Otar Kushanashvili’s critique of Nikita Kologrivoy over Smoktunovsky & Abdulov remarks

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A prominent TV host and blogger, Otar Kushanashvili, voiced strong opinions in his YouTube show about Nikita Kologrivoy, who had challenged the legacy of Russian screen legends Innokenty Smoktunovsky and Alexander Abdulov. Kushanashvili did not hold back, insisting that Kologrivoy’s critique was out of line and underscored a broader tension between contemporary critics and the pillars of Soviet cinema.

Kushanashvili compared Kologrivoy’s performance to a pet’s persistent begging, joking that even a cat begging for food can momentarily outshine others, but not in any serious artistic sense. He referenced director Zhora Kryzhovnikov and suggested that certain criticisms were unfair or misplaced, hinting at a personal grievance with how past generations of filmmakers were treated in current discussions.

The journalist argued that Kashchei’s portrayal in the series “The Boy’s Word” had been overhyped, and he stressed that Innokenty Smoktunovsky occupies a revered space in the memory culture of Russians. Kushanashvili warned that airing attacks on two iconic figures from Soviet cinema risks eroding the connection between younger audiences and this sacred cinematic heritage.

At the start of January, Kushanashvili shared his view that the cast of the TV series “The Boy’s Word” might fade from public memory in time. He singled out actor Ivan Yankovsky, who portrays Vova Adidas in the show, as perhaps the only performer with a genuine opportunity to push his name forward in the current landscape.

Earlier chatter in the entertainment circle included support from Prokhor Chaliapin for Volochkova and Dzhigurda, illustrating the ongoing quicksilver shifts in audience loyalty and media opinion within Russia’s celebrity culture.

Overall, the discussion underscored a broader debate about how star status, legacy, and current critique intersect in modern television and online discourse. Kushanashvili’s stance reflects a protective attitude toward national cinema’s history, while opponents argue for a freer, more incremental reassessment of classic figures. The exchange highlights the delicate balance between honoring cultural icons and allowing new voices to challenge established narratives.

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