Honored Artist of Russia Elena Ivanovna Kondulainen is considered by the general public to be a domestic "Marilyn Monroe". At the end of the Soviet empire, it was she who became the first sex symbol, because behind her thematic creativity there are films in the projects "One Hundred Days Before the Order", "St. John's Wort", "Bolotnaya Street, or Remedy After Sex", "Primordial Russia".
A native of the Leningrad region and a native of a family of ethnic Finns far from the world of culture and art, Elena Kondulainen was able to break through to the Olympus of national glory, solely thanks to her creative beginning, great ability to work and dedication. In addition to the fact that she became a popular theater and film actress, a beautiful blonde woman realized herself as a pop singer.
Biography and career of Elena Ivanovna Kondulainen
On April 9, 1958, a future film star appeared in the village of Toksovo, Leningrad Region. In childhood and adolescence, Elena studied at general education and music schools. Therefore, she easily entered the Institute of Music and Cinema (specialty of a choir conductor) in the city on the Neva. In the course of her studies, she is transferred to the theater department of this university, where her mentors were Georgy Tovstonogov, and then Lev Dodin and Arkady Katsman.
In 1983, Elena Kondulainen received her diploma and began to successfully act in films. Her first film work during this period was the role of the girl Mlava in the film "Primordial Rus", which was released in 1985. It is interesting that in his first cinematic projects, on the advice of his older comrades, Kondulainen uses a creative pseudonym for the titles of Ivanov, and then Rusov, which was due to the domestic mentality of the time when people frankly did not like any non-Russian names and surnames.
And the real rise in the creative career of the aspiring actress began after she clearly caught the spirit of the era associated with the weakening of censorship and the release of the first "nudity". It is with the erotic film work in the film directed by Hussein Erkenov "One hundred days before the order" that the cinematic era of Kondulainen begins. This peculiar niche was completely subordinated to her until the younger and more aggressive actresses began to oust her from there.
Currently, her filmography includes the following film works: "One Hundred Days Before the Order" (1990), "St. John's Wort" (1990), "Death Caravan" (1991), "Swamp Street, or Remedy for Sex" (1991), " Daphnis and Chloe "(1993)," Thank you for everything "(2005)," 8 first dates "(2012)," Father's instinct "(2012)," Interns "(2012)," Women on the brink "(2013), "Traffic Light" (2014).
In 1993, on the wave of the sexual revolution in Russia, Elena Kondulainen even created her own political party with the thematic name “Party of Love”. In this outburst of absurdity, she was supported by Maria Arbatova, Alexander Pankratov-Cherny, Mikhail Zvezdinsky, Alexey Glyzin. It is surprising that within this political party there were even separate factions: “Love for blondes”, “Love for brunettes”, “Faction of former womanizers”.
In 2005, the artist records the music album "Lonely She-Wolf", apparently remembering her vocation as a conductor at the first stage of her creative development. She herself performs her own hits, and the composition "More" even falls into the repertoire of the group "Strelki", famous at that time.
In recent years, fans of the outrageous actress could enjoy her scandalous revelations on the talk show "Actually" (2017) and topless photo shoots on Greek beaches (2018).
Personal life of the actress
Four marriages and two children - this is the current outcome of the family life of Elena Ivanovna Kondulainen.
The first husband of the actress was a certain teacher, from whom she gave birth to her first child. However, the marriage quickly fell apart.
For the second time, Elena married a businessman Sergei, with whom she even got married. In this marriage, a son, Mikhail, was born. But this seemingly happy union fell apart. Kondulainen was very seriously worried about this divorce, which coincided with her mother's death, her son Alexander's health problems and her own illness.
The third marriage was also fleeting, although it marked the end of a difficult stage in her life for the actress.
At fifty-two, she again marries entrepreneur Dmitry, who is twice her age. But this union, like all the previous ones, did not resist the onslaught of the unbridled character of a wayward woman.
