A good actor can be seen in two or three roles in the movie. Because in each of them he is revealed completely, the character lives his own life. And then for many, many years, grateful spectators will remember the actor with warm words, even many years after his death. Strezhelchik Vladislav was one of those actors, which is simply impossible to forget after the credits of the watched movie run across the screen.
Barefoot childhood
In Petrograd, on the last day of January 1921, a boy was born, named Vladislav. His father, Ignatius Petrovich, was a native of Poland, and he ended up in Petrograd after the First World War. He was a very religious person, but at that time he had to go to church secretly. Ignatius Petrovich was afraid all his life because he could be arrested.
Strezhelchik Vladislav was a late child. He grew up as an ordinary boy, like hundreds of thousands of other Soviet children. He was a little sloppy child, he loved sweets very much, however, like most kids. He did not study very well at school, but while still sitting at his desk, he simply raved about the theater. A little later, the young man enters the theater studio at the Bolshoi Drama Theater (BDT). This was the course of the very “cinematic” Chapaev - Boris Babochkin. Study captured him all. He was still a student when he was enrolled in the supporting staff of the theater's troupe. The outbreak of war suspended such a successful learning process.
War scary years
Strzhelchik Vladislav was at the front throughout the Patriotic War. At first he was in the army, and later in the military ensemble. Even many years after the war ended, Vladislav recalled this terrible time, that cold and hunger that constantly accompanied him. He always tried to bring his rations allocated to his parents when they lived in besieged Leningrad. Vladislav Strzhelchik, whose photo often appears on the pages of glossy publications, traveled to the city for three dozen kilometers - when on foot, when on passing cars. It happened that it came under fire. The horror that he experienced then, the actor could not forget until his death. Probably, it was after those terrible days that he developed the habit of filling the refrigerator with different products. He constantly bought everything for the future and always in large quantities.
In 1947, Vladislav Strzhelchik, a biography whose personal life aroused unquenchable interest among fans of his extraordinary talent, received a diploma from the school-studio at the Leningrad BDT. The following year he was already part of the troupe of the theater. Maxim Gorky (now named after G. Tovstonogov).
The light of new life
After the first role played in the play “Much Ado About Nothing” (the actor was offered the role of Claudio), the role of the hero-lover embodied on the stage also trailed in other performances. The people were exhausted by a terrible war and blockade, hunger and worries. Now everyone tried to restore the ruined city as quickly as possible, so as to try, if not to forget about the horror, then at least move it a bit further in memory, into the back streets.
People, like small children, receptive to everything new, beautiful and bright, looked at a completely new, some kind of fairy-tale life, where there is a lot of laughter, jokes, fun, where there is no fear and misfortune.
Theatrical Rhapsodies
Theaters rushed to Aleksandrinka to the “old people” more solidly, while the Bolshoi Theater hosted younger spectators, the bulk of whom were women who went to the charming and seductive Strelzhelochka. Recognition and the warm attitude of the audience finally come to the young actor. Praised his work in the play "Enemies" (the role of Grekov). Vladislav Strzhelchik, whose filmography was rich in interesting and memorable roles, did not refuse costume roles. He gladly agreed to play in The Exposed Miracle Worker, The Girl with the Pitcher, and The Servant of Two Masters.
As serious as ever
In his life and in his favorite work, the actor adhered to several pedantic rules. Maybe for some it will seem too boring and completely unnecessary, but not to such a master as Strezhelchik was. He never allowed himself to be even five minutes late for a rehearsal. He was terribly annoyed if one of his partners forgot the remarks or underestimated his role. If one of the artists who were simultaneously on the same stage with him, did not follow the predetermined directorial pattern as accurately as required by the role, Strezhelchik could break out like a torch.
His work was very dear to him, even sacred. And he treated her with great love and scrupulousness. Vladislav Ignatievich was always in shape, always in his voice. After all, the voice is an instrument of his work, and the professional, to whom the actor justifiably referred himself, does not have the right to drink on the eve of the performance and plant his voice.
Gradually, from year to year, he managed to move from the roles of light, flying, to quite dramatic and characteristic - in “Three Sisters” he played Kulygin, in “Cliff” - Paradise, in “Barbarians” - Tsyganov.
Solomon Gregory
All these roles brought Strzhelchik closer to an unusually accurate disclosure to them a little later of a character with an unusual name for the layman Solomon. It was a play by Miller called "Price." The actor played the role of Solomon Gregory. Critics who could smash any actor and the role played by him admired this work by Vladislav Ignatievich, referring it to a certain masterpiece, to the top of his creative path. The image of an old man 90 years old embodied on the stage was rich and juicy in texture. Solomon lived on the BDT stage for twenty-five years. Despite the fact that over time, Strzhelchik’s partners changed in the play, it was on him that the play was held, it was in his name that the audience went, it was thanks to him that this performance was held with deafening and non-ending success.
Archer and others
Strzhelchik Vladislav knew how to joke and did it with great pleasure. Probably the most striking manifestation of this talent of the eminent actor was in the play "Hanuma". He played the Georgian prince Vano Pantiashvili, who, thanks to the artist, literally shone with the subtlest humor. He was saturated with words and gestures of Vladislav Ignatievich, every turn of his head.
His colleagues still warmly recall how pleasant it was to work with him, how easy it was for everyone to share the scene with him. Archer is always very strictly obeyed by logic. There is an opinion among the actors that they should interact with each other during the performance on the basis of the "loop-hook" principle. Archer was an ideal partner, he always felt a partner. When he worked in the play with Alice Freindlich, all his skill was built on an exceptional partnership. And in life they were friends, Vladislav Ignatievich even baptized the grandson of Alisa Brunovna.
Each time, from one performance to another, new, deep and interesting facets of the talent of the great artist were revealed.
His film masterpieces
A long and warm friendship developed with Vladislav Strzhelchik with cinema. There were a lot of roles, all real, voluminous, excluding any stereotypes. It was never possible to say that a character was random for the actor. He was the Roman ruler from The Courtesy Visit and the Scrambled Eggs from The Marriage, Andrei Tupolev in The Wings Poem, and the adventurer Naryshkin from The Crown of the Russian Empire, fearlessly wandering the arms of the Eiffel Tower parapet.
At the same time, the role of a good person and a great aircraft designer Andrei Nikolavich Tupolev turned out to be beneficial and complex. This character was very bright, large-scale, simply amazing. There was everything in this person: both man and era.
In another picture - “Adjutant of His Excellency” - he very carefully entered the life of heroes, in their personal life. And this work itself is rather chamber in its form. It demanded from Strelchik some other details in the characterization of his hero, other details.
