In a conversation with moslenta.ru, Russia’s People’s Artist Larisa Luzhina discussed her past relationships and friendships within the cinema circle, shedding light on the dynamics among prominent figures.
According to Luzhina, Svetlana Svetlichnaya was deeply in love with her husband, a revelation that adds texture to the long-running stories about intertwined personal lives in the Soviet and post-Soviet arts communities. Luzhina herself spoke candidly about her own feelings toward actor Vladimir Ivashov, noting that while she cherished a strong affection for him, those emotions were not returned. She described Ivashov as one of the most wonderful people she had ever known, underscoring the warmth and respect she held for him.
She added that Ivashov’s romantic life had been shaped by a longstanding attraction to Svetlichnaya, dating back to his early years at VGIK. The artist’s confession paints a portrait of a circle where admiration, affection, and professional collaboration often overlapped in surprising ways, influencing both work and personal connections.
Luzhina recalled details from her own career during the 1960s and beyond, including a moment when she felt a shift in recognition for Vladimir Vysotsky. She recalled that Vysotsky often worried about not being fully acknowledged as a poet, a sentiment that lingered as his peers hesitated to elevate him within the artistic elite. Luzhina noted that some colleagues, such as Yevgeny Yevtushenko and Robert Rozhdestvensky, did not regard Vysotsky as their equal and perceived him more as a gifted songwriter rather than a full-fledged poet. This nuanced perspective reflects the tensions that can exist between different forms of artistic expression and the debates about where to place a creator within the literary and cultural hierarchy.
As the discussion moved forward, Luzhina described meeting Vysotsky before taking part in Stanislav Govorukhin’s film Vertical. She shared that she had been friends with Vysotsky’s first husband, cameraman Alexei Chardy, an association that illustrates how professional collaborations often intersect with personal histories in the film industry. After her marriage ended, Luzhina noted that her friendship with the singer faded, though they later crossed paths again on the set of Govorukhin’s project—a reminder of how careers can bring people back together in different contexts and stages of life.
In a previous statement, Luzhina had denied making a disparaging remark about Pugacheva, clarifying that she never called the artist cattle. The clarification underscores how public narratives can be shaped by misinterpretations and the importance of precise language when recounting conversations about well-known figures.