Anastasiya Vertinskaya

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Anastasiya Vertinskaya

Vertinskaya as Ophelia, 1964.
Born Anastasiya Alexandrovna Vertinskaya
December 19, 1944 (1944-12-19) (age 67)
Moscow, Russian SSR, Soviet Union
Occupation actress
Years active 1961–2002
Spouse Nikita Mihalkov (1967–1970)
Awards People's Artist of Russia (1988)
Order of Honour (2005)
Website
http://www.rusactors.ru/v/vertinck_a/index.shtml

Anastasiya Alexandrovna Vertinskaya (Russian: Анастасия Александровна Вертинская) (born December 19, 1944, Moscow, USSR), a Soviet and Russian actress whose mass popularity and high critical acclaim made her one of the most distinguished figures in the history of the 20th century Soviet cinema.[1] In the 1990s, disillusioned with the state of cinema at home, she went to teach her art abroad and spent 12 years in France, England, USA and Switzerland.[2] In 1988 Vertinskaya was designated People's Artist of Russia; she is also an Order of Honour laureate (2005).

Contents

[edit] Biography

Anastasiya Vertinskaya was born on December 19 in Moscow soon after her father, the famous singer-songwriter Alexander Vertinsky returned from Harbin in 1943 with his Georgian wife Lydia Vertinskaya (née Tzyrgvava) (Russian: Лидия Циргвава), a painter and an actress.[1] Anastasiya and sister Marianna (one year her senior) spent first years of their lives in Moscow Metropol hotel; it was only in 1946 that the family's been granted a proper flat on Gorky St., 14.[3]

Their childhood was quite happy: Anastasiya (according to IMDb biography) "was brought up in a multi-lingual family where she enjoyed an intellectually stimulating environment and a highly cultural atmosphere of her parents circle".[4] Both sisters attended an ordinary school; music and foreign languages having been regarded as their educational program’s priorities by parents.[5]

Vertinsky never scolded daughters for any of their failures, of which there were many since - as Anastasiya later remembered - she’s always been much more concerned with exploring her dad’s astonishing library than any of the school studies.[6] In fact, Alexander (as Anastasiya later remembered) developed his own, highly stylised way of dealing with his daughters’ problems. "He used to say: 'I suffer greatly from the knowledge of your, girls, misbehaviour'. And I tried all my best to somehow harness this really nasty temper of mine - if only to relieve him from those great sufferings",[7] she remembered in her 2008 interview.

[edit] Career

Anastasiya used to somehow link her future life with linguistics, but things changed overnight in 1961 when the then sixteen-year-old was approached personally by the film director Aleksandr Ptushko for the role of Assol in Scarlet Sails. The romantic teenage drama based on Alexander Grin’s novel became an instant success, making Anastasiya a national celebrity. Many of the future stars of Soviet cinema, including Vasily Lanovoy, Ivan Pereverzev, Sergey Martinson, and Oleg Anofriev, were in the cast, but, as critics noted, it was Vertinskaya's passionate performance that has given Scarlet Sails its timeless flavour.[5] 23 million people viewed during its first year.[8]

In 1962 Vertinskaya starred in Amphibian Man, Gennadi Kazansky and Vladimir Chebotarev's adaptation of Alexander Belyayev's book of the same title. Cast as Guttieres, a young woman in love with an amphibian man, Vertinskaya had to go through difficult late Autumn underwater shooting sessions and performed all by herself, without any stuntwomen.[8] The film became the Soviet 1962 box-office blockbuster. "Vertinskaya was now a brand. People were going to the cinema to watch her, specifically," future husband Nikita Mikhalkov later recalled.[8] All this changed the teenage actress's life dramatically, not necessarily for the better. She later remembered:

In those days there weren’t any bodyguards. I used to travel by tram to my studies. I had to queue for bread as everybody else had to do. Not only was I being recognized, they made a point to touch me, too... It was in those days that I developed that fear of crowds... This immense psychic violence, it haunted me all through the years. - A. Vertinskaya, Express-Gazeta interview, December 2009[9]

In 1962 the actress joined the Moscow Pushkin Theater troupe. This meant that from then on she had to continuously tour the country with the then popular so-called "theater brigades". In 1963 Anastasiya Vertinskaya joined (not without a hitch, but with the help of Lyudmila Maksakova, her elder sister Marianna’s friend) the Shchukin Theatrical School. The young actress's eagerness to act was, in her own words, "next to maniacal". Nikita Mikhalkov was one of her fellow students. They fell in love and married in 1966, only to be divorced three years later.[9]

At the Karlsbad Filmfestival, 1964 (r.)

The role of Ophelia in the 1964 Grigori Kozintsev film Hamlet (starring Innokentiy Smoktunovsky) made Vertinskaya known internationally[4] and proved to be a turning point in her career. The 20-year-old (still acting very much "on an unconscious level", as she later admitted) won universal appraisal for her performance. As Kozintsev later wrote, Vertinskaya’s strength was her "real 18 years", her "fragile purity and this whole Renaissance look of hers". It was this experience that became Anastasiya Vertinskaya's creative milestone, something she had to continuously look up to and prove herself against. Working next to masters like Smoktunovsky proved to be invaluable in terms of learning, having introduced the young actress to many of what she called "this magic kitchen's secrets".[10] "Ophelia made me realize for the first time ever that acting was indeed my destiny",[6] she later said.

While still at the Shchukin Theatrical School, Anastasiya Vertinskaya played the role of petite Princess Bolkonsky in Sergey Bondarchuk's epic adaptation of Leo Tolstoy’s War and Peace (1968). It was her highly sensual, touchingly naive portrayal that gave this character a new, humane dimension, which was in fact the director's idea.

Sergey Bondarchuk suggested a new, (more) tragic interpretation to this character. She’s neither clever nor in any way interesting. Nice, pleasant, home-bound... Had she stayed alive, we wouldn’t have loved her. What could she amount to, next to Prince Andrey, her husband? And yet it was her death that prompted him to tempt fate with the question: "Why did this human being had to die, and what for?" What I think Tolstoy tried to warn us against, was this tragic mistake we are making when neglecting the love of someone who is close to us... [6]- A. Vertinskaya

Vertinskaya said it was War and Peace that taught her how to "create a deep tragic undercurrent in something that on the face of it bears no sign of tragedy whatsoever".

Less famous but still held in high esteem was her Kittie Scerbatzkaya in director Aleksandr Zarkhi’s 1968 adaptation of Anna Karenina. Vertinskaya also starred in several other films in the late 1960s including Hold Your Head Up! (Не горюй!, Georgy Daneliya), The Polynyn's Case (Случай с Полуниным, Konstantin Simonov’s book adaptation, and The Preliminary Man (Преждевременный человек), A. Room's adaptation of Maxim Gorkyэs unfinished novel Yakov Bogomolov.[6]

[edit] Vertinskaya in theatre

In 1967, after having graduated from the cinema arts college, Vertinskaya joined the Vakhtangov Theater troupe and then, having spent just one season there, in 1968 the Sovremennik Theatre, where she stayed until 1980.[11] The theatrical experience was, admittedly, of the utmost importance to the actress who never felt confident enough while acting in movies. "I was a slow developer", she confessed years later.[6] In Sovremennik she starred as Olivia (Twelfth Night), Ranevskaya (The Cherry Orchard) and Valentina (Mikhail Roshchin’s Valentin Y Valentina).

In 1980 Vertinskaya left Sovremennik for the Moscow Art Theater. "It was only here that I acquired the adequate level of professionalism I was craving", she said in an interview years later.[6] At MAT Vertinskaya made her own two roles of Chekhov’s repertoire, traditionally regarded as difficult: Nina Zaretchaya (Seagull) and Yelena Andreevna (Uncle Vanya). Critics praised Vertinskaya's performances - "charged emotionally, yet perfectly well controlled".[11] Another stage triumph for Vertinskaya was Elmire in Molière's Tartuffe directed by Anatoly Efros.[11] Highly praised were Vertinskaya's Liza Protasova (Tolstoy's Living Corpse), Natasha (Alone with Everybody, Alexandr Gelman), Pat (Mother-of-Pearl Zinaida, Mikhail Roshchin). In 1989 Vertinskaya portrayed her own father in Mirage or Russian Pierrot’s way, a show that she herself wrote and directed to mark the centennial birthday anniversary of Alexander Vertinsky.[4]

Vertinskaya excelled in her Shakespearean roles. First, in a unique theatrical experiment staged by director Anatoly Efros at Taganka, she appeared in two roles: Prospero and Ariel in the Shakespeare's The Tempest (premiered at the Moscow Pushkin Museum).[6] Her Olivia in Peter James's Sheffield Theatre production of Twelfth Night (1975), better known to Russian audiences for the televised version of it, which premiered in 1978, is still regarded by many as unique and groundbreaking. The role in which Vertinskaya for the first time ever was allowed to demonstrate her comedic talent remains one of her personal favourites.[12]

I totally adore this production. Sovremennik was a theater I’ve been always experimenting in. This role was no exception. I’ve stripped my skin off all colour and made this Renaissance kind of browless face, colourless lashes. Freedom the English director Peter Brook had given us was unbelievable. He like to show us 'how' – running all around on stage, arms aside, belly forward, long hair flowing – very funny and charming. To play comedy is always a pleasure, but here everybody was totally involved with what was going on, and what a troupe it was: Marina Neyolova, Oleg Tabakov, Yuri Bogatyryov, Kostya Raikin, Pyotr Scherbakov, Nina Doroshina… With such stunning partners what you get is fabulous atmosphere… - A. Vertinskaya. Izvestia, 2009.[13]

The actress (according to the magazine 7 Days) portrayed her heroine "not as a sultry beauty but as Grace, infinitely charming and funny, full of boredom-related whims and flashes of sincerity, the product of her lively, inquisitive mind".[14] Among the grand men of Soviet theatre who praised Vertinskaya’s unusual versatility was Anatoly Efros who once said the actress was "so physically natural and yet artistically graceful" that it was "almost unbelievable".[6]

[edit] 1970s — 1980s: Vertinskaya in film

Having gained mass appeal and critics’ respect did not necessarily mean that Vertinskaya would always have a lot of work. She remembered how in Sovremennik (instantly after Ophelia made her known internationally) she was shifted back to the mass scenes. Yevgeny Yevstigneev used to complain bitterly for - the moment he (as the King in The Naked King) was stepping up the stage - how the audience responded in a hushed collective whisper: "Look over there, it’s Vertinskaya in the crowd!".[15]

Occasionally, Vertinskaya remembered, she had to artificially "simplify" her facial features (even to stuff her nostrils with - well, stuff) so as to fit into some kind of Soviet "common heroine" stereotype. Even then, as one paper noted, "directors never knew what to do with this totally uncommon girl".[16] "In those times, they demanded different kind of heroines — ruddy-faced cheerful activistkas", - the actress responded when asked about huge gaps in her working schedule in the early 1970s.[7]

External videos
Nameless Star film fragment.
Glamour girl Mona (Vertinskaya) finds herself in the house of Marin Miroyu, a provincial astronomy teacher (Igor Kostolevsky) who introduces her to the whole concept of having a library at home, 00:00-1:20).

Vertinskaya’s next big hit came in 1978 when the film Nameless Star (an adaptation of Mihail Sebastian's play) was premiered on Soviet TV. The film's director (and also a well-known actor) Mikhail Kozakov gave Vertinskaya (with whom he was having a passionate love affair at the time) total freedom of improvisation,[17] letting the two - Mona the character and Anastasiya the performer - almost merge. The film (where her partner was the popular actor Igor Kostolevsky) was one the actress spoke of as one of her best-loved of all time.[6] The film was not TV officials’ favourite, though.

The Soviet Central TV chief editor Khesin was totally freaked out. He summoned us all up and with me had this peculiar dialogue: "Anastasiichka, how could you? Look how nice you look in reality. So smiley, so good-looking. Why in the film do you have to have these curlies? And wear such a dress?" Me: "Listen, what do those curlies have to do with it? My heroine is a 'kept woman'..." Him: "Who do your say your heroine is?" And he shelved the film for years. - Anastasiya Vertinskaya.[12]

Her next two films were The Gadfly (1980), based on Ethel Lilian Voynich's novel, where she played Jemma (her male counterpart being a then debutant, Andrey Kharitonov, who later staged her as a film director) and The Theft, based on a Jack London play, starring Innokenty Smoktunovsky.

As time went by, Vertinskaya was changing, feeling more and more dissatisfied with what was going on around her - on stage and beyond. Two decades later one critic called her a "symbol of the decades": "In the 60’s she was a Dream-girl, in the 70's - a Style emblem, in the 80's - a movie idol".[16] But the general feeling of total frustration touched her also. Her later work, including Margarita in The Master and Margarita (directed by Yuri Kara and never officially released, 1994), another of her personal favourites, was being made against the background of general decline — in national cinema and culture in general.[12]

[edit] Retirement

When in 1989 an invitation came from Oxford for her and Alexander Kalyagin, another well-known Russian actor, to give master classes of theatrical craftsmanship, she accepted it without a second thought. The next 12 years Vertinskaya spent teaching in England, France and Switzerland.[18] Vertinskaya’s life having changed drastically, she later said she would have never come to regret her decision to quit the stage. "I realized one had to reinvent oneself literally seven times during one's lifetime, otherwise one won’t be able to fully realize oneself. Why should one sit and moan about how one’s never got good roles? You have to always turn your back to the scene that does not suit you", she said in a recent interview.[18] Vertinkaya also spoke of how relieved she felt for having dropped this 'everlasting worry' about being screened or staged - continuously. "This eternal actor’s anxiety, it had finally left me",[12] she confessed, speaking to TV Kultura correspondent.

Later Vertinskaya taught drama in Comédie-Française (Théâtre de la Républic) and at Chekhov's school and in Switzerland’s School of European Cinema.[4] Her play Chekhov, Act III, compiled of Third acts of Russian playwright’s three classic plays ran successfully in Nanterre des Amandiers.[1] She spoke most warmly of her European students’ immense passion for Arts and determination - two qualities she said she seldom met in Russia.

In 2000 Vertinskaya returned home. Later she spoke of how she suffered almost physically of homesickness while abroad. Since then she performed on stage only once: it was the 2002 play Imago after M. Kurotchkin’s interpretation of Bernard Shaw’s Pygmalion directed by Nina Tchusova.[1][9] In 2009 Izvestiya intervew Vertinskaya spoke of the lack of interesting roles in the Russian theater and said she’d rather stay away from the stage at all rather than start playing ‘hitman’s mums’ (one such suggestion she did indeed received not long ago). "I’ve got no future plans connected with stage, but I see no personal drama in it. What worries me more, is that such actresses as Marina Neyolova or Lena Koreneva are out of work", she said.[19]

Vertinskaya's major concern these days is the functioning of the Russian Actors Foundation charity she herself created in 1991. She’s also busy restoring and producing her father’s records (three of them have been released recently in France).[19] In 2010 Vertinskaya is going to publish a book of Vertinsky’s poetry - something she’s been working on for five years.[17] She’s also engaged in her son Stepan Mikhalkov’s restaurant business in Moscow, her passion for culinary art being well known.

[edit] Critical reception

Vertinskaya as Assol in Scarlet Sails, 1961

Part of Vertinskaya’s appeal has always been her unconventional good looks, the actress having been described variously as 'the Soviet Vivien Leigh' and 'anti-Soviet-looking Soviet beauty'.[6][16] Anastasiya Vertinskaya's sensational 1961 debut left both cinema fans and critics equally enchanted, the latter being exceptionally lenient to the fifteen-year-old, hailed as the future star of the Soviet cinema.[2] "No other <Soviet> actress could have played Assol. Her eyes, her profile, her thin arms… her flying gate – she was a real life 'girl of one's dream'", actress Natalya Selezneva remembered.[8] Young girl's slight clumsiness looked more than natural on screen, while her strengths - 'natural gracefulness', 'youthful charms' and 'aura of other-worldliness' – went undisputed.[20] “It was as if some kind of young flower blossomed on our eyes in the Soviet cinema,” film critic Andrei Plakhov recalled years later.[8]

Ophelia in Grigory Kozintsev's Hamlet marked an important change in Vertinskaya's career and made critics scrutinize her phenomenon closely.[6] Most agreed that what the director cunningly managed to do was turn the young drama student’s obvious lack of self-confidence into a strong artistic statement. As for assessing the overall result, specialists were divided. According to L. Nekhoroshev, "cast into the iron scheme of the director’s idea, like it was an iron corset of her Elizabethan dress, young actress failed to breathe freely in the air of high art she'd been submerged in". He had to agree, though, that "in this rather mechanical Ophelia some inner logic and harmony were quite alive".[20] Conversely, critic E. Dobin regarded the young actress' work as high artistic achievement. "Fresh ingénue's natural helplessness was used by the director to become a distinctive feature of Ophelia's meek, vulnerable character… There was not a single dim or erratic note in young Vertinskaya's performance. Ophelia's image is crystal clear, as indeed is the actress' work, its deep transparency reminding that of a river the bottom of which this heroine is destined for", he wrote.[21] In retrospect, this latter attitude prevailed. "<Vertinskaya's> Ophelia is probably one of the best in the history of theater and film. <This role> is extremely difficult for being seemingly unsubstantial next to those of Hamlet and other grandiose figures. Vertinskaya perfectly succeeded in making it fit in," critic A. Plakhov wrote.[10]

Praised initially for her teenage charms, Vertinskaya quickly evolved into a diverse, versatile and highly original actress, garnering praise from all quarters, home and abroad.[2] Vertinskaya's next, equally miniature, but for the same very reason highly significant role, that of Princess Bolkonskaya in Sergey Bondarchuk's War and Peace epic garnered even more accolades. Critics noted a rare virtuosity with which "such a tragically fleeting, intrinsically unfulfilled character <had been made> strikingly vivid" and, even more extraordinary, continuously developming in the course of just four laconic scenes. "In Princess Liza there is a lot of inner dynamics and total integrity, the latter being achieved by… leading <this character> through totally diverse scenes, united only by inner concept", Actors of Soviet Cinema (1967) almanac wrote.[20]

Impressive was Vertinskaya's progress in theater. Her work in Sovremennik (The Cherry Orchard, Valentin and Valentina) made critics speak of "...this special gracefulness of the stage existence where outward technical virtuosity of every movement and the sense of deep psychological insight were perfectly combined".[11] Critically lauded were her Russian literature classic heroines - Nina in The Seagull, Elena in Uncle Vanya.[11] Exceedingly well-received was Vertinskaya’s Elmyra in Tartuffe. There, according to the Soviet Theater magazine, she elevated her heroine "onto on an enormous aesthetic pedestal, presenting her as a kind of noblewoman of old French canvasses, inapproachable in her beauty and grace...". The same critic spoke of the combination of technical virtuosity and "craving for artistic perfection", of her unique ability to create "beauty devoid of frustration; gracefulness without flaw, based on emotional fullness and self-enjoyment".[11] To Shakespeare's The Tempest (produced by Anatoly Efros at Taganka)[6] the actress (according to a critic) gave a "seal of beauty", having achieved in her performance "the harmony of gesture, sound and movement".[11] All in all, critics agreed that the progress Vertinskaya made during her 20 years of stage work, "from charmful but one-dimensional Assol-Ophelia" to the versatile multi-faceted master of many genres was enormous.[22] Unwilling to join the Soviet cinema mainstream, she continued to be slightly enigmatic, out of spotlight persona, which only added to her charisma.[10]

External videos
The Twelfth Night (1978) fragment.
Countess Olyvia (Vertinskaya) reveals her face for Cesario (Marina Neyolova) to first recount narcissistically her own charms, then get infatuated with the girl-dressed-as-a-boy and send Malvolio (Oleg Tabakov) very fast forward with a ring. (02:00-10:00)

One of Vertinskaya's 1970s creative high points was Countess Olyvia in Peter Brook-led Sovremennik production of The Twelfth Night. Buoyed by the English director's totally democratic, improvisational approach and the star-studded cast' energetics, Vertinskaya demonstrated the comedy actress potential (totally ignored by theater and film directors before). Konstantin Raikin, though, thought Vertinskaya's Olyvia success was natural for what she played was actually her own self. "She is a very funny, ironic and naughty person, for once her own character fitted into a role perfectly", he said. Some critics expressed regret this comic side of hers had been ignore before.[23] Totally natural and organic was Vertinskaya's Mona in Mikhail Kozakov's Nameless Star.[24] The film itself had problems with the Soviet censorship but now is rated #64 in the Roskino's list of The Best Russian Films of All Time [25] It was then that Efros spoke of Vertinskaya as being "so physically natural and at the same time so full of artistic grace that the combination seems unbelievable".[11] Marveling at her ability to "harmonize gesture sound and motion" was (otherwise rather acerbic) actor Valentin Gaft.[10] Having maintained her reputation of the nation's "most secretive movie treasure",[7] Vertinskaya through the years managed to avoid journalists and TV cameras, making her private life the subject of rumours and insinuations.

The Master and Margarita (1994) brought another part of the actress' credo forward that's been unknown before. According to V.Plotnikov, Vertinskaya (before this) "was victim to her origins: everybody saw in her a little Countess or a little Princess, while she herself often referred to herself as a natural witch... <Prior to Margarita> There'd been just one such role in theater, that of Victoria in Vampilov's Provincial Anecdotes: That was stunning: totally credible Russian folklore witch", he argued.[26] Cinema critic Tatyana Moskvina agreed that "infernal shadows of Bulgakov's novel" fitted perfectly Vertinskaya who was a "natural-born Margarita", neither "good nor evil, just totally otherworldly".[22] This 'hidden fire' of Bulgakov’s heroine "was burning throughout all of Vertinskaya's characters one way or another", she wrote.[22]

[edit] Recognition

In 1981, Anastasiya Vertinskaya was designated a People's Artist of the RSFSR. In 2005 she was bestowed with the Order of Honour[6] and she has also received the Order of Friendship. On December 19 on her 65th birthday both President Medvedev and Premier Putin sent her personal telegrams, speaking of "bright individuality", never waning popularity[27] and "unique roles, extraordinarily powerful and deep".[28]

[edit] Family and private life

Anastasiya Vertinskaya's husband was Nikita Mikhalkov, now a renowned Russian film director and actor, then a fellow student at Shchepkin Actors' Art College. They married in 1967 (half a year after their son Stepan was born) to become "the Soviet cinema's most beautiful couple".[10] Three years later they divorced. Later Vertinskaya was romantically linked with actor Mikhail Kozakov, then had three years-long relations with Alexander Gradsky, a Russian rock singer-songwriter; contrary to a popular belief they weren't officially married.[6][16]

[edit] Select filmography

  • Scarlet Sails (Алые паруса, 1961) - Assol (leading role)
  • Amphibian Man (Человек-амфибия, 1962) - Guttieres
  • Hamlet (Гамлет, 1964) - Ophelia
  • War and Peace (Война и мир, 1968) - Princess Bolkonskaya
  • Anna Karenina, (Анна Каренина, 1968) - Kittie Scherbatskaya
  • Hold Your Head Up! (Не горюй!, 1969) - Princess Mary Tzintsadze
  • Enamoureds (Влюбленные, 1969) - Tanya
  • Case of Polynin (Случай с Полыниным, 1970) - actress Galina Prokofyeva (leading role)
  • A Shadow (Тень, 1972) - Princess Louise
  • The Preliminary Man (Преждевременный человек, 1972) - Olga Borisovna (leading role)
  • One At One's Own Place (Человек на своем месте, 1972) - Clara, architect
  • Domby and Son (Домби и сын, 1974 TV play) - Edyth Granger
  • Nameless Star (Безымянная звезда, 1978) - Mona (leading role)
  • The Twelfth Night (Двенадцатая ночь, 1979 TV play) - Olyvia
  • The Gadfly (Овод, 1980) - Gemma
  • Theft (Кража, 1982) - Margaret Chalmers
  • Days and Years of Nikolai Batygin (Дни и годы Николая Батыгина, 1987) - Liza Paltseva
  • The Lives of Don Quixotes and Sancho (Житие Дон Кихота и Санчо, 1988) - Duchess
  • New Adventures of a Yankee in King Arthur's Court (Новые приключения янки при дворе короля Артура, 1988) - Queen Morgana
  • The Tempest (Буря, 1988 TV play) - Prospero/Ariel
  • How Dark the Nights Are on the Black Sea (В городе Сочи темные ночи, 1989) - Dunya
  • Tartuffe (Тартюф, TV play, 1989) - Elmyra
  • Thirst of Passion (Жажда страсти, 1991) - (anonymous, leading role)
  • Master and Margarita (Мастер и Маргарита, 1994) - Margarita (leading role)
  • Town Musicians of Bremen (Бременские музыканты, 2000) - Atamansha
  • Casus Belli (Казус Белли, 2002)

[edit] References

  1. ^ a b c d Anastasiya Vertinskaya’s biography. www.kino-teatr.ru. Retrieved 2009-12-21
  2. ^ a b c Anastasiya Vertinskaya. The Izvestia interview. www.trend.az. Retrieved 2009-12-23
  3. ^ Vladimir Nuzoff О, Мариана! (Марианна Александровна Вертинская) . - «Вестник» / www.peoples.ru. – Retrieved 2009-12-23
  4. ^ a b c d Steve Shelokhonov. www.imdb.com Biography for Anastasiya Vertinskaya. IMDb.
  5. ^ a b Анастасия ВЕРТИНСКАЯ. - persona.rin.ru. - 2009-12-21
  6. ^ a b c d e f g h i j k l m n Actors and actresses of the Soviet cinema. Anastasiya Vertinskaya. - www.rusactors.ru. - Retrieved 2009-12-21
  7. ^ a b c Yevgenia Ultchenko Пиковая дама. russianews.ru. - 2009-12-23
  8. ^ a b c d e "Другие берега Анастасии Вертинской. Автор — Ольга Фомина. Режиссёр – Лев Бромберг. Part 1.". www.rutv.ru. http://www.youtube.com/watch?v=VZbXm1-5lZU. Retrieved 2009-12-23. 
  9. ^ a b c Экспресс газета: Анастасия Вертинская: Ранняя слава мне сильно навредила. - 2009-12-21
  10. ^ a b c d e "Другие берега Анастасии Вертинской. Автор — Ольга Фомина. Режиссёр – Лев Бромберг. Part 2.". www.rutv.ru. http://www.youtube.com/watch?v=gErjR2NPr_o. Retrieved 2009-12-23. 
  11. ^ a b c d e f g h Анастасия Вертинская. Энциклопедия "Кругосвет". Www.krugosvet.ru. - 2009-12-23
  12. ^ a b c d А. Вертинская. К юбилею актрисы . TV Kultura. - Retrieved 2009-12-23
  13. ^ Marina Vashukova. Анастасия Вертинская: Лень - спутница талантливых людей. Izvestia, 2009
  14. ^ 7 Дней. Оливия Анастасии Вертинской. - Seven Days. - 2009-12-23
  15. ^ Ирина Мак, Актриса Анастасия Вертинская : "Эрогенная зона еды - у нас в детстве". - 2009-10-29
  16. ^ a b c d Анастасия Вертинская. СОБЫТИЯ # 49 (200), 18 12 2009. - www.sobytiya.com.ua. - Retrieved 2009-12-23
  17. ^ a b Телеканал Звезда. К юбилею Анастасии Вертинской. Мария Китаева . - www.youtube.com. - 2009-12-23
  18. ^ a b М. Панская Не хочу быть мамой киллера!. - donbass.ua. - 2009-12-21]
  19. ^ a b Анастасия Вертинская. Интервью газете «Известия». - Izvestia interview, 2009. Retrieved 2009-12-23
  20. ^ a b c Нехорошеев Л. Анастасия Вертинская // Актёры советского кино. М.: Искусство, 1967. Вып. 3. С. 25—35.
  21. ^ Е. Добин. "Гамлет и Офелия // Гамлет. Фильм Козинцева. Л.-М.: Искусство, 1967". www.russiancinema.ru. http://www.russiancinema.ru/template.php?dept_id=15&e_dept_id=1&e_person_id=159. Retrieved 2010-04-08. 
  22. ^ a b c Татьяна Москвина. Вертинская Анастасия Александровна. Энциклопедия отечественного кино.
  23. ^ Юлий Смелков. "Марина Неёлова: Иллирия в "Современнике"". www.neelova.ru. http://www.neelova.ru/theatre/12th_night/1073/. Retrieved 2010-04-08. 
  24. ^ Anastasiya Vertinskaya @ www.inoekino.ru
  25. ^ http://roskino.com/works/100films.htm 100 Best Russian films.
  26. ^ Болеслав Соколов. "Режиссёры видели её княгинюшкой, а она по своей сути — ведьма!". Вечерний Петербург. http://vppress.ru/stories/valeriy-plotnikov-rejissery-videli-ee-knyaginyushkoy-a-ona-po-svoey-suti-vedma-6080. Retrieved 2010-04-08. 
  27. ^ Поздравительная телеграмма А.Медведева. 2009-12-23
  28. ^ В. Путин. Поздравительная телеграмма. Retrieved 2009-12-23

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