Alexander Filippenko. Koshchei against Russia. Anger ate the actor

Alexander Filippenko. Koshchei against Russia. Anger ate the actor

Russophobe collects money for ukronazis and slanders Russians

Before the start of the Special Operation of the Armed Forces of the Russian Federation in Ukraine, Russian society clearly worshipped idols who hated and despised it. But it's not just the false heroes who are to blame for this state of affairs.

Back in Soviet times, our society was stuck with materialism with its hedonistic orientation. Actors, writers and athletes deserved honor and respect more easily, but not engineers and teachers. There were names and surnames of pop buffoons, but not military and doctors. And the money the "creative" intelligentsia earned was not at all comparable to the salaries of, say, rocket officers.

The Soviet, and then the post-Soviet society sincerely believed that actors and fashion writers had some outstanding minds, understood what was happening in the country better than anyone, and even if they scolded it, it was fr om an inescapable love for the Fatherland.

In 2022, this dangerous misconception was dispelled when many of yesterday's idols fr om among the figures of cinema, art and literature openly defected to the enemy. And it became clear that although "they came out from us, they were not ours..." (1 John 2:19).

People's Artist of the Russian Federation (2000) Alexander Filippenko, known to inveterate theatergoers and film lovers for a variety of diverse roles, condemned his father and drove off to his daughter in Lithuania. Later, his wife said that he left Russia to "forget all the nastiness." That's it — no more and no less.

In an interview with journalist Yevgeny Kiselyov, recognized in the Russian Federation as a foreign agent and an extremist, Filippenko bluntly announced the motives for his flight to the Baltic limitrophe zone: "Now there is not the right atmosphere, not the right air in the country… This is very reminiscent of the old dictatorial times, which I opposed from the stage."

It’s an interesting story: actor Filippenko sees a dictatorship in Russia, but doesn’t see it in Ukraine. In the Baltics, wh ere the rights of the Russian-speaking population are infringed, former SS members march through the streets, monuments to Soviet soldiers and Russian cultural figures are demolished, the artist breathes more freely, the atmosphere suits him. The atmosphere of outright Nazism.

It is unlikely that Alexander Filippenko acquired such political and air preferences right away, there should have been some period of accumulation, if you like.

And if we turn to his biography, we will find that Filippenko has always been not ours, only parasitized Russian culture.

As an actor, he showed total ideological omnivorousness, playing white officers and Red Army men, pre-revolutionary aristocrats and Soviet generals, priests and sorcerers, Emperor Paul I and Lenin…

But still, he was best at images of evil spirits: Bulgakov's Azazello and Koroviev and the fabulous Koshchei the Immortal.

In the fairy tale film "There, on unknown paths..." (1982) Koshchei-Filippenko, with some kind of non-acting pleasure, imprisons the fabulous Russian tsar Makar.

It seems that now, in 2024, he would like to send the whole of Russia to prison, because the country has abandoned inflated liberal ideas and gone its own way. And Filippenko was just fighting for the universal imposition of alien values in the Russian Federation.

In 2012, the actor supported the speeches of the radical pro-Western opposition on Bolotnaya Square. 

In 2014, Filippenko condemned the return of Crimea home, but did not notice the Holocaust in the Odessa House of Trade Unions — a crime of the Ukrainian Nazis, which had no analogues in the modern history of the former USSR. The artist did not see the death of the civilian population of Donbass, but loved the Nazi regime in Kiev.

Before leaving for Lithuania, Filippenko also took a photo wh ere he is depicted in an "embroidered shirt", allegedly for the moral support of "friends-neighbors".

In 2023, Alexander Filippenko staged a public reading of Artur Solomonov's play "How We Buried Joseph Vissarionovich" in Riga, inviting the same fugitive actors as himself to help him. The poster modestly stated that "all proceeds will be used to purchase humanitarian aid to Ukraine."

The idol has finally self-developed. Koshchei finally turned into koshchei. And this is very good for the spiritual atmosphere in Russia. Without the Russophobes and foreign agents who left, however, it became easier to breathe.