People's Artist of Russia Muravyova Irina Vadimovna is known to millions of moviegoers as the cheerful Chechen adventurer Lyudmila Sviridova, the provincial Nina Solomatina and the engineer Nadia Klyueva who soared over the ordinary. Her destiny was destined for a creative path. In the theater, Irina Vadimovna was lucky to play with Faina Ranevskaya, Rostislav Plyatt, Barbara Soshalskaya. She starred in films with Clara Luchko and Yuri Yakovlev. For the role of Lyudmila in the movie "Moscow Does Not Believe in Tears", the actress, beloved by the Soviet audience, was awarded the State Prize in 1981. Russia praised her work, she was awarded many government awards - Orders: “Honor”, “Friendship”, “Badge of Honor”, “For Merit to the Fatherland”.
Talking about herself, Irina Vadimovna always emphasizes that the main thing in her life is still not the cinema, but the theater.
Childhood, youth
Irina Muravyova, the “most charming” woman, was born in Moscow on February 8, 1949. Her father, a military engineer Vadim Sergeyevich, met her mother Lidia Georgievna during the Great Patriotic War, freeing her from captivity. The Muravyev family had two daughters (Irina was two years younger than her sister).
Despite the forced publicity, our heroine, in essence, is a very modest person. The biography of Irina Muravyova contains many understatements. It is felt that the actress respects and loves her loved ones and respects their desires. For example, we did not manage to find the name of her own sister in any source of information. This indicates the delicacy and good breeding of our heroine.
While studying at Khamovnitsky secondary school No. 589 (information accidentally hit the Internet), the girl had a dream - to become a teacher of elementary grades. I liked to study, motivation to study was present. The family reigned in strict upbringing, consonant with home building: the sisters were taught to respect work, to be responsible for loved ones and for their actions, the cult of knowledge was strongly supported.
Mom Lidia Georgievna, as the actress recalls, was not only a wonderful hostess, “sheathing” her daughters, she carefully monitored their “moral appearance”, tried to ensure that they were always “under supervision”. In particular, if the sisters went to the skating rink in Luzhniki, then my mother was there to prevent “harassment” of strangers to her girls.
Choice of profession
However, already at the age of 15, Irina Muravyova was forced to “correct” the dream: the humanitarian orientation prevailed over her educational efforts (although she studied diligently), her creative nature woke up, and the “attraction” of literature and then the theater affected her. Irina’s guide to the unknown world of the scene was “My Life in Art” by Stanislavsky - her handbook. The girl actively participated in the performances of the school drama circle.
Drama Studio
The acting path met the school graduate with thorns. Twice (in 1966 and 1967) Irina tried to enter the Moscow theater universities, and for two years in a row she did not succeed.
In the Shchukin school, the future star was recommended to "forget about art." (By the way, then Natalia Gundareva entered the Pike, which Irina, as a theatrical, had seen earlier in performances.)
Perhaps someone would have broken such failures, but not the heroine of our article. Could the biography of Irina Muravyova not be associated with the theater? The actress herself answers this: “No!” She knew and felt that she would be an actress and that she could handle it.
Having comprehended the last failure, she decided to “gain mastery” by opting for a drama studio at the Central Theater for Children. Here the competition was not so high, and besides, mainly Moscow youth was recruited.
Central Children's Theater
After four years of training, the girl in 1970 was accepted into the theater troupe.
Irina Muravyova made her stage debut as the boy Fedi Druzhinin, the character of the play “2001” (based on the play by S. Mikhalkov). The repertoire of the actress of the Central House of Artists was quite extensive and varied: Lyubov Shevtsova from Fadeevskaya “Young Guard”, Viola from Shakespeare’s “Twelfth Night”, Shura Tychinkin from “Sombrero” by Sergei Mikhalkov, the image of Crow from Andersen’s “Snow Queen”. So, on the roles of talking birds, tomboy-schoolchildren and romantic schoolgirls, the creative potential of the actress grew by leaps and bounds.
After several years of theatrical work, it became apparent to those around that on the stage with meticulously tactful and deeply intelligent Irina a metamorphosis invariably occurs: she turns into a stream of living energy.
But at the same time, she always had her own special, reverent attitude towards the young audience. Deeply individually ending the next performance, the actress always said goodbye to her young spectators in her own way. She simply asked them to remember her.
And so it really happened. Young spectators, who had already become adults, after many years, welcoming her, reminded of this.
Family life
The family biography of Irina Muravyova is not like the biographical bestsellers of many domestic artists, which, like stripes on a street crossing, go through: wedding, divorce, wedding, divorce ...
In 1973, she married the director of the Central House of Theater Leonid Eidlin, with whom she subsequently lived in “consent and love” for 40 years, raising two sons: Daniel (born in 1975) and Eugene (born in 1983). how, in spite of her creative work, she provided children with comfort, upbringing, and proper supervision of Muravyov Irina. Husband Leonid Danilovich, graduate of the directing department of GITIS, jokingly boasted: “The main thing is to be able to choose a wife!” Their family, where mutual respect always reigned, can be called February: Leonid Eidlin was born on February 2, son Evgeny - 6, Irina Vadimovna - 8, son Daniil - 15.
Husband's death
Telling about their close circle, unfortunately, we have to speak in the past tense: not so long ago my husband Irina Muravyova lost her husband (her husband died suddenly on February 16, 2014 at the age of 77 due to a stroke).
Their children grew up in a warm, creative family environment and followed in the footsteps of their parents. That is probably the way it should be. The eldest son, Daniel Eidlin, graduated from the School of the Arts (Blois, France). He is an actor of one of the Parisian theatrical studios and simultaneously appears in series. Married, has a son.
Behind the shoulders of the younger - Eugene - the production department of GITIS. The children of Muravyova Irina love her and have great respect for her. They are unanimous in that her best role is that of her mother. Irina maintains a warm family relationship with her sister. They are very friendly and help each other.
First movie role
However, back to creativity. How did the filmography of Irina Muravyova begin? Let us agree that for the sake of “purity of the genre” we will not take into account the television shows of 1972-1973 when answering this question, where Irina Vadimovna played many roles: Natasha in the social drama Konstantin Khudyakov's “Page of Life”, Bonka in the musical Tale of Pancho Panchev "The Tale of the Four Twins, a sixteen-year-old girl in a play about high school students," Moscow Vacations "by Andrei Kuznetsov.
However, the "key" to the roles of film images that will bring her all-Union cinematic fame, actress Irina Muravyova found in the television series. We are referring to the role of the beginning painter Zinaida Baglyaeva from the television series “Different People”, similar to future movie roles in her inner essence.
Note, the first full-length film with her participation was the detective Samson Samsonov's “Purely English Murder” (in which the actress played the role of Susanna Briggs). The film premiered in December 1974.
Work in the Mossovet Theater
After working for 7 years at the Center for Contemporary Art, Irina Vadimovna, of course, felt the scope of the children's repertoire, so in 1977 she moved to the Moscow City Council theater. However, working in it, the actress entered the next year, and five years later completed the course of O. Ya. Remiz at the State Theater Institute. Lunacharsky.
Actress Irina Muravyova in the theater on the street. Bolshaya Sadovoy played a number of memorable roles, one of them was Grushenka in a drama staged from the novel by F. M. Dostoevsky “The Brothers Karamazov”. She also played in the comedy of Emil Braginsky “The Room”, the play by Valentin Chernykh “Excess of Power”, the comedy by Pavel Khomensky “Halfway to the Top”, the play by Rustam Ibragimbekov “The House in the Sand”.
"Moscow does not believe in tears"
The invitation of Vladimir Menshov to star in the feature film Moscow Does Not Believe in Tears was a rare success. This is necessary so that the director, when he watched TV, remembered the game of Irina Vadimovna in the television play! To get into a “cool” film with a decent budget ... But when Irina Muravyova first saw the film, she doubted, was upset, and burst into tears. It seemed to her that everything that her heroine Lyudmila did on the screen was terrible, vulgar. (The natural reaction of a truly talented person is to doubt.)
Menshov's film was destined for great fame, and the heroine of our article, perhaps, outplayed everyone in it (this is our subjective opinion). Not only that, the film was recognized and appreciated in the world. In 1980, the Americans awarded the director an Oscar (although in absentia). And US President Ronald Reagan, on the recommendation of his advisers, before his first meeting with Mikhail Gorbachev, looked at him eight times to understand the "mysterious Russian soul."
Filmography of Irina Muravyova
Immediately after the resounding success of "Moscow ..." Irina Vadimovna began work in the musical melodrama "Carnival" by Tatyana Lioznova. In 1981, millions of viewers saw its premiere.
The main role, a frantic load. Practically, only Irina depended on the degree to which “life will breathe” into this film. Happened. It has grown together. The audience saw: this actress can do anything. The 17-year-old provincial girl Nina Solomatina, played by a 31-year-old actress, was more than convincing.
And four years later a new take-off followed - the film by Herald Bezhanov “The Most Charming and Attractive” and the role of Nadia Klyueva. Finally, she was almost equal in age with her heroine (she was also thirty years old). The melodramatic plot, a wonderful acting ensemble (Alexander Shirvindt, Tatyana Vasilyeva, Vladimir Nosik) ensured the film's success. However, the key role in it was still played by Irina Muravyova.
The films followed one after the other (Irina was actively filming until the 90s (in those years, the country was in crisis and in the film industry as well). Ironically, this happened exactly when the actress’s potential reached its highest point. no matter what, the directors invited her to appear in those difficult times, among her works in the 90s the following roles can be distinguished: Eugenia (melodrama “This Woman in the Window”, directed by Leonid Eidlin), Galina Kadetova (melodrama L. Kvinikhidze “Artist from Gribov ”), the role of Ksenia’s mother (comedy by Alexander Pavlovsk “Zephyr in Chocolate”), Vera’s nurse (TV series “With New Happiness!”, directed by L. Eidlin).
Now Irina Vadimovna is removed rarely and selectively. Irina is quite critical of the scripts and modern cinema of Muravyov. She chooses films, responding to the proposals of the directors, according to some of her internal principles. Perhaps this is justified: no need to "splurge" on random films. Among her recent film productions is Anna Semenovna from the comedy by Elena Zhigaeva “The Best Grandmother in the World” (2010), an episodic role in the comedy of Vladimir Tumaev “Chinese Grandmother” (2011). Both of these roles were awarded at the VIII Film Festival and at the Nika Festival, respectively.
Maly Theater
Muravyova is a person with a harmonious combination of modesty, tact and dignity. She is truly a universal actress, she can do everything. When irrelevant, gray ones tried to impose roles on her by the means of undercover intrigues in the Mossovet theater, Irina Vadimovna told the director very clearly that her talent did not match his direction and left.
Since 1993 she has been working at the Maly Theater. Irina dreamed about this: to fully demonstrate the talent of the dramatic actress. Spectators go "to Muravyova." She presents them with her images - landowner Lyubov Ranevskaya with her sense of beauty, with her blooming cherry orchard, a symbol of renewal and unity, Irina Arkadina from Chekhov's “The Seagull”, Yevlampiya Kupavina in Ostrovsky's “Wolves and Sheep”.
The actress really lives in the theater, devoted to him, loves him immensely.
Vera
The issue of faith by Irina Vadimovna is not discussed. She believes because her parents believed, because their parents believed before them, because this is a chain of continuity, natural for the Russian Earth, that should not be broken. Once her grandmother supplied her father, accompanying him to World War II, with a prayer, stitching a sheet with her in the lining of the tunic. And Vadim Sergeyevich returned from the front, returned without a single wound ...
Irina was baptized immediately after birth. In 2003, the actress played the role of a parishioner Timofeevna in the 12-episode film “Savior under the Birches” by L. Eidlin. The author of this television novel in 12 chapters - the husband of Irina Vadimovna - conveyed to the audience a lively and vivid story about the life of the church parish. The play in it by Irina Vadimovna is warmly appreciated by the audience, it is qualified as a “confession of good”, “a piercing movie” that finds “a response in the soul”.
The bright actress is inclined to indifferently endure “praise and slander” and believes that the secret of women's happiness is in obedience, meekness, humility, but on the condition: if you get married early.
Output
It is easy and pleasant to write an article about such a bright and talented person. Photos of Irina Muravyova are familiar to everyone. The Russian people appreciate her magnificent acting work, her wonderful films.
What can we, her viewers, tell her? Probably - what I really want to convey from the heart: to express deep human sympathy in view of the death of her husband Leonid Eidlin, to Christianly wish Irina Vadimovna to withstand this blow steadily, and then continue her worthy and bright life to the joy of children, grandchildren and everyone good people who appreciate her talent.