Tamara Akulova: The Enduring Legacy of a Soviet Star and Her New Calling in Nurturing Talent

In the constellation of Soviet cinema, certain stars shine with a particular, persistent luminescence. Tamara Akulova, renowned for her roles in classic films, is one such figure whose light has not dimmed but rather transformed. While audiences may still occasionally mistake her for another equally famous contemporary, Akulova has gracefully pivoted from the spotlight to the classroom, embracing a profound new calling: shaping the next generation of acting talent.

The Sage of the Screen: From Leading Lady to Luminary Educator

Recently attending a film festival in Pskov, where two of her films – the classic “Ballad of the Valiant Knight Ivanhoe” (1982) and the contemporary “Everyone Dreams of a Dog” (2023) – were screened, Akulova found herself in a familiar, if somewhat amusing, predicament. Many attendees, including some seasoned cinematographers, approached her with the question, “Wasn`t it you in `The Crew`?” — a reference to a film starring her look-alike, Aleksandra Yakovleva. Akulova, with a seasoned actor`s understanding of perception, now simply smiles and affirms, “Yes, that was me.” This gentle acceptance of misidentification speaks volumes about her current focus: the authentic work, not the fleeting image.

Her primary engagement today lies within the esteemed halls of the All-Russian State Institute of Cinematography (VGIK), specifically at its Rostov-on-Don branch, and as a teacher of acting alongside Sergey Bezrukov in Moscow. This transition, she explains, is not a retreat but an active choice. With fewer substantial roles offered in modern cinema, she finds immense satisfaction and purpose in pedagogy. “What would I present there [at festivals]? There are no new films with large roles for me. I have plenty to do,” she remarked, hinting at the demanding yet rewarding nature of her teaching career.

Echoes of a Golden Age: “Ivanhoe” and the Craft of Filmmaking

When asked to select a film that best represents her, Akulova unhesitatingly names “Ivanhoe.” It is, in her words, “good romantic and beautiful cinema with wonderful songs.” A stark contrast, perhaps, to contemporary filmmaking where, as she notes with a touch of professional melancholy, “now such films are not made.” The rapid pace of modern production, she laments, often sacrifices the meticulous preparatory period — the very foundation upon which the grand narratives of yesteryear, like “Ivanhoe” with its on-location shoots in ancient Uzhhorod castles and interior work at Mosfilm, were built. It is a subtle but poignant critique of an industry that, in its haste, risks losing the depth that comes with deliberate creation.

A Legacy Forged in Mentorship: Learning from Bondarchuk

Akulova’s own artistic foundation was laid under the tutelage of cinematic giants, Sergey Bondarchuk and Irina Skobtseva, at VGIK. While their students may not be as frequently discussed as those of Sergey Gerasimov and Tamara Makarova, Akulova emphasizes the quality of their instruction. Bondarchuk, despite a shorter teaching tenure, cultivated a diverse and talented cohort. His approach, perhaps more focused on the nuances of performance than immediate on-screen visibility for his students, left an indelible mark on Akulova. “I had a premonition that I was their person, Bondarchuk and Skobtseva`s,” she recalls of her competitive admission process, a testament to the intuitive connection between master and apprentice.

The motivation of young aspiring actors today, Akulova believes, remains remarkably similar to her own era: a youthful, fearless pursuit of a dream. The fear of being unneeded only arises later, with the responsibilities of life. And for those from the provinces, VGIK still offers budget-funded places, allowing talent to transcend geographical and economic barriers, a continuity that perhaps defies the romanticized notion that a modern “Shukshin” might never make it to Moscow.

The Unseen Language: Eyes as the Actor`s Soul

Akulova’s dedication to her students extends to directing their diploma performances, including challenging works like “Dear Elena Sergeevna” and “Don`t Part With Your Loved Ones,” and a particularly innovative staging of “Balzaminov`s Dream” that integrated multimedia elements. Her pedagogical philosophy is deeply rooted in the physicality and emotionality of acting. Remote teaching, she discovered during the pandemic, could only ever be a partial solution because the core tools of an actor – voice, body, and emotions – are fundamentally interpersonal. For Akulova, the most critical instrument of all is the eyes. “For me, the main thing in an actor is the eyes,” she states unequivocally.

This sentiment resonates deeply when she speaks of greats like Innokenty Smoktunovsky and Armen Dzhigarkhanyan, actors who could convey entire narratives through silence. She recounts Bondarchuk`s observation of Laurence Olivier`s “Hamlet” in London, where the actor captivated an audience for ten minutes with sheer stillness and intense gaze. This profound ability, she muses, cannot be taught; it is a divine gift. Yet, the modern VGIK curriculum, with its comprehensive focus on dance, movement, and vocal training, aims to cultivate a versatile artist, one prepared for both stage and screen, a significant evolution from the more cinema-centric training of her youth.

Embracing the Unvarnished Truth: Age, Roles, and Authenticity

Akulova’s personal journey mirrors her professional evolution. She has resolutely embraced the natural progression of age, a refreshing stance in an industry often obsessed with preserving perpetual youth. While online “well-wishers” might occasionally comment on her appearance (“Akulova, why are you so terrible?”), she finds amusement in it. “And it`s good that they write. I even like it. When a colleague says she didn`t recognize me in a series, I only rejoice,” she asserts, highlighting her desire to transcend the “beautiful, sugary” roles of her youth. She is eager to explore characters with more depth, more history, having found a joyful acceptance in her current age category.

A Family`s Diverse Tapestry

Her personal life, too, reflects a deep engagement with the arts and human experience. Married for nearly forty years to Elyor Ishmukhamedov, a respected director who also teaches screenwriting at VGIK`s Tashkent branch, their home is clearly a hub of intellectual and creative exchange. Their daughter, Anna Sherling, followed in her mother`s footsteps, becoming an actress, though her focus has shifted to raising four children. Their son, Dmitry, however, forged a different, yet equally compelling, path. With three higher education degrees, including law, clinical psychology, and medicine, he has become a practicing psychiatrist. He even runs a video blog, offering insights into films and psychological conditions through a psychiatric lens, a unique blend of critical analysis and medical expertise. It seems a fitting testament to a household that values profound understanding, whether of character, script, or the human psyche.

Tamara Akulova’s journey underscores the enduring power of passion and the continuous pursuit of knowledge. “If you want to achieve something, then set the bar higher,” she advises, embodying a spirit of perpetual learning, even if reaching the zenith of a Pyotr Fomenko is an aspirational rather than literal goal. In her new role, she is not merely teaching acting; she is imparting a philosophy of life, of accepting change, and of striving for authentic excellence in every phase.