The portrayal of Vera Golubeva, a matchmaker in the comedy melodrama Hospitality Provided for Alone, earned top recognition for Natalia Gundareva in the course of a Mosfilm survey. The poll highlighted the performance as the standout moment in Gundareva’s acting career, underscoring the character’s impact in this 1982 release. The film was directed by Samson Samsonov and written by Arkady Inin, and it became a highlight of Gundareva’s early repertoire.
A total of 954 respondents took part in the study, with 60 percent selecting Vera Golubeva as the most memorable role. The story traces a quirky plot of hospitality and human connection, anchored by Gundareva’s deft comic timing and the film’s warm, cinematic mood. The production remains a notable example of Soviet cinema from the early 1980s, and its enduring appeal is reflected in the audience’s enthusiastic response during the survey process.
The next entry in the survey lineup was Once Upon a Time Twenty Years Later, a narrative centered on Nadezhda Kruglova, a mother renowned for her large family. This film, scripted again by Arkady Inin, features Gundareva in a leading role that drew 38 percent of respondents’ favorable opinions, earning it strong recognition even as the artist himself offers a reserved assessment of the work’s execution.
Rounding out the top three is the film Citizen Nikanorova Is Waiting for You, where Gundareva played Ekaterina Nikanorova, a collective farm worker. The audience response placed this title at 27 percent, marking it as another significant entry in Gundareva’s career during that era and reflecting the broad spectrum of her on-screen presence across genres and tones.
Nina Buzykina’s role in Georgy Danelia’s autumnal tragedy Autumn Marathon was ranked fourth by viewers, capturing 24 percent of the vote. Following closely in fifth was the musical comedy Truffaldino from Bergamo, which resonated with 23 percent of the respondents. These selections illustrate Gundareva’s versatility as an actress who could pivot between drama, comedy, and musical performance, earning applause from diverse audiences.
In addition to these highlights, audiences frequently noted Gundareva’s performances in The Mistress of the Orphanage, Sweet Woman, and Say a Word About the Poor Hussar, underscoring a steady stream of memorable roles across different cinematic styles. The range displayed in these titles demonstrates the breadth of her screen presence and her ability to convey warmth, humor, and pathos with equal fluency.
In another note, industry commentators have speculated about potential casting opportunities for Gundareva in international productions, reflecting the broader conversation about cross-border collaborations in film. While such discussions have circulated in media and fan discussions, the core focus remains on the enduring impact of Gundareva’s work within the Soviet and post-Soviet cinematic landscape, celebrating the diverse characters she brought to life on screen.