Channel One showed the third part of Dok-Tok "The True Story of Yulia Nachalova's Life", dedicated to the 40th anniversary of the singer. An experimental project combining documentary and feature films, as well as the talk show genre, was supposed to be released on March 16 last year on the day of Nachalova's death, but this was prevented by the coronavirus. It was on March 16 that restrictions began to be introduced, and it became clear that a big trouble had come. And now the premieres have arrived.
True, today even those who knew about the existence of this pretty singer from Voronezh, ex-wife of football player Yevgeny Aldonin, and ex-mistress of hockey player Alexander Frolov, have forgotten about. And who did not know, he did not lose much. No matter how cynical it may sound, in two episodes the heroine looks like a very narrow-minded, dependent, man-obsessed woman. Moreover, in the "artistic" part of the film, where she is played by the actress Marina Orlova, and in the documentary, with footage of the chronicle of the singer herself. If you can still watch the real Julia (after all, she was not the very last performer in show business), then artistic Julia is not.
With all due respect to the gifted Marina Orlova, she failed to “hit the notes” of her heroine. False, whiny, and if without political correctness, shameful. The actress plays Yulia Nachalova in the most critical moments of her life: during the betrayal of her first husband, the division of property with the hockey player Frolov, before the fatal operation, and in all this there is one lie, which is served under the sauce of "authenticity".
It is not true, firstly, because “no one knows what actually happened in the soul of the heroine, because she is no longer there,” and an actress is an actress. The story of love and illness of Yulia Nachalova is initially rather muddy. Even during Yulia's lifetime, the media wrote about the "villain" Dima Lansky, who cheated on her, beat her, starved her, called her ugly, about too good but, alas, unloved Yevgenia Aldonin, and about the greedy, cruel Frolov, who wanted to take away fYulia's and her daughter's apartment.
All this is repeated in the film by Marina Orlova (I cannot call her Yulia Nachalova), and in Dok-Tok - guests of the host Ksenia Sobchak, including the singer's parents. But Lansky, Frolov and other anti-heroes are not allowed to speak. They judge, hang labels of "scoundrels" without even listening to an explanation.
What kind of "true life story" of a famous person can this be? The most terrible spectacle in all this is the afterlife Julia Nachalova, who is also played by Marina Orlova, who from heaven (she appears as a saint) looks at the participants in her drama, and condemns some of them. Instead of crying, you start laughing when Yulia Nachalova from the other world, in the voice of Marina Orlova, says:
- My heart stopped on March 16.
When you look at all this, you involuntarily understand the meaning of the biblical phrase: "And a man's enemies are his household."
Yulia Nachalova's parents not only gave permission to shoot the film, but also participated in Dok-Tok. Dad talked about how the first husband cheated on his daughter, and, you see, there is a weirdness in this? Dad talked about all the husbands and lovers of his daughter at a time when she was no longer in the world. What for? After the death of Julia, dad and mom managed not only to tell everything to the filmmakers and Ksenia Sobchak, but also to write a book about their daughter. PR director of Yulia Nachalova Anna Isayeva managed to remain the PR director of the dead singer. Moreover, the career of Anna Isayeva, with the departure of Yulia Nachalova, not only did not fade away, but rose up the hill. Anna Isayeva plays herself in the fictional part of the film. And she plays so convincingly that she even dominates the singer. Marina Orlova said that Anna Isayeva is a very active person, and prevented her from working on the role:
- Anna Isayeva interfered in everything, and for some reason she was allowed to.
Perhaps it was because of Anna Isayeva that Orlova did not cope with her task? Isayeva really wanted to show herself as the most important person in the life of Nachalova, more important than her mother and daughter, and she succeeded in it.
It's a shame, because Yulia Nachalova was a pleasant woman (I interviewed her two years before her death), kind, loving, and definitely not ready to share her sores with the whole world (otherwise she would have shared them in her numerous interviews).
But Doc-Tok lists a huge bunch of her diseases - gout, lupus, depression, anorexia and much more. The scene with the reluctance to amputate the finger, due to its stupidity, is generally “beyond the line of good and evil”. To make a singer out of illness is a lesson for frivolous people who sacrifice health for the sake of beauty and harmony - this, to put it mildly, is not correct. A person's life is not limited only by the state of his body and love experiences, as shown in the film "The True Life of Yulia Nachalova".