On the birthday of the artist "RG" remembers his best roles.
Boris, "The Cranes Are Flying", 1961
Batalov was widely known for her role in the military melodrama “The Cranes Are Flying” by Mikhail Kalatozov, based on Viktor Rozov’s “Always Alive” play. This is the only Soviet full-length film awarded the Golden Palm branch of the Cannes Film Festival. The director immediately approved Alexey Batalov for the role of Boris, although they had not been personally acquainted before. The picture makes the audience, like the heroes, reflect on love and devotion, courage and cowardice …
Dmitry Gusev, "Nine days of one year", 1962
In 1962, Alexei Batalov appeared before the audience in the film by Mikhail Romm as the nuclear physicist Gusev, who received a large dose of radiation during the experiment. However, the plot unfolds not only within the walls of the laboratory, but also outside, where friends Gusev and Ilya (Innokenty Smoktunovsky) are complete opposites of each other: decisive and cautious, impulsive and prudent – in love with one girl Lelya. Romm's picture was the best film of 1962, according to a survey of the Soviet Screen magazine, and the leading actor Alexei Batalov was recognized as the best actor of the year.
Gymnast Tibul, "Three Fat Men", 1966
Alexey Batalov not only played one of the main roles in the film adaptation of the story of the same name by Yuri Olesha, but also became the director of the film. The fairy-tale film strongly asserts that justice, courage and goodness can always prevail over the evil, which in the film lies in the guise of despotic rulers – Three Fat Men, who own the power and all the riches of the city. Interestingly, for the sake of a small episode where Tibul is walking along a rope above the square, Alexei Batalov trained for several months to play this scene without an understudy.
Sergey Pavlovich Golubkov, Running, 1970
The picture of the Civil War in 1920, directed by Alexander Alov and Vladimir Naumov, was made based on the works of Mikhail Bulgakov: the eponymous play “Running”, excerpts from the novel “White Guard” and the libretto of the opera “Black Sea”. The consultant of the film was Mikhail Bulgakov’s third wife, Elena Sergeevna, who helped the directors create a unique “Bulgakov” atmosphere. In this film, Batalov played the role of privat-docent of St. Petersburg University, Sergei Pavlovich Golubkov, who, together with other intellectuals, is trying to survive in a military, post-revolutionary commotion. Perhaps the only way out will be emigration … And in a dream, he, even after all adversity, sees a bright dream, a dream about Russia.
Georgy Ivanovich, "Moscow does not believe in tears", 1979
The business card of director Vladimir Menshov “Moscow Doesn’t Believe in Tears”, initially coldly received by critics, became the leader of the hire in the USSR and also won one of the most prestigious film awards of the world – in 1981 the tape received an Oscar statuette in the nomination “Best Foreign Language Film” ". The touching story about the conquest of the impregnable capital and the strong love that comes not only in his youth, has become one of the favorite film stories of the national audience. And Georgy Ivanovich, "he's Gog, he's Gosh, he's Yuri, he's Gore, he's Jora," embodied the sample of a man who shows his love and care not by word, but by deed. Probably, not one woman with a sinking heart was buying a train ticket, hoping to meet such a locksmith Gosha in the car.