part in one of the most poignant films about the war, which was called "Blockade", the artist did not have to play anything - he just remembered.
Sergei Filippov parted with his family shortly before the start of the war. But when the Comedy Theater was about to evacuate, the artist persuaded the theater management, together with the troupe, to take his son, ex-wife and mother-in-law out of Leningrad. Before the tragedy of the war, all family troubles were not important. In December 1941, the Comedy Theater was evacuated to Chelyabinsk. After the war, Filippov could return to his wife. But the artist did not show the proper pressure.
And in 1946, Filippov met his second wife, Antonina Golubeva, met by chance. After the war, returning to Leningrad from evacuation, some of the Comedy Theater actors were accommodated in the Astoria Hotel. Apart from comfortable rooms, Astoria was famous for its restaurant. And Filippov - an addiction to noisy feasts. He laid the table with all kinds of dishes and invited everyone to share his meal. One evening a drunken fight broke out, and Sergei Nikolaevich Filippov was accidentally wounded in the arm with a fork. A police outfit appeared in the restaurant. Filippov was not detained, but he was at the center of the scandal. The famous children's writer Antonina Golubeva helped the artist out of the awkward situation - she was sitting at the next table. Filippov was very surprised when he woke up in her apartment the next morning.
Golubeva and Filippov were more than a strange couple. She called him "Weevil", and he christened her "Red mullet." Golubeva had a difficult character. The woman turned out to be an ardent communist. One of the versions says that she intimidated Filippov, promising to convey where it should be about the anti-Soviet statements that he uttered in a drunken delirium. Only the lazy did not gossip that Filippov was living with a woman who was 13 years older than himself. The weevil and the Red mullet outwardly did not fit each other at all. She was very small, he was very tall. And it was evident that she was much older than him.
The artist's son, Yuri, claims that Sergei Nikolayevich loved his first wife until the end of his days and did not even begin to buy out the divorce certificate. But Golubeva's grandchildren presented both a divorce certificate and a second marriage certificate.
Against the background of the intricate twists and turns of his stormy personal life, Filippov continued to actively act in films. The legendary fourth pavilion of the Lenfilm film studio, here before the revolution there was a theater "Aquarium", here in 1896 the first film show in Russia took place and it was here that after the formation of Lenfilm all famous films were shot, including those where Sergei Filippov played.
In 1946, director Nadezhda Kosheverova invited him to her film Cinderella. Filippov brilliantly played the role of a fairy corporal, and his partners were Yanina Zheimo, Elena Junger and Faina Ranevskaya. In 1947, when "Cinderella" was released on the screens of the country, Filippov settled in the apartment of his second wife, Barabulka, in the famous Writers' House at 9 Griboyedov Canal.
According to their acquaintances, Golubeva treated Sergei like a child. She took care of him, straightened his clothes, gave him a handkerchief, brought him a drink. And Filippov was very extravagant about his Little Mug. At times, their relationship was like children's teasing games. From the notes of Filippov Golubeva: "To Her Excellency Countess Barabul'yants. After reading your letter, I did not understand anything. You write, a chicken, like ... Well, just like a writer. The porridge on the couch is melting and melting, I went on business and to the store Pour porridge with milk. Kiss the fool tightly. S. "
For many years, passers-by saw how in the evenings, barely moving his legs, falling and getting up, Sergei Filippov, being pretty tipsy, walked home along the Italian bridge. The artist's bad habit was hereditary. His father Nikolai Filippov loved to drink hard. This was one of the reasons for the divorce of Filippov's parents in 1927. If Sergey loved his mother Evdokia Terentyevna, dad was a stranger to him. Despite this, Filippov's father filed for alimony in 1952 and the artist was forced to send him a certain amount of money every month. And the bad habit of Sergei himself was aggravated over the years. If the second wife of Sergei Filippov had a personal biographer, perhaps he would have titled the story of this woman as follows: "The difficult happiness of Antonina Golubeva." But no matter how complex she was, she valued her Weevil and wanted to strengthen her family.
She even took a boy from an orphanage in 1949, and she and Filippov fed and watered him for three months, after which Barabulka sent the child back to the orphanage. Why this happened is now impossible to find out. But after this story, Barabulka allowed Filippov's son to come to visit them.
Sergei Filippov's wife Antonina Golubeva wrote several books, but became famous as the author of the story about the childhood of Sergei Kirov "Boy from Urzhum". This book was translated into 96 languages, the writer received huge copyright for many years. And Filippov joked: "A boy from Urzhum feeds me all my life." Golubeva, naturally, tried to instill a love for literature and young Yura Filippov. On this basis, quarrels began. It got to the point that Golubeva began to come to Yura at school and say that especially difficult methods of education should be applied to him. In this regard, Yuri changed five schools. Mutual hostility grew, and in the end Yura began to meet with his father at the theater.
And Golubev's own offspring was not allowed on the threshold at all. In 1948, her daughter came to Leningrad with her husband and a tiny girl. They wanted to stay at the Barabulka. But it was not there. Barabulka understood perfectly well that Sergei Nikolaevich was 15 years younger than her and she had to be very careful, and not a single normal woman could cross the threshold of their house, but only men. So Antonina Golubeva protected her Seryozha from the society of young women. And with her husband's addiction to drinking, she could not help it. Sometimes, the spouse was waiting at the service entrance to the theater, and Filippov escaped through the main entrance. Then the woman went out to Nevsky and asked passers-by if they had seen Filippov.
From the diaries of Sergei Filippov. "They ask me why I play negative characters? And I answer it this way. Have you ever seen a regional committee secretary with a face like mine? And the questioners fell silent in shame."
In 1956, a film was released on the screens of the country, in which Sergei Filippov played his, perhaps, the most stellar role. From the artist's diary: "I had a teacher, Vladimir Nikolaevich Soloviev, an unusually absent-minded person. So I took this person as a prototype." And this is the famous "Liu-yudi! Ay? Where are you?" was born at lunchtime. We are sitting together, the operator and I, there is no one else. So I yelled at the whole site: "People! Hey? Where are you?" The operator immediately said, "We are putting it on." And I inserted this random find. "
Over the years, Filippov stopped losing his head from the flattering words of fans. Antonina Golubeva simply closed her eyes to his little pranks, so nothing threatened the artist's second marriage. With the outward dissimilarity of the Red mullet and the Weevil, over time, they became very close. Once Filippov even wrote to his wife a receipt: "From six in the morning on January 1 to March 1, 1949, I do not drink vodka, liqueurs, champagne and, in general, alcoholic beverages. If I break my word, Barabul will die. If I do not fulfill my word then may I be cursed forever and ever. Amen, Filippov. December 20, 1948. " And Sergei kept his word, even given as a joke. However, for the time being. Both he and his wife knew that sooner or later Filippov, unfortunately, would fail again.
In his diary, Filippov jokingly wrote: "Since 1935, I have been decorating the stage of the Leningrad Comedy Theater with my presence. This is my opinion. The management adheres to the opposite." On an October evening in 1963, the theater hosted a premiere performance based on the play "After Twelve" by Razer and Konstantinov. Sergei was not busy in the performance that evening. However, as soon as the action began, the audience felt that the scene of the feast had gone clearly not according to the script. When the actors raised their glasses, a voice rang out from behind the curtains: "Who drinks like that? I'll go into the frame now, I'll show you how to do it!" This was not the artist's first offense. In 1947, Sergei was already fired from the theater for appearing at a performance while drunk. But he was accepted back into the troupe. This time, the artistic director of the Comedy Theater, a genius artist and director Nikolai Akimov, took a principled position. He summoned Sergei Nikolaevich, took a red pencil and crossed out his name from the troupe.
Filippov's son from his first marriage is still convinced that it was the difficult relationship with his second wife that resulted in his constant dissatisfaction with life and brought him to a misdemeanor, after which he had to leave the theater. If Sergei Filippov had thoughts about returning to the Comedy Theater, then after the death of Nikolai Akimov in 1968, the issue was closed. Leaving the theater, the artist escaped by filming a movie.
But he still loved the theater, and, perhaps, these experiences of the artist did not pass without a trace. In 1965, doctors discovered a brain tumor in Sergei Filippov and ordered an operation. The tumor was excised, then the doctors insisted on a second operation - to put a plate covering the hole in the skull, but Filippov refused. Sergei Nikolaevich did not allow doctors to completely restore his cranium, covered the scar with a beret and joked, "Part of my head became soft with age."
In those days, the Filippov family often communicated with the actor Rudolf Furmanov. When Furmanov was going to buy a cooperative apartment, Filippov lent him a large sum. The artist put this money aside to buy a fur coat for his Little Red mullet. And the Filippov-Golubevs and the Furmanov couple celebrated the new year 1969 together and even made an amateur film about it. But the plot is very sad and traditional for Filippov - how to sneak out of the house from Barabulka in order to have a drink in the restaurant of the Evropeyskaya Hotel.
In 1971, director Leonid Gaidai puts on his version of the famous "12 chairs" by Ilf and Petrov. In this film, Filippov plays the leader of the district nobility, Kisa Vorobyaninov. The new wave of his success is tremendous. And there was another brightest role ahead - a sharp grotesque, an episode, but what a one. And just a few replicas that are still on everyone's lips. The great comedian Gaidai includes Filippov among his artists. In 1973 he released the film "Ivan Vasilyevich Changes His Profession", in which the actor brilliantly plays the Swedish ambassador.
After the triumph, the artist perked up. But fate was already preparing new tests. In the mid-seventies, the son and first wife of Filippov applied to emigrate from the Soviet Union. It turned out that, among other formalities, Yura needed to get his father's consent to leave the USSR. However, the artist was categorically against it. Back in the early seventies, his son Yura, tired of the endless persecution of Barabulka, took his mother's surname Gorinovich. In addition, he hoped that with such a surname it would be easier for him to leave the Land of the Soviets. The OVIR drew up an official request on a form and suggested that Yuri, in front of witnesses, hand it over to his father. The absence of an answer would automatically be considered the artist's consent to the departure of his son. But when Yura came to his father, Golubeva turned out to be at home. She wrote for her husband: “I have nothing to do with my son’s decision to go abroad, I don’t know anything. It is advisable to punish him severely, preferably to shoot him. But I have no material claims.”
The artist's first wife Alevtina Gorinovich and son Yuri emigrated to the United States. Their connection with Sergei Filippov was interrupted for a long time. Sergei was very offended by his son, he even refused to read his letters. The artist's son still recalls that even in exile his mother Alevtina Gorinovich could not forget Sergei, and he never answered letters from America. Both father and son Filippovs regretted how their relationship had developed. But they didn’t talk about it out loud. And it was too late to change anything. Despite the acting demand and success, many were struck by the depressed state of Filippov. Apparently, the longing for his son did not let him go until the very end.
In recent years, many considered the genius comedian a talented, but crazy drunk who married an older woman and lived in a cluttered apartment. This was partly true. Perhaps these circumstances made him play even harder.
In 1988, director Vladimir Bortko invited Filippov to star in the film Heart of a Dog. This was one of the last roles of the artist.
In the eighties, Filippov rarely appeared on the screen - he did not feel well. The red mullet, being much older, was also often ill. She passed away on November 20, 1989. They have been together for over 40 years. And Filippov could not survive her departure. The great Russian comedian Sergei Nikolaevich Filippov died on April 19, 1990. He died in the hospital. Oncology. He was 78 years old.
1990 year. Leningrad. Northern cemetery in Pargolovo. A few weeks after the installation, his monument was stolen from the grave of Sergei Filippov - a bronze bust weighing 36 kilograms. The monument hidden in the bushes was accidentally discovered by Filippov's colleagues and taken to the Guild of Film Actors. Only a few years later, having arrived from America, Yuri Filippov put on the grave a copy of the bust, already made of cast iron. And I left the bronze original at home.
The writer Antonina Golubeva and the artist Sergei Filippov are buried almost side by side, at the edge of the cemetery, by the road. Who they are and why on the monument to a strange peasant in a beret is written "People's Artist", many people passing by now no longer know.
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Biography, life story of Sergei Nikolaevich Filippov
06.24.1912, Saratov - 04.19.1990, Moscow.
The beginning is "hooligan"
Sergey Filippov was born on June 24, 1912 in Saratov into a simple working-class family. His father was a locksmith, his mother was a dressmaker. He did not study well at school, and in high school he was even known as a bully. Only two subjects were given to the boy especially well - literature and chemistry, the last of which once let him down very much. Somehow, in the absence of the teacher, he mixed hydrochloric acid with iron filings, added a couple of reagents ... thereby creating an awful pungent smell throughout the school. Classes were disrupted, and the would-be chemist was expelled from school.
Studies
Sergei Filippov was not particularly upset: he went as a baker's apprentice to a private bakery. Then he tried several more professions, from turner to carpenter, until chance brought him to a ballet studio. And then a brilliant future opened before Filippov: in a few weeks he was already considered the best student. And the young talent on the advice of teachers in 1929 went to enroll in Moscow. Late for the entrance exams to the ballet school at the Bolshoi Theater, and at the same time to the choreographic school in Leningrad, Sergei Filippov, not bewildered, submitted documents to the newly opened variety and circus technical school, where he was admitted.
Everyone predicted success for the gifted student for many years. After graduating from college, in 1933, Sergei Filippov was accepted into the troupe of the Opera and Ballet Theater. But the career of a ballet dancer, unfortunately, turned out to be too short - during the next performance he fell ill, had a heart attack. I had to leave the ballet.
Sergei Filippov entered the pop theater studio. He performed a lot on the stage venues of Leningrad and during one of the concerts he was noticed by Nikolai Pavlovich Akimov, who invited the young actor to go to the Comedy Theater. For the legendary director Filippov played mostly comedic roles. And in the role of a comedian, he felt like a fish in water. The actor was immensely happy that by saying just one line, he could make the whole audience laugh.
CONTINUED BELOW
Cinema
The actor began acting in films for the first time in early 1937. And the debut became fateful in the work of Sergei Filippov. He was invited to the wordless and, as it seemed, at that moment, an easy role of the Finn-Shutskor in the film about the civil war in Karelia directed by the Musicians "For the Soviet Motherland", but the book by Gennady Fish "The Fall of Kimas Lake". All that was needed was dexterity, dexterity, courage, which Filippov did not need to take.
The actor's hero had to jump out of the ambush, run along a log thrown across an ice-free skating rink between two lakes, and shoot at the Red Army man. Feeling that a grenade exploded at his feet, he should immediately collapse into the water. One thing is bad: the shooting took place in winter and had to fall into the icy water.
The directors of the film brutally treated the debutant. I had to repeat the episode again, and again, and again. Four times Filippov fell into the water, four times, completely numb, the guy was taken out of the water, rubbed with alcohol and changed. It would seem that all these ordeals were able to discourage anyone from acting in films. But Sergei Filippov stood firm, and the desire to act in films grew with each take!
After the "ice debut" the actor was noticed, and the directors willingly began to invite him to the shooting. Role followed role.
First marriage
By that time, the actor's personal life was settled. He married Alevtina Ivanovna Grigorovich, who studied with him at the circus vocational school. Both of them took risks. Filippov by the fact that he married the daughter of a nobleman, and this was not encouraged in those years. Alevtina could well incur the wrath of her grandmother, raising her granddaughter in severity (Alevtina's parents died). After all, her future husband did not have, as they say, "neither stake, nor yard."
The grandmother, as they say, was simply presented with a fact, showing her a marriage certificate, and the family healed. And in 1938 their son Yuri was born.
Thirties
In 1939, the actor appeared on the screen in three films at once. In the film "Member of the Government" directed by Zarkhi and Kheifits as an arrogant and cruel man, a quitter and a saboteur. One of those who will soon begin to kill the builders of a new collective farm life from around the corner. Sergei Filippov had to meet such enemies at one time. As a member of the Komsomol, he took part in the detachments that took away the surplus grain from the kulaks. He well remembered the bestial hatred of these enemies of Soviet power and vividly transferred what he saw in life to the screen.
Sergei Filippov also played a cameo role in the film "The Vyborg Side" by Kozintsev and Trauberg, where the young artist stood out for the sharpness and accuracy of his character, and the old railroad worker in the film "Arinka" by Kosheverova and the Musician.
Sergei Filippov was going through a time of recovery. The talented director Sergei Yutkevich invited him to the film "Yakov Sverdlov" for the role of an anarchist sailor, and this successful work, as it were, finally secured the right to appear on the screen for the young artist.
The originality of the actor's talent, his slight emotional excitability, the brightness and acuteness of comedy techniques, the surprisingly organic existence in the image attracted directors. The artist impressed with his rich facial expressions and plasticity. His face could convey complex psychological states, facial expressions. His incredible physical endurance also attracted attention. It was difficult to keep him from dangerous tricks and experiments.
"Adventure of Korzinkina"
The development of the Soviet eccentric comedy film took place in difficult conditions. This genre was classified as "formalistic". But the first picture - "The Adventures of Korzinkina", directed by Clement Mints, with a wonderful actress of rare comedic talent and great charm in the lead role, was a success. Sergei Filippov played in this film the role of a master of the artistic word, performing with the reading of a poem at a pop competition.
The hero of the actor, the reader, entered the stage with the mouse, which slipped behind the collar of his tailcoat, to read The Dying Gladiator. The tragic meaning of Lermontov's poems and the behavior of the performer himself, giggling at the fact that the mouse tickled him, were in sharp contradiction. Sergei Filippov performed a cascade of mimic tricks, resorted to the sharpest methods of acting - grotesque and buffoonery - and achieved an extraordinary comic effect, the role was an extraordinary success.
In the same vein of satirical exaggeration and buffoonery, the actor played the following role - Corporal Spukke, in the film "New Adventures of Schweik". In one of his articles, the director of this film, Sergei Yutkevich, highly appreciating the work of Sergei Filippov, called him "a magnificent buffoon."
"Night patrol"
A long line of comedic images created by Sergei Nikolaevich in subsequent years allows us to understand the peculiarity of his work. He really didn't look like anyone. He had favorite comedians, but admiring them, their work, he never tried to repeat their techniques, did not copy their masks. The audience recognized Sergei Nikolaevich immediately, and he does not even try to hide under any mask. In every, even the smallest role, he was looking, first of all, for character.
"Often,- Sergei Nikolaevich said, - I have to play the roles of Soviet people, our contemporaries, and therefore I try to find a social meaning in each of them "... This is how Sergei Filippov appeared before the audience in the film "Night Patrol" in the role of the store manager Polzikov. The actor was present at the interrogations of thieving businessmen like Polzikov. It seemed to him that he had found this feature and showed it not just as a character trait of this store manager, but as a phenomenon determined by that social system. This is Polzikov's constant, panicky fear of Soviet justice and the inevitable exposure of his fraudulent operations.
Personal life
The glory that fell on Sergei Filippov, in fact, destroyed his family. The actor was very popular with women, which he enjoyed with pleasure. Countless romances with the first beauties of Moscow and Leningrad, constant drinking, all this led to the fact that after a decade and a half Alevtina Ivanovna took her son and left. They never formalized the divorce ...
Sergei Filippov was not left alone for long. Very soon he became friends with the writer Antonina Georgievna Golubeva, who, by the way, was almost twenty years older than him. They healed, as they say today, by a civil marriage.
Filippov loved his wife very much and at the same time was very afraid of her. Golubeva, being a very jealous woman, immediately took him in her arms. She controlled every step of her husband and even forbade him to see his son and ex-wife. Antonina Georgievna tried to fight with his addiction to alcohol, but all attempts were unsuccessful. Filippov continued to drink, turning into a real alcoholic ...
1950s
Since the mid-50s, a new rise in the popularity of Sergei Filippov followed. It all started with his Kazimir Almazov in The Tiger Tamer. Despite the harsh satirical colors, his character is not depicted as a villain, is not turned into a symbol or caricature. Filippov created a living person, endowed with vital features. The impudent, narcissistic, fool of Diamonds at every step emphasizes his superiority over others. But he, like everyone who imagines himself indispensable in this life, was waiting for an inglorious end.
The second half of the 50s was the time when Filippov reigned supreme on the comedy scene and was very popular with the audience: in those years there were few real comedians. One of the brightest successes of Sergei Nikolaevich is the lecturer "from the Society" in the film "Carnival Night". A lecturer from the Society, Sergei Filippov, was present on the screen for a few moments, and the viewer saw an unforgettable image of a living person with a clear and detailed biography, a person far from modern times, from science, a pathetic ignoramus who turned his interesting profession into a dull craft. He spoke very few words. But with the help of subtly designed facial expressions and gestures, Filippov conveyed immeasurably more than what was released to the actor in the text.
It is impossible not to recall one more work of the artist. In the film "A Girl Without an Address" he played the head of the office Vasily Nikodimych Komarinsky. Before us is yet another "gibberish", confident in his necessity and indispensability, and talking about the "timeliness of the turnover of incoming directives in a timely manner and at the right time" in his office. But in the home circle, he turns into Masik's henpecked. Remember his phrase to his wife: "Masik wants vodka".
Recent roles
The fate of the comedian depends on the development of comedy drama. Filippov had years when he did not play a single role in a movie. The repertoire of Filippov, who does not neglect short scenes and episodes, also reflected the consumer attitude of other filmmakers to his work, who used his talent as "a spicy seasoning for a fresh dish."
So there appeared on the screen numerous variants of chauffeurs, varieties of militiamen, doormen, roguish administrators, tipsy citizens. But even each of these characters, the brilliant actor strove to give living human features. And he always succeeded brilliantly. And if, at the same time, the actor was not constrained by the narrow scope of the role, then everyone was convinced of his wide capabilities.
In 1965, Sergei Nikolaevich Filippov underwent a serious operation to remove a brain tumor. But the illness did not seem to affect his performance - he continued to act in films a lot. That there is only Kisa Vorobyaninov in the comedy "Twelve Chairs". It was after this work that the actor was soon awarded the title of People's Artist of the RSFSR.
The 70s also gave us an unforgettable Swedish ambassador in the comedy "Ivan Vasilyevich Changes His Profession", demanding the "Kemsk Volost" from the tsar. I also remember the roles of Filippov in the films: "It can't be!" and Tobacco Captain.
In the 1980s, the actor practically stopped acting due to health problems. However, his work is worthy of mention, such as the role of Hyvärinen in the comedy
a witty person in life. However, fate had in store for him difficult trials, including a long-term quarrel with his only son.
He looked at me closely: "Who are you?" - "I'm your son." “I have no son,” he replied coldly. "And you don't recognize me, Serezhenka, either?" Mom asked. The father looked at her, his face was distorted, it seemed that he was about to cry. He turned sharply and ran away. Then I realized that he still loves his mother ...
I brought a statement from my dad to the OVIR: “I have nothing to do with my son's decision to leave for permanent residence abroad. I think that he should be severely punished, or better - shot. I have no material claims. Sergey Filippov ".
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“Where are you going to shoot? - I asked the young OVIR employees. "Here or in the yard by the wall?"
Of course, I knew that my father threw up and threw himself upon learning that I was emigrating. But it would never have occurred to him to write such a thing. So there is an imaginary picture before your eyes, as his partner Madame Golubeva dictates these lines, full of hatred for the enemy.
After my departure, my father stopped communicating with me, he did not print letters from behind a hillock. And if friends asked about me, he replied that he did not enter into any contacts with traitors to his homeland. And only at the end of his life he admitted that if he had started all over again, he would have stayed with his wife and son ...
I will never forget our last phone call.
- No, Yura, don’t send money, medicines too. I have everything.
- Maybe you will come to visit me? I'll pay for everything.
- This is also not necessary.
- I haven't seen each other for so many years ... If you want, I'll come myself, I can with my mother.
- I love her very much and have always loved her.
- She knows it and, by the way, never married again. Well, you are like little children, it's time for you to meet and talk.
- I will never forgive her that she kicked me out with a log!
For some reason, with these words about the log, I remembered how in childhood I dreamed that my beloved parents would live together, and my heart ached. An amazing thing. I changed my country, last name and patronymic, I thought that I had corroded everything connected with my father with a hot iron. But in the end I returned to St. Petersburg, sometimes I go to the Comedy Theater, where he worked all his life, collecting bit by bit his archive, photographs, memories of him. Apparently, Filip's genes won in me ... 
My grandfather, a German baron, was the manager of a nail plant in Saratov. There he married the lacemaker, the beautiful songstress Duna, my grandmother. Seryozha, my father, was born to them. But at the beginning of World War I, my grandfather was forced to go home, and my grandmother flatly refused to leave Russia.
Master Nikolai Georgievich, a locksmith by profession, worked at the same plant. Once his owner sent a promising employee to Germany to improve his qualifications, a year later Nikolai returned from there in a fashionable vest decorated with a chain with a watch. Local girls shot in his direction with their eyes, but the enviable boyfriend preferred Dunya, who was alone by that time: although she is with a child, she is a real beauty, moreover, she sings like a nightingale! So Seryozha got a stepfather.
On Saturdays, the new head of the family invariably came home drunk, scolded his wife, and then climbed onto the chest of drawers and sang loudly German songs memorized abroad, in between reproaching Seryozha for his bourgeois origin. By the way, the local boys also teased their friend only as Fon-Baron.
All of my dad's childhood was spent on the street. “The Volga saw us much more often than our pets,” he said more than once. With the neighboring boys, the same beggars, he stole watermelons from barges going along the river. I caught fish, but mostly small things came across. She was fried on sticks at the stake, and they themselves circled around in wild pirate dances, in the performance of which Sergei was especially zealous.
Telling me about children's pranks, dad always said: "Yes, I was far from a gift!" Among school subjects, he respected literature and chemistry. Because of the chemistry, he was kicked out of school with a bang. Dad suddenly decided that he was already ripe for independent experiments, and as a result of combinations with hydrochloric acid and iron filings, he created such a corrosive gas that he had to stop studying for several days. 
Mother racked her brains: what to do next with such an inquisitive son? There was unemployment in Saratov, and there was no need to think about getting a boy without a profession somewhere. At first she gave him as an apprentice to a baker, but he messed up something, ruined the dough and flew out into the street. “Okay, Gorky also failed to bake bread,” the well-read Seryozha consoled himself. Then his mother took him to a German cabinetmaker. He spoke poor Russian and called his father "Malshyk Filipou". While instructively raising his forefinger up, he said: "Malshyk Filipou, bez srumenta and vosh ne ubesh." Dad liked the workshop: the silence, wood, shavings, luxurious furniture. Later, he often remembered with warmth his pedant-teacher and in difficult times said: "It will not work further with acting - I will go to the restorers!"
But one day his life took a sharp turn. One evening he and a friend walked past a local club, looked through the window. There, in a large, lighted hall, girls in short skirts were making such pretzels with their feet that Seryozha's jaw dropped. At the entrance to the building there was a sign "Choreographic School". The guys looked at each other in bewilderment and grunted: is it from the word "harya", or what? But dad liked what he saw so much that he persuaded his friend to come in. The teacher immediately enrolled them in the circle, since not a single boy was there. A friend very quickly lost interest in dancing, and dad began to study, and the teacher, seeing his zeal, eventually advised him to go to Moscow and study further.
Dad really had exceptional data for a classical dancer: a jump, a sense of rhythm, long legs. But in the capital's choreographic school, the recruitment was already completed, and he entered the ballet department of the Leningrad Variety and Circus College on Mokhovaya. My mother Alevtina Gorinovich also studied there with great enthusiasm. Years later, Daddy sighed with regret: “It's a shame she didn't become an actress. She was like Ermolova with talent. " 
But my grandmother Lyubov Ippolitovna was unhappy with her daughter's choice of profession:
- How could you? General Kupriyanov's granddaughter - and an actor! If I wanted creativity so much, I would have gone to an artist, or something. I studied with Nicholas Roerich! Paper, watercolor ... Why is that bad?
- Paper, watercolor ... And life passes by!
- What kind of life can there be under revolutionaries?
But as it turned out, the school was still half the trouble: Asya started an affair with Seryozha, who, not only was preparing to become a ballet dancer, but also lived in a hostel on a tiny scholarship. And when the daughter brought Filippov to meet her mother, the future mother-in-law did not like the groom at once.
- How can you want to marry him? He's a boor. Take a closer look at him. It's a clown, clown! He will never make a good husband and father to your children.
- And what do you think I should have a husband? The same as yours? My mother replied insolently.
- My husbands were from good families, educated mustachioed handsome men. And this one is a rolling pitch. No stake, no yard. Your father was, by the way, a nobleman! He was a hero and went missing in the war, - Lyubov Ippolitovna finished with pathos, sobbed and put a lace handkerchief to her eyes.
- Mom, you're wrong. Seryozha is smart, handsome. We are about to graduate from college. And his profession will be good.
At these words, Lyubov Ippolitovna's tears instantly dried up.
- Is it a man's business to kick your legs? Itself went to the actor, and even decided to have a dancer husband ?!
Asya was sure that her mother would nevertheless change her anger to mercy and accept her son-in-law. But time passed, and Lyubov Ippolitovna was adamant. She only put up with my father. For her, he was just a boor, unworthy of her daughter's hand. She said to him all the time: "Seryozhenka, you are a boor." It would seem that there are only three letters, but how much feeling she put into them! It spoke of class hatred, and my father never spoke about his barony ... 
Lyubov Ippolitovna was, as they said before, from the former. General's daughter, studied at the Imperial Society for the Encouragement of Arts. I remember how, sitting by the window, she drank tea from a cup of Saxon porcelain, miraculously survived, went with her grandmother through the revolution, the Civil and Patriotic War, through evacuation, moving and returning to Shirokaya Street in Leningrad. This cup without a saucer and a few photographs are all that Lyubov Ippolitovna has left from her former life.
But, it happened, when the whole general's family went to the dacha, they carried a piano with them. It was special, summer. In winter he was kept in a shed near the house, covered with a thick blanket and wrapped in hay. Grandma remembered this with nostalgia. Of course, she dreamed that her daughter would marry a prince on a white horse.
Once Asya and Seryozha, without receiving the blessing, signed, and dad legally moved into my mother's room. It was a tragedy for my grandmother. The whole apartment smelled of valerian and ammonia. With her head tied around her, Lyubov Ippolitovna occasionally went out into the now common kitchen to pour tea into her Saxon cup. She did not allow her daughter or son-in-law to visit her. But from time to time she came up to their door and knocked loudly: “You can't do that much! It is unhealthy! "
And the newlyweds made grandiose plans for the future. Dad graduated from college in 1933. At the graduation concert, he performed the fiery dance of the English sailor "Jolly Jim". The issue was a great success. Everyone was amazed that the tap dance in it alternated with the classic batman. It was bold. The most amazing thing is that thanks to this dance he was admitted to the Mariinsky Theater. Joy knew no bounds: “Can you imagine, Asenka! I, yesterday's Saratov boy, and suddenly - an artist of the world famous troupe! " 
In the new ballet "Red Poppy", he played the role of the Fireman: he ran out onto the stage with a bucket, all stained with coal, and performed a very short dance, and then, as it was written in the libretto, ran into the stoker. One day, dad stayed on stage in excess of what was supposed to be and suddenly suddenly put a dirty bucket on the hand of the captain standing on the stage, whose snow-white tunic instantly became covered with black spots. For this trick, he received a serious scolding. But this was not the reason for his departure from the Mariinsky. Once, right at the performance, dad fainted. The doctor's verdict was categorical: "You have a weak heart, you will have to forget about ballet."
Dad did not expect such a blow of fate. He became irritable and rude. My mother also got it. And then Lyubov Ippolitovna urged her daughter: “I warned you! Is this a profession for a man? So what are you going to do?"
Father had no choice but to look for another job. He performed on the stage, then there was a music hall, where my mother served and Mironova and Menaker began their creative activities. But dad did not stay long there either. Soon I received a telegram: "I propose to work at the Akimov Comedy Theater that I have accepted." It turns out that Nikolai Pavlovich remembered his father from the dance "Jolly Jim". Dad immediately sent a reply: "I agree unconditionally."
The comedy theater was then called the “theater at the grocery store” because it was located in the same building as the Eliseevsky store. His main director was not even embarrassed by the fact that his father did not have a school of dramatic art. But the actors were wary of Filippov. Dad remembered for a long time the phrase that someone said after him: "Is this guy with the face of a killer an actor?" The only one who immediately showed sympathy for the newcomer was Elena Mavrikievna Granovskaya; in the forties, the public flocked to performances with her participation - "A Glass of Water", "The Cherry Orchard", "Enemies". The genius actress had one passion: Granovskaya adored little pigs. And like a dog she kept the pig at home from time to time. When he grew up, Granovskaya passed him, as she believed, into good hands. But the poor fellow, these "good hands" were sent to the frying pan. 
But the filmmakers immediately drew attention to the young actor. The screen debut took place in 1937. It was a cameo role without words in The Fall of Kimas Lake. According to the plot, dad had to, firing back from the Red Army, run over the river on a log, but he slipped and fell into the icy water. After each take, the director's assistants rubbed it with alcohol, and on the fourth, they took pity and gave it to be taken orally. And my father really liked it. As, however, I liked filming. Although when he first saw himself on the screen, there was a desire to quit the acting profession: “Is it really me? Yes, such a disgrace is not like going to the movies, you can't even be allowed on a tram! "
Filippov could cope with any serious role, but the directors exploited his comedic gift with might and main, offering roles of various nasty types. Once dad even asked the director of Lenfilm to give him the opportunity to play a positive hero. He laughed in response: "Have you looked at yourself in the mirror?"
And everything continued. When he played a German in "Troubled Household", people on the street began to let go of the curse at Daddy's address, mistaking the actor for his hero. He fled, and they shouted after him: "Oh, you fascist nit!" And only at home, having closed the door behind him, dad sighed with relief: "The people love me, they will know."
But he never used his popularity for personal gain. In the queue for vodka, they repeatedly persuaded:
- Sergei Nikolaevich, why are you standing there ?! Come in, we'll let you through.
But dad invariably refused:
- We are not standing for bread!
My father said that in Russia the fastest and most reliable way to popularity is through drinking companions. And enjoyed it. The feast occupied an important place in his life. Sergei Nikolaevich liked to order a gorgeous dinner in a restaurant, inviting acquaintances or people who liked him to his table. Once the attention of the Pope drew to himself some important, huge man in uniform, passing by. 
- Taxi, old man!
- I'm not an old man, Sergei Nikolaevich, but Admiral Zasosov.
- This changes things. Paddle up, Admiral. Let's suck a glass with you.
My father had an excellent sense of humor. He was the author of catch phrases that went to the people. So, opening the next bottle, he liked to say: "The old woman did not suffer for long in the hands of the gangster" or "Pour seven times, seize once." By the way, the famous phrase "Two stars, three stars, four stars, and best of all, of course, five stars" in the film "Carnival Night" is Dad's improvisation.
But when popularity began to acquire catastrophic proportions, it began to annoy him. Well, who will like it if a herd of fans follows you and everyone strives to tug at the shirt and even the nose, annoyingly climb with stupid questions. Not to answer everyone who offered to drink at brotherhood with the words of the hero from “Carnival Night”: “I can’t, my dear, I have a lecture!”
In the restaurant, when they started to stare, my father covered his face with a plate. And if someone unceremoniously approached his table, he could in a fury rip off the tablecloth along with the dishes. A certain lady once asked Filippov to leave an autograph on her chest. He rushed away from her at breakneck speed, on the way hitting an old man in his teeth, who climbed to hug.
The Pope did not tolerate familiarity. “Oh my God,” he cried desperately, “what am I to you - an animal ?! Can you walk by and let me live how I want? " Sometimes he arranged pranks in which there was a moment of vindictiveness. Once in winter my father walked with Pavel Kadochnikov along the Nevsky Prospect. And suddenly he rushed to the snowdrift and began to quickly rake the wet snow. Kadochnikov asked in surprise:
- What's the matter, Seryozha?
He answered deliberately loudly:
- Yes, they gave me a ring with a diamond, and he accidentally fell into the snow. What a shame!
Kadochnikov realized that this was a joke and winked at his friend. A minute later, a whole crowd was looking for the ring. And then dad waved his hand:
- Come on, they'll give me another one.
He and Kadochnikov left, and the people continued to dig in the snow.
My father generally loved practical jokes. Mom told me how they went to the thrift store together.
- Do you accept used goods? Dad asked.
- An inheritance from your grandmother? Something of value? - the seller perked up.
“Quite,” Dad said and pointed to the briefcase.
- How can you walk the streets with such things in our time ?!
Father took out a package and began to unfold it for a long time. Carefully he laid out two bagels on the counter and looked at the seller.
- But excuse me, where is the inheritance from your grandmother?
- As where? Here. It's a commission, isn't it? Do you accept used goods? Antiques? - and he began to frantically beat the bagels on the counter, proving their "ancient" origin. This scene could be included in some kind of comedy. My father was a great improviser and constantly came up with something.
After the release of the film "A Girl Without an Address," his life was gone. People shouted after: "Masik wants vodka!" He became afraid of creative meetings with the audience and avoided them in every possible way. As Dad's character Almazov said, his central nervous system was shattered. Filippov could send obscenities to a complete stranger who only asked for an autograph. If he was reproached for being rude, he answered: "Rough, but fair!"
But all this happened later. And at the very beginning of his career, his father literally reveled in fame. He was especially pleased with the success with women. Life was stormy, he often did not come to spend the night, and of course, tension grew in the family. And then I arrived in time and gradually began to oust from the heart of my mother the beloved Seryozha, who had reigned supreme there until then. The people in the house stopped admiring his talent, instead they admired the talents of little Yura. 
- Well, what do we have for dinner? Semolina? - Dad asked, sitting down at the table.
- Porridge Yurochka, and stewed vegetables for you.
Dad was grimly picking at his plate with a fork:
- What is it?
- Gemuse! - the mother-in-law announced triumphantly.
- You work like an ox, and at home they feed you some kind of hare food.
- Seryozhenka, you are a boor! - Lyubov Ippolitovna slammed the door of her room, and a plate with hemuze flew after her.
- Oh, that's how! - Dad exclaimed, putting on his coat. “They don't like me here. They are feeding some kind of flesh. I'm going to the tavern!
Father needed the radiance of Jupiters, adoration of the audience, admiring glances from fans. Mom wanted her to have a real family, a cozy home, a faithful husband and an exemplary son.
A nanny was hired for me. A simple country girl who had never even heard of the great comedian Filippov. Dad began to show interest in her, not suspecting that Lyubov Ippolitovna was watching them through the keyhole. "You are my Goddess! - he began to sulk the nurse. “You are my grace ...” Then the door creaked and mother-in-law Lyubov Ippolitovna appeared on the threshold. "We are rehearsing ..." The dog in the manger, "- dad quickly found. This scene was later included in Ryazanov's film A Girl Without an Address. And the grandmother, I must give her credit, hid the son-in-law's "pranks" from her mother until their divorce ...
I began to remember myself from the moment I was presented with watercolors. First, I painted myself, and then daddy's beige coat. So from an early age, the talent of an artist manifested itself in me. I also loved watching my dad shave. And all the time he asked me to shave. He got tired of this and shaved half of my head. When I saw myself in the mirror, I burst into tears. But the razor still attracted me like a magnet. Once I hid in the hallway, soaped the hem of my grandmother's fur coat and shaved it diligently. 
I was often left at home alone. When the parents were going somewhere to go, the grandmother immediately came up with an urgent matter, just not to sit in nannies. Dad found a way out: he hammered small carnations into the floor, gave me a hammer and instructed me to hammer them to the very cap. And until my parental return, I happily pounded on nails. And when my grandmother began to be indignant that it would soon be impossible to walk on the floor, my father told me to drive nails into the mahogany cabinet.
The family idyll ended as soon as dad was invited to act. He received money, and the whirlwind of freedom carried him away. After another week of spree, my mother packed her father's suitcase and showed him the door, taking a piece of wood in her hand to make it more convincing. Dad was offended: “You will crawl to me on your knees! To me, adored by the whole country! " And he waited for this all his life, but waited in vain. Many times dad tried to return to the family, asked for forgiveness, swore eternal love. But, as my mother said, "the log was always ready, but he lacked a little pressure, a little patience ..."
The war soon began. The comedy theater was evacuated. And although my parents were already divorced, dad made sure that my grandmother and I were taken out of the besieged Leningrad to the mainland.
At first, we lived in Sochi in teplushki, and then we were transported to Tajikistan. I remember filming the film "The Prince and the Pauper" in Stalinabad, where I played a ragamuffin in a crowd. During the evacuation, the family reunited. Dad continued to act and continued to lead a bohemian lifestyle. I came home very late and said, "They didn't give me money today!" fell dead in the hallway.
Mom sewed rag dolls at night, and grandmother painted faces for them. For nothing, perhaps, she studied with Roerich himself! Then she sold them at the bazaar. 
In the fall of 1945, the theater returned to liberated Leningrad. Mom didn't let my father go to Shirokaya Street, where we lived. He settled in the Astoria Hotel, and then Akimov procured a room for his beloved artist. But my father did not have to live there ...
One day, as usual, he was having dinner at a hotel restaurant. Someone said something, dad answered rudely, a fight ensued, and a fork was stuck in my father's hand. Madame Golubeva was sitting next to the table. She not only stood up for the actor, dispersed the brawlers, but also bandaged his wound, after which she took Filippov, stunned from such attention and affection, to her home. And in the morning she hinted: “You shouted yesterday, Seryozha. God forbid, someone knocks on the organs! " Dad got cold feet and stayed with his new friend.
The red mullet, as her father called her, was thirteen years older than him. To the question "Sergei Nikolaevich, what is red mullet?" he replied, "A lousy little fish with bulging eyes." I am still upset that he had such an old and ugly wife! I'm sure Dad didn't really like her. And she adored him, lovingly called him Weevil. Golubeva followed him everywhere - on shooting, on tour, did not allow him to breathe freely.
When he came home very drunk, he shouted at her: “Old witch, I'm tired of you! I have a beautiful wife and a talented son! " And in the morning Antonina Georgievna whispered again: "Seryozha, you were carrying this again yesterday, they will put you in jail!" She kept him on a short leash. Golubeva was a member of the Communist Party and a member of the Writers' Union, as a result of which she felt a tremulous love for party leaders in general, and for Sergei Kirov in particular. She even wrote a book about his childhood - "Boy from Urzhum". But her text was so bad and childishly clumsy that when she handed over the manuscript to the editor Marshak, he completely rewrote it. When my father was asked: 
writer Antonina Golubeva
- Why doesn't your wife write anymore? - he answered gloomily:
- The ink is out.
Dad settled with Golubeva in the late forties. On the embankment of the Griboyedov Canal, in house number nine, where the writers Mikhail Zoshchenko, Yevgeny Shvarts, Veniamin Kaverin, Mikhail Kozakov lived. Sometimes I went there. Golubeva, who was in full command of her father, tried to drill me too. But I did not recognize such a right for his partner.
- Boy, do you read anything? “She never addressed me by my first name, only“ boy ”. - Do you like poetry?
- I love...
- Well, read it.
And I started from Arkhangelsk: "Not a woman - raspberries, / A masterpiece on a canvas - / Marusya Magdalene, / Completely undressed."
- What vulgarity! You, boy, should read pioneer books.
- For example, "Boy from Urzhum", - sarcastically his father.
“This is a very useful book, more than one generation of pioneers has grown up on it,” the great writer answered dryly.
Dad and Golubeva were not officially married, although they lived together for forty years. In 1948, my mother filed for divorce officially. But dad never received his divorce certificate. Probably regretted twenty kopecks for the duty.
With the advent of Golubeva in my father's life, my mother and I entered a difficult period. Once I was called to the headmaster of the school. Uncles and aunts I did not know asked strange questions: am I eating well, do they beat me at home? The next day, my mother was requested to the RONO. It turns out that a signal was received there that she mistreated her son, and that he was leading an immoral lifestyle. One woman from the commission whispered that the information was provided by the communist Golubeva. Mom transferred me to another school. And then again the teachers' nagging and bad grades. She went to both the director and the RONO, trying to understand what was happening. Everywhere she was told that they came from Sergei Nikolaevich and asked to be stricter towards his son: "He is a notorious bully!" Yes, Golubeva took my "upbringing" seriously. Fleeing from her, I changed five schools. 
We also had a desperate financial situation. After the war, my mother graduated from Inyaz, taught speech technique. In addition, she worked as an English correspondent. Thanks to my mother, I have excellent knowledge of the language, which later came in handy in America. But my mother's salary was still not enough for us to live on. And there was no help from my father. He even wrote a statement to the court with a request to release him from alimony, since the mother of the child, instead of buying fruits for the boy, makes repairs for him, Filippov. The judge replied that then she would simply open a criminal case against him, the great artist. Later, his father bitterly admitted that Antonina Georgievna forced him to do this.
I think it was because of the eternal quarrels in the new family that my father started drinking heavily. Along with this, problems began in the theater and cinema: at the studio he said that he was busy in performances, in the theater - that he was shooting. True, there was always money for alcohol. So, once, with his friend the poet Mikhail Dudin, his father took fifty volumes of the Great Soviet Encyclopedia to a second-hand bookstore, followed by a three-day revelry. When Marabulka asked where the books had gone, he replied that ... he gave them to Dudin to read. It was then that it turned out that in one of the volumes the thrifty writer kept a decent amount of money.
At the same time, Sergei Nikolaevich was far from enthusiastic about the spree of his colleagues. Seeing at Lenfilm a young actor who literally didn’t knit bast, dad sighed and said to him in a fatherly way: “You’re not drinking for talent!”
It happened that he left the house ironed, well-groomed and in a tie. And in the evening, muttering "How low I have fallen," he returned already without a tie, without a shirt and even without socks! The red mullet was jealous of him all his life. Although why be jealous? She almost suited him as a mother, and he, like an unlucky child, tried to sneak away from her. Golubeva always kept watch at the service entrance. And my father left the theater fifteen minutes before the end of the rehearsal and went to the famous glass-room on Mokhovaya, where many artists dropped in. 
director Nikolay Akimov
In someone's memory, a scene is described that was repeated on a regular basis. Dad entered the apartment and loudly demanded: "Red mullet, a glass of vodka!" If she was in no hurry, he, holding an empty glass in his hands, began to count: "R-one, two," on the count of "three," the glass flew out the window. Coffee cups could have followed.
Despite his love for drinking, his father had an amazing memory, fellow artists told how they envied his ability to memorize huge texts. He could come to the performance drunk as a lord, but he went on stage and was instantly transformed. Akimov was condescending to Filippov's sloppiness: "For me, a talented drunkard is dearer than a dozen mediocre teetotalers." But after one incident, his angelic patience snapped. Dad stood behind the scenes during the performance. He was drunk. On the stage, the hero was poured a glass of vodka, he began to drink it in small sips. Suddenly dad commented, so much so that was heard in the hall: “Who drinks like that? Mediocre! A full glass must be drunk in one gulp! Now I'll go out and show you how to drink! " The audience was delighted. But Akimov, who was also sitting in the hall, summoned him to his office the next day. The director took the list of the troupe's artists and crossed out Filippov's name with a red pencil.
- Is that all, Nikolai Pavlovich?
- That's it, Sergei Nikolaevich.
My father only had a movie left. But in him he was a god! Filippov was the only Soviet artist to receive money before filming began. "Suma in cuirsive!" - Dad's favorite phrase. And all because he “made the cashier”, like his Diamonds from “Tiger Tamer”. Father's phrase "Love your fee as yourself!" became winged among the actors. He also had endless concerts around the country. It was enough for Filippov to go on stage and say: "Two stars, three stars, four stars, or better ... five ...", as the audience began to applaud while standing. 
My father insisted that I also become an actor, he said that I had data. My childhood was spent behind the scenes of the theater, I saw many talented artists on the stage, but I categorically refused, did not get infected with this craft. And all because I am a terrible lazy person and I work only when I want to. The actor is a forced person.
As a result, my fate was decided by my mother: "Son, since you don't like to do anything - go to the artist!" Naturally, my dad was terribly angry at my decision to become a man of a free profession, he could not forgive this for a long time and often repeated: "Without me you will not achieve anything anyway!" And I so wanted to prove that I could achieve a lot without his help! And my father was also indignant about my hippie hairstyle, tight jeans, into which I sewed metal zippers from shoes. We were going through the usual conflict of generations.
In a word, I entered the "Fly". And then it turned out that the scholarship for the student of Filippov had not been issued. The dean's office explained that they came from Sergei Filippov and said that the artist's son does not need a scholarship, since his father provides him with everything. And I thought that Golubeva was tired of chasing me! The scholarship was returned, but the sediment remained ...
And in the second year it was even "funnier".
“Sergei Nikolaevich’s representative told us that you are in prison,” the dean’s office told me.
- How is it in prison? I go to classes every day!
- Well, you are clever, Filippov! How do you manage to keep up everywhere?
We met with my father less and less. But when, after graduation, I started having troubles in the Hoodfond, I could not resist and asked my mother:
- Mom, you raised me, taught me, my father practically did not take part in my upbringing. Tell me, why do I wear his last name then?
- What happened, son?
- Don't you know that this communist has already reached the Art Fund? The father is a weak person, and she acts on his behalf. So I want to take your last name and your middle name.
And I told her how in the Hoodfond I was stopped by a certain lady with traces of former beauty on her face.
- Dad wants to meet you.
- Excuse me, your dad?
- No, your dad! Sergei Nikolaevich is not feeling well, and they asked you to tell you through me ...
- Madam, - I began to boil. - What kind of dad ?! Tell this dad that I will visit her as many times as this dad came to my hospital!
Some more time passed. I ran into the same madame again in the corridor.
- Yura, visit your dad, he is waiting for you.
- You probably confuse me with someone.
- Are you Yuri Sergeevich Filippov, the son of Sergei Filippov?
“You're wrong,” I said, and solemnly took out a brand new Soviet passport. - See? Yuri Ivanovich Gorinovich!
She looked at me in horror:
- How could you?
The fact that I changed my last name was a terrible blow for my father. But I could not forgive him for not protecting me from the poisonous bites of his partner. Well, if you don’t help, don’t interfere with my life with my mother!
I've always been a free person. Once they began to drag me into the ranks of the members of the CPSU. They summoned the big party chief, but I honestly confessed to him:
- I am not allowed to the party, I love feasts, women, every week there is a new lady, I can’t help myself.
He looked gloomily and said:
- Let's fight together, comrade! We will help you!
My answer was too bold for the time:
- Thank you, I'm doing it myself.
I managed to laugh it off a couple of times. But I soon noticed that they began to rub me in at work. I was engaged in the design of the Pushkin Museum, so I was sure that I would also work at the Tsarskoye Selo Lyceum. But due to the fact that he was not a member of the party, the order was given to another. I was indignant: "But Pushkin, too, was never a member of the party!" This was the last straw, I decided to leave. 
The OVIR demanded a written permission from the father to leave. My mother and I went to him for a signature. But Madame Golubeva did not even open the door for us. Then we decided to guard him at the house. We look, goes to the entrance.
- Dad, I need your signature on the document that you have no material claims to me.
My father looked at me very closely.
- Who are you? Do not know!
- How you do not know? I'm your son.
“I don’t have a son,” he replied coldly.
- And you don't recognize me, Serezhenka, either? Mom asked.
The father looked at her, his face was distorted, it seemed that he was about to cry. Then he turned sharply and ran away from us. Then I realized that he still loves his mother ...
“So he waited until we ourselves came to bow to him,” she said sadly.
Mom did not marry after the divorce, and although his father lived until the end of his days with another woman, he never married her. My parents even died in the same year, but in different parts of the world: my mother is in America, and my father is in St. Petersburg ...
That our meeting with my father on the Griboyedov Canal was the last. We did not see each other again. Never. Help from him was passed on to me through third parties.
Much later, when my father was gone, all the memories of him, of his life, I collected from friends and acquaintances. I wrote letters to all the artists who knew Filippov. One of the first to answer me from Paris was Yulia Nikolaevna Predtechenskaya, the mother of Mikhail Shemyakin. In the forties, she worked with her father at the Comedy Theater. Yulia Nikolaevna told two wonderful stories. Once they returned home together after the performance. I had to walk for a long time. There was a fair amount of frost, and on the Predtechenskaya street there was a fashionable meningitis hat, a fur jacket, a skirt, Polish gazufki stockings (that was the name of nylon) and high-heeled shoes. Suddenly she stops abruptly and says: 
- Seryozha, I can’t take it anymore! Take off your pants faster!
The father was taken aback:
- Yulia, you’re not joking, can’t you just hate it?
- I can’t, take it off!
The father thought, “Why not? A beautiful woman literally trembles with desire "- he took off his pants, and she quickly pulled them on herself and ran to Petrogradskaya ...
Now the second: my father borrowed three rubles from Yulia Nikolaevna and forgot about it. And Misha Shemyakin, who was then thirteen or fourteen years old, liked the book in the store. He ran to his mother for money, and she suggested: "Go to the theater to Uncle Seryozha Filippov, he owes me three rubles, tell me that I sent you for them." Misha approached his father backstage:
- Uncle Seryozha, I am the son of the Forerunner. Mom told me to repay the debt.
Dad looked at him in surprise:
- Boy, we're actually playing here! Wait.
Holding out a three-ruble note after the performance, he said with annoyance: "What a persistent son Yulia Nikolaevna has!"
Gaidai's proposal to play Kisa Vorobyaninov in 12 Chairs made his father so happy that he even stopped drinking. But on the set, he was constantly tormented by terrible headaches, and before dubbing he underwent a complex operation. The amazing surgeon Felix Alexandrovich Gurchin removed a benign tumor and part of the cranial bone for his father. He had a noticeable breathing film on his crown, the doctors strictly warned: God forbid, something will fall on his head! And dad began to wear caps with a tight top, hats, hats. He often jokingly suggested to his friends: "Do you want to feel my brains?" The father believed that he was very lucky, because after the operation he lived for another twenty years.
Igor Usov saw only Filippov in the role of the merchant Smurov in "Tobacco Captain" and personally went to his house to persuade him. Lydia Borisovna Dukhnitskaya, the second director, told me about this scene. They came to the Griboyedov Canal, went up to Filippov's apartment and froze in amazement - Antonina Georgievna was sitting on the floor at the front door, begging her angry husband to let her into her own apartment. Only a terrible obscenity could be heard from there, and Igor Vladimirovich decided to intervene: 
- Uncle Seryozha, stop fooling around! Let's work better together!
The door opened slightly, but Filippov only let Usov into the apartment, and Barabulka remained on the landing. Dad complained to the director:
- I can’t do anything - neither drink, nor smoke, nor act in films! You can only use foul language!
To which he replied:
- You will definitely be filming with me, and we will take care of you.
On the set, my dad had three understudies, they were removed from the back. And for him, several tight wigs were specially sewn to protect his head from blows. After the operation, my father began to have difficulties memorizing the text. But even if he forgot something, he acted out the episode with facial expressions or gestures so that no one could suspect anything. Filippov perfectly coped with the role, even sang and danced in the frame.
Friends said that when he was ill, Golubeva put him in a lace bed in a nightgown with frill and frill. Imagine this picture: it seems to me that dad looked like the Wolf from Little Red Riding Hood. Antonina Georgievna shook over him, bought him flowers, saying: "Seryozhenka loves roses so much!" Tellingly, the Little Sheep never remembered her own daughter from her first marriage and gave all her unspent motherhood to her beloved Weevil.
On New Year's, she hung a New Year's ball on an old lampshade, adding another one each time. In this way, every year that Serezhenka lived after the operation was celebrated.
Antonina Georgievna died in the late eighties, and dad was left alone. I constantly called him, offered to help, but he refused. My father was still filming, took part in creative evenings, received a good, as he assured me, pension. But one friend told me how he once met Filippov at the market, he was buying potatoes. The father complained that Golubeva's relatives had forgotten about his existence. Only friend Kostya visited his father, who studied with him at the ballet school. Now he helped him, sometimes went to the grocery store, cooked. The Lenfilm actress Lyubov Tishchenko wore parcels for him to the hospital, washed his shirts. Dad complained to Lyuba that he saw KGB officers everywhere, that he was being watched. Maybe they really did. After all, he himself regarded our departure with my mother as a betrayal of the Motherland. And it turns out that he was the father of a traitor .. 
He showed Tishchenko my letters: “You see, Lyuba, my son is writing. Loves all the same, misses. " And these letters were not printed - he did not read them, but he carefully kept ...
I lived in America, where I found myself in a completely different world. At first, everything about him annoyed me. In addition, I asked for a quiet state, and I was offered Alabama, where the Ku Klux Klan operated. My mother and I were settled in the very epicenter of racial squabbles. I got tired of all this and bought a ticket to New York.
As an artist-designer I have worked for many well-known firms: Ralph Lauren, Estee Lauder, decorated some Broadway theaters, interiors in the homes of millionaires. Today I have many awards and certificates: “The first five hundred in the world”, “2000 wonderful people of the twentieth century”, my name is entered in the “Hall of Fame” ...
But the thought never left me that for all the success I had missed in my life. Past disagreements with my father at a great distance seemed so insignificant! Only he could love and be jealous of my mother and me for someone else's life, for a foreign country so much. Memories piled up like a snowball. For some reason, more and more often episodes from childhood came to life in my memory. For example, how one day my father took me hunting. He had a rare four-barreled shotgun. We walked for a long time in the forest, but returned without any prey. To play a prank on my mother, they bought a bread hare at a bakery. Until our secret was revealed, she was terribly worried that we had killed a living creature!
After my father's death, I returned to Petersburg. Met by chance with Lydia Borisovna Dukhnitskaya.
- How he loved you, Yura! He was proud of you.
- Some strange love ...
- When we met with him without Barabuli, he always talked about you. I was very sorry that you left. Have you even called him?
- Of course, we talked, but my father did not answer my letters.
She seemed to look at me in surprise. But not to tell her about all the details of our family relations, about how long it took to return to each other ...
When Golubeva was still alive, I called my father from America, but every time the great writer answered the phone, and I hung up, knowing that she would not let us talk anyway. Then I began to look for another way to establish contact with him.
An old friend of mine lived in Leningrad. Her name was Tanya. We corresponded, she was aware of all my affairs. And we had a plan. In the House of Culture named after Gorky, there was a creative evening of Sergei Filippov. During the break, no one was allowed to visit his father, but Tanya bravely made her way through the cordon.
- What do you want?
- I'm from your son. He asks to find out ...
- I am busy. It's time for the stage. Who are you?
- An acquaintance of your son Yura. He just asked to know if you were alive?
- Well, alive, alive. Tell him so. Some kind of crazy!
Dad, just like me, did not suspect then that this "crazy" would come into my life. Soon Tanya came to me in America, we
Sergey Filippov was born in Saratov, in a simple working-class family. Filippov's grandfather was a fantastic strongman, he could tie a poker in a knot, and bent horseshoes and rubles with one hand. Mom, the blue-eyed singer Evdokia Terentyevna, was a dressmaker and lacemaker. His father worked as a foreman at a nail factory and dreamed of seeing his son as a worker. A man of tough disposition, Nikolai Georgievich Filippov possessed extraordinary strength and at times fell into melancholy. Returning from Germany, where the owner of the plant sent him to study, he sometimes climbed onto the closet and banged German songs for hours. And once Filippov Sr. came home from work, ordered to pack his suitcase and said: "I'm going to war, take care of my son!"
Sergei was brought up by his mother's brother, Uncle Sasha. He was a noble caster, wore torn trousers, but a bowler hat. During those turbulent times, he always slept with a revolver at his side. This bumpkin was madly in love with chickens, he believed that they were always freezing. Returning home from work, he lay down on the trestle bed and sentimentally warmed yellow-sided, squeaking chicks on his chest under his shirt. When the Civil War broke out, Uncle Sasha also went to the front, and seven-year-old Seryozha was left on his own. In 1927, the parents divorced due to the drunkenness of their father. Despite this, Filippov's father filed for alimony in 1952 and the artist was forced to send him a certain amount of money every month.
Sergey Filippov with his mother.
His childhood passed in the war, pre- and post-revolutionary times - hunger, lack of everything. But through Saratov, as you know, Mother Volga flows, and in the Volga delta Astrakhan with its famous watermelons. Often, Sergei and his teenage friends swam up to the barge that had settled from the load, and somehow they managed to pick up the lower watermelon. At this moment, part of the watermelon row rolled into the water, and then just choose! Not very high in calories, but still food. Of course, this does not do much honor to the future favorite of the public, but he was always cocky and mischievous. At school, Sergei did not study well, and in high school he was even known as a bully. In a chemistry lesson in the absence of the teacher, he mixed hydrochloric acid with iron filings, added a couple of reagents. After such an experiment, a terribly pungent smell spread throughout the school. Classes were disrupted, and Filippov was expelled from school.
After being expelled from school, Sergei got a job as a baker's apprentice in a private bakery, but did not last long: somehow, after reading Jack London, he forgot to salt the water in which the bread was kneaded, and was fired. Mom, tired of her son's "creativity", sent him to study with a German cabinetmaker, who began to call his student "little boy Phillips." The "boy" learned something and even later tried to teach his son Yura to hammer nails into a mahogany cabinet. Over the next months, he tried several professions, until chance brought him to a ballet studio. Classes captivated Sergei so much that in a few weeks he was considered the best student and a brilliant future in ballet was opening up for him. In 1929, on the advice of teachers, Filippov went to Moscow to enter the ballet school at the Bolshoi Theater.
Arriving in the capital, he learned that the entrance exams had already ended, and, on the advice of knowledgeable people, went to Leningrad, to the choreographic school. But he was late for these exams and submitted documents to the newly opened variety and circus technical school, where he was admitted. While studying at a technical school, in order to survive in that hungry time, Sergei got a job in a dance group at the State Estrade, and sometimes worked part-time in the corps de ballet of the Operetta Theater. Teachers noted Filippov's extraordinary talent and tried to help him with his studies at the Vaganovsky School, from where he was later expelled by Agrippina Vaganova herself for constant arguments, inappropriate reasoning and comic antics that caused laughter in the class during her lessons.
Despite this, after graduating from college in 1933, Sergei Filippov was accepted into the troupe of the Opera and Ballet Theater, but his career as a ballet dancer turned out to be too short - during one of the performances, Filippov became ill from surging emotions and constant malnutrition. The doctors who arrived diagnosed a heart attack and advised Sergei to leave the ballet, and then Filippov entered the pop theater studio. They say that once on the stage, he jumped onto the stage in a ballet tutu, leotards, with a wreath of small roses and pink pointe shoes. The classical pas de deux, which he performed with an absolutely serious face, was accompanied by wild laughter from the audience. At the same time, an article appeared about the extraordinary comic talent of the young Russian artist with his photograph in one of the American newspapers.
He performed a lot on the stage venues of Leningrad and during one of the concerts he was noticed by Nikolai Pavlovich Akimov, who invited the young actor to go to the Comedy Theater. The great director was not frightened even by the fact that Filippov did not have a dramatic education. Tall, thin and agile, with long arms and legs, Filippov moved and danced very well. He was naturally endowed with a rude and very expressive face with a sullen and sinister expression. This was combined with brilliant acting intuition, rich facial expressions and innate humor, though very rude and in many cases indecent. The actors of the troupe greeted the newcomer not very friendly. Once he heard the phrase behind his back: “Who is this guy with the face of a killer? Is he an actor too? " Akimov knew perfectly well that Filippov abused alcohol. And he said: "For me, one talented drunkard is dearer than a dozen sober mediocrity!"
In the performance of the Leningrad Comedy Theater "The Last Judgment", 1939.
Sergei Filippov worked at the Leningrad Comedy Theater from 1935 to 1965. For the legendary director, the actor played mostly comedic roles, in the role of a comedian he felt like a fish in water and was immensely happy that one line could make the whole audience laugh. When Filippov first received his fee, when he saw the amount, he proudly declared: "Give this trifle to the director!" And he left with dignity. He was called to Akimov. Sergei Nikolaevich appeared, full of indignation: “Are you laughing, or what? I'm a married man, we need to eat! And with this money you can only buy ice cream. " Nikolai Akimov endured this impudent pressure and raised Filippov's salary, but in the future he demanded the fullest return from him, never tired of scolding the actor for "disciplinary offenses", which Filippov committed in abundance.
In the theater, Filippov did not like long rehearsals, he often missed them, but Akimov knew that the artist was able to perfectly create the required image literally the first time. Being very observant by nature, Filippov noticed various shortcomings in people and reproduced them in his heroes very evil, sharply and aptly. Sergei Nikolayevich embodied people uncouth, narrow-minded, boorish, endowed with many shortcomings, cunning, resourceful and often arrogant, played idlers, drunkards, vicious losers. However, despite the sharply caricatured style of play, Filippov was organic as an actor in any way.
Such an artist could not fail to be noticed by filmmakers, and in 1937 Sergei Filippov made his debut in the film "For the Soviet Motherland", where he played a small role of a Finn. In the same 1937, Filippov played a partisan peasant in the "Volochaevsky Days" with the Vasiliev brothers, and Grigory Kozintsev and Leonid Trauberg invited him to play a pogromist in the film "Vyborg Side" in a short episode. Sergei Yutkevich, who was then working as a director at the Comedy Theater, immediately noticed an insanely talented thin guy with "big palms." Soon, Filippov received new and interesting roles for Yutkevich in the film Yakov Sverdlov, and for Alexander Zarkha and Joseph Kheifets in the film Member of the Government. Both films were filmed in 1939.
The audience recognized and fell in love with Filippov. These roles became a kind of application for an extensive gallery of crooks, crooks, enemies of socialism, whom Sergei Nikolaevich subsequently played without ceasing. Although he himself often lamented: “I was“ unlucky ”in the cinema. My first role was the role of a Schutzkor in the film For the Soviet Motherland. And since then I have only played negative types. " The painting "The Adventures of Korzinkina" was Filippov's last pre-war work. The audience laughed at this comedy no less than at the legendary "Jolly Fellows" by Grigory Alexandrov. In "The Adventures of Korzinkina" one more amazing facet of Filippov's talent manifested itself - the desire for eccentricity and pantomime. His master of artistic words, reading "The Dying Gladiator" by Lermontov, was greeted by the audience with a bang. "Magnificent buffon!" - exclaimed Sergei Yutkevich, who watched this comedy.
Cinderella (1947)
During the Great Patriotic War, Sergei Filippov, together with the theater, left for the evacuation, and continued to act in films there. With some directors Sergei Nikolaevich converged for life, and the first of them was Nadezhda Kosheverova - a real sorceress in Soviet cinema. Starting with Cinderella, Filippov starred in almost all of her films. In 1942 he starred in the films "Iron Angel" and "Forest Brothers", in 1943 - in the films "March-April", "We are from the Urals" and "New Adventures of Schweik", and in 1944 - in the film "Koschey Immortal". The post-war 1950s were successful in the film career of an actor. On the screens of the USSR, films with the participation of Filippov were released one after another - "Dagger", "We met somewhere ...", "Tiger Tamer" and "Reserve Player" in 1954, "Twelfth Night" - in 1955 ... Filippov performed dangerous stunts without understudies. On filming, he repeatedly fell from a great height to the ground or into the water, entered a cage with tigers. Actor Alexander Susnin stated: “Sergei Nikolaevich was the only actor in the entire USSR who received money before the artists began filming. "Suma in cuirsive!" Everything! They paid without a murmur. "
Filippov was one of those actors that they walked on. In the post-war years, in popularity, he was not inferior to such favorites of the screen as Aleinikov, Kryuchkov, Andreev and Kadochnikov. Actor Vladimir Trukhanov, who worked at the Comedy Theater for many years and knew Sergei Nikolaevich well, said: “I came to the theater in 1947. A very young "green" guy, and Filippov was already an accomplished, one might say, a venerable artist. They loved him in the theater, although his character was not simple. Well, among the people, his popularity was enormous. For example, going down to the kiosk to buy cigarettes became a whole problem for him: the boys, drunk citizens, just passers-by literally surrounded him. I had to disguise myself. Sergei Nikolaevich complained to me about this: "Volodya, why does any trash get to know me! What kind of actor I am!"
In 1956, the New Year's comedy "Carnival Night" was successfully released on the screens of the USSR. Then still a very young director Eldar made his first film based on the model and likeness of the musical comedies of Grigory Alexandrov of the thirties. The shooting was in full swing, but Eldar Alexandrovich did not find a suitable performer for the role of "lecturer from the distribution society". And then Ryazanov remembered the performer of the role of Kazimir Almazov from the painting "The Tiger Tamer" Sergei Filippov. It was a real find. Moreover, Sergei Filippov appeared in the Mosfilm shooting pavilion in the arms of Morpheus and Bacchus, but Ryazanov was only delighted with this fact, believing that the actor will also have to play drunk, which means that everything will turn out realistic.
But in reality, everything turned out to be different - the role of Filippov did not go. The duplicates were filmed, the film was wasted, the director was nervous, but there was still no result. Completely angry Ryazanov kicked Filippov off the set and sent him back to Leningrad, deciding to delete this role from the script altogether. But Filippov liked the role of the lecturer, it was his hero. Two days later, Sergei Nikolaevich, absolutely sober, again arrived at the headquarters of "Carnival Night", and played everything perfectly, and the brilliant scene of the Filippov lecturer later became a classic of Soviet cinema. Actress Rina Zelyonaya recalled a funny incident: “When I came to a concert, I used to say:“ People ay - y! ”. And suddenly in "Carnival Night" Filippov screamed like that. And that's all: the "ay" had to be abandoned! I couldn't quote Filippov. He was so loved that his characters were quoted by everyone. "
1959 year.
In the next film "A Girl Without an Address" the role of the bureaucrat Komarinsky was specially written for Filippov. Their "married" couple with Zoya Fedorova looked hilarious. “Masik! Kusik! Masik wants vodka. " Eldar Ryazanov later recalled: “The role did not go, did not go, did not go ... And I quietly asked the assistant that she would bring a quarter of vodka, no more. And we gave it to Sergei Nikolaevich to drink it and he played everything wonderfully. " The great success of "Carnival Night" and "Girls Without an Address" could have served as an excellent foundation for subsequent creative meetings, but this did not happen. There was a conflict, the reasons for which neither Sergei Nikolaevich nor Eldar Alexandrovich preferred to talk about. Later, being in New York in 1997, Ryazanov met with Filippov's son and said: "Yes, Yura, your father loved to drink." This, unfortunately, was the bitter truth.
Filippov's success in cinema, on stage and in the theater caused him an inexplicable kindred feeling on the part of the audience. Popularity was of a specific nature - he was often identified with his stupid and unpleasant heroes, easily recognized on the streets and in restaurants, and enthusiastically welcomed. He perceived this as a mockery, and being a proud and unsociable person, he quickly hated his popularity and his fans. He could be very caustic and tough, he did not like "show-off". If suddenly someone began to enter, Sergei Nikolayevich could immediately besiege: "But who are you ?!". Therefore, they were afraid to "perform" with him. And when he drank, he could not be ashamed of expressions at all. So he remained until old age. In fact, no one knew him closely, since he was not friends with anyone and did not confess.
The first time the actor was married to Alevtina Ivanovna Gorinovich, a ballet actress, with whom he lived for more than 10 years. She studied with him at the circus vocational school, at the acting department. The lovers got married in 1932, both of them risked. Filippov by the fact that he married the daughter of a nobleman, and this was not encouraged in those years. Alevtina could well incur the wrath of her grandmother, raising her granddaughter in severity (Alevtina's parents died). After all, her future husband did not have, as they say, "neither stake, nor yard." The grandmother, as they say, was simply presented with a fact, showing her a marriage certificate, and the family healed.
Sergey Filippov with his son.
In this marriage, in 1938, Filippov's only son, Yuri, was born. Alevtina Ivanovna became not an actress, but an English teacher, worked as a translator at the Mozhaisky Air Force Academy. She was constantly jealous of her husband for fans, stage and cinema. In the book of Yuri Filippov, the words of his father are quoted, where he admitted that for the sake of fame he was ready to leave both his wife and son: “Mom then was terribly offended:“ Well, go to your glory! ”. Women are not told such things. When the admiration, admiration, feast began, the father said: "I want fame, I want fame!" So the moment of intoxication has come ... ”. Despite his extraordinary appearance, Filippov constantly had romances with the first beauties of Leningrad and Moscow. His wife knew about this, she suffered a lot, and in the end they parted.
Filippov met his second wife Antonina Georgievna Golubeva (1899-1989) at the Astoria restaurant. They lived in Golubeva's apartment, in the famous Writers' House on 9 Griboyedov Canal. Yuri Filippov said: “Madame Golubeva was absolutely a stranger to me. This woman is known for writing the book "Boy from Urzhum" about the childhood of Sergei Kirov. And she wrote it so badly and so clumsily that when the manuscript got on the table to the editor Samuel Marshak, he completely rewrote it. Once, in a restaurant fight, dad was accidentally stabbed in his hand with a fork, and Golubeva, who happened to be nearby, provided him with medical assistance and moral support in time. And then she took him, stunned by such attention and affection, to her home. I'm sure her father never loved her. Jokingly or seriously, he called her the Little Red Sheep. Golubeva followed him everywhere - on the set, on tour - and did not let him breathe freely, being jealous in black. When asked, "Why doesn't your wife write anymore?" Or they were interested in: "Sergei Nikolaevich, what is a Barabulka?"
Antonina Georgievna was a very strange person: she hated children. The fact that she, as it turned out, has a daughter, the father did not immediately find out. Once Madame even started a lawsuit in order to take me away from my mother and send me to an orphanage. When dad came home very drunk, he shouted at her: “Old witch, Kirov b .., I'm tired of you! I have a beautiful wife and a talented son! " Golubev's frantic party in the morning whispered to him: "Seryozha, you carried such a thing yesterday, they will put you in jail." She was constantly blackmailing him. Madame was stronger than her father in character, since she was able to bind and subdue a man who was loved by the most beautiful women. " But, nevertheless, Filippov lived with Golubeva for almost 40 years. It was a strange couple - tall, stately ironic Filippov and small, ugly with constantly pursed lips, much older than his Golubev.
Golubeva was absolutely not adapted to everyday life and did not like household chores. “When you come to them, everything in the house is so unclean, so dirty! However, many note that he always left the house clean, smoothed. Someone said that dad was sick, and they either went to visit him, or they brought his salary, and his father was lying all in lace - well, just a wolf from the fairy tale "Little Red Riding Hood" in grandmother's bed! Golubeva prepared herself, knowing that people would come. Father was a deeply apolitical person, and Golubeva was an ardent communist, almost a KGB agent assigned to him ... What could connect them, only they knew. And we were not very interested. I think at first there was just fear. He said some nonsense, and then ... He really wanted fame, popularity and could not survive if everything collapsed in a moment. She could have reported on him - easily! ”- said Yuri Filippov.
In 1965, Sergei Nikolaevich was diagnosed with a brain tumor. At the same time, he started having problems in the theater. Akimov endured the antics of his favorite for a long time, but in 1965 Filippov was fired from the theater after during the performance, standing backstage, loudly gave humorous remarks to the actors, advising them how to properly play the scene of the feast. Since 1965, Filippov was listed as an actor in the Lenfilm film studio. The whole country quoted his heroes: "Masik wants vodka", "Best of all, of course, five stars", "Did I get here or not here?", "Stanislavskaya system" ...
The turning point for Sergei Nikolaevich was 1970, when Leonid Gaidai invited him to play the role of Kisa Vorobyaninov in his film version of The Twelve Chairs, and the actor was infinitely grateful to Gaidai for such a gift of fate. Nina Grebeshkova, told about their relationship: “Sergei Nikolaevich enjoyed the role like a child. He worked, as they say, for two. And this despite the terrible headaches that he then experienced. The role learned with difficulty. However, he himself did not allow himself to be fiddled with. The only place where he used the services of a "backup" was an eccentric fight between Kisa and Fedor's father, Sergei Nikolaevich was replaced by Lenya himself. Gaidai appreciated him for his rare gift-textured, in his work Sergei Nikolaevich was very scrupulous and responsible. By the way, during the entire filming of "12 chairs" Sergei Nikolaevich did not allow himself to drink, not a single gram. "
Zagarovsky Sergey Sergeevich. Filippov as Kisa Vorobyaninov.
Before the dubbing of the film "Twelve Chairs", Filippov and his wife went to Moscow to undergo an operation to remove the tumor, but the metropolitan doctors refused the artist an operation, considering it deadly. Returning home to Leningrad, Filippov continued to live an ordinary life, until one day he lost consciousness right on the street. He was taken to the city hospital no. 25, and there he was recognized by one of the doctors lying in the corridor. Filippov underwent an immediate operation to remove a benign tumor and part of the cranial bone. After that, Filippov often joked with friends: "Do you want to feel my brains?" After the operation, Sergei Nikolayevich quickly recovered and successfully completed work on the painting, giving the audience an extraordinary pleasure from his unforgettable game.
The actor continued to act, mainly in comedy films ("Ivan Vasilyevich Changes Profession", "The Tobacco Captain", "It Can't Be!" ), salesman in "Preventive measure" (1983), artist in "The Mysterious Old Man" (1980). His most recent roles were as a patient in Heart of a Dog (1988) and a pensioner in Operation Cooperation (1989). He starred, as it turned out, in 118 films.
Filippov spent the last years of his life in poverty and loneliness, he literally starved. His son became an artist, and after graduating from the Mukhinsky School in the 1970s, he emigrated with his mother to the United States and took his mother's surname, Gorinovich. Sergei Nikolaevich did not approve of the choice of his son. It was a terrible blow for the actor. He loved his first wife very much, so he regarded the act of his son and ex-wife as a betrayal. And after a serious illness and death of Antonina Golubeva, he completely closed himself off. Once the actor Mikhail Boyarsky was driving his car and saw Sergei Filippov walking down the street. He offered to give a ride to a colleague. It turned out that the People's Artist, who played more than 100 roles in the cinema, was going to the station to return a ticket worth 19 rubles. Boyarsky invited Filippov to sit in the car, and he himself, walking around the corner, threw away the ticket, counted out the money, and returning to the car gave it to Sergei Nikolaevich. The embarrassed actor hid the money and said: "Misha, put it off now, then nobody needs us."
His longtime friend Lyubov Tishchenko constantly took care of the lonely artist, helping him with the housework and feeding him whenever possible. In one of her interviews, she said: “At that time, his roof literally“ went off ”. It seemed to him that the KGB authorities were following him. Once Filippov confessed to me that he would never have left his wife if she had not left for the States. I remember that Sergei Nikolaevich took out from under the bed a whole bundle of unopened letters from his son. “If you want, read it, but I'm not interested,” he told me. But the most interesting thing is that he did not throw out a single letter. Apparently, he was waiting for something. I hoped that my son would return. The son arrived only when Sergei Filippov had been dead for a long time ... Filippov was a very wasteful person, so he did not save up anything for his old age. And in his youth, he did not even know the value of certain things. In Soviet times, he could get any deficit and constantly spoiled his acquaintances. Filippov had a very rich library in his house. When I once again came to his house, I did not find a single book. It turns out that Golubeva sold the entire library for some ridiculous money ...
Recently, Filippov has completely stopped drinking. Firstly, he had nothing to buy alcohol with, and he never asked anyone for a loan. Secondly, he was already a seriously ill person ... Filippov was a lonely person. He himself chose this way of life - he did not let anyone into his house, he turned off the phone. Colleagues at Lenfilm, knowing his harsh disposition, simply deleted him from their lives, he did not even call doctors at home, probably, he was very ashamed of his appearance, of the disorder in the apartment. I haven't paid the rent for months. I helped as much as I could - I bought cereals, lemon, a piece of cheese. And recently, he began to refuse food altogether. He never asked anyone for anything. At the end of his life, Sergei Nikolaevich did not even have any things left. Either sold everything, or worn out. A month before his death, we took him to the hospital. So he did not have slippers in which he could leave the house. We had to run all over town looking for size 47 shoes. So they hospitalized him - in only slippers and some kind of torn shirt. "
A few days before his death, the actor told Lyubov Tishchenko about his dream: “You know, all my life I wanted to play a positive tragic role, and I got some nasty types. I even cried when I found out that the main role in the film “When the trees were big” went to Yuri Nikulin. " Sergei Filippov died on April 19, 1990 from lung cancer.
The last photo of the actor. A week before death.
Yevgeny Morgunov said about these events: “The worst thing is to be alone. Do you know what grief happened to the wonderful comedian, amazing person Sergei Nikolaevich Filippov? How callous the Leningrad public reacted to the artist, who made everyone laugh, who was idolized, who was offered to drink everything. He died alone in his apartment and lay for two weeks. The neighbors turned to Lenfilm, and there they made a decision: he is a pensioner, so let the social security bury him. And only Sasha Demyanenko, our wonderful Shurik, collected a penny of money from the actors who were retired, from the actors who knew Filippov, made a coffin and buried it. And they wrote absolutely brilliant words on the grave: "And there will be no candles or church singing on the day of burial." These were his favorite poems. " Sergei Filippov was buried at the Northern Cemetery, next to Antonina Golubeva. The Petersburg Guild of Film Actors installed a bust on the grave. At first there was a bronze one, but they tried to steal it: they sawed it up, saw that there was a lot of bronze (36 kg), tore it off the pedestal, dragged it, and threw it in the bushes. Either it seemed heavy to them, or someone frightened them away. Then the bust ended up in the Guild of Screen Actors with Evgeny Leonov-Gladyshev, now it is at home with the son of Sergei Filippov, Yuri. There is a cast iron bust on the grave.
The artist's son found out about Filippov's death too late, and could not come to the funeral. In America, he achieved great success. As an artist-designer, he has worked for many internationally renowned firms: Ralph Laurent, Este Lauder, Armani and Chanel. He designed Broadway theaters and the interiors of multimillionaire villas, received a myriad of awards and certificates. In memory of his father, he wrote the book "Is there life on Mars?" and shot the eponymous, rather controversial documentary. Yuri denies that Filippov lived in poverty: “This is not true! Dad loved to surround himself with beautiful things: he collected bronze figurines, bought mahogany furniture, loved china, jewelry. " Upon arrival, Yuri discovered that antique furniture, jewelry and the family archive had disappeared from Sergei Filippov's apartment.
The son of Sergei Filippov is Yuri.
*** In 2008, the monuments to Ostap Bender and Kisa Vorobyaninov were unveiled in Pyatigorsk. Bronze Kitty has a clear portrait resemblance to Sergei Filippov in this role in Gaidaev's film "12 Chairs". A similar monument was erected in Cheboksary (sculptor V.P. Nagornov).
Pyatigorsk. At the entrance to the Park "Flower Garden" there is a monument to Kisa Vorobyaninov.
Monument in Cheboksary.
*** There is an opinion that a man with a small piece of bread from besieged Leningrad in a famous photograph is Sergei Filippov. But Filippov was 29 years old at the time of filming, and he was in Stalinabad (Dushanbe) - all the employees of the Comedy Theater, headed by Akimov, were evacuated there.
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