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Ivan Vasilievich Changes Profession is a film capable of appealing to audiences outside the Soviet Union with its universally smart humor. From the onset it is obviously influenced by Western cinema; one cannot tell if Shurik's bedroom is Russian or American until Mussorgsky's Boris Godunov begins playing from the TV. This homogeneous consumer culture is evident all throughout the film, especially in the luxuries of Shpak's apartment, the electronics black market, and the character of Shurik's wife (in the dream plot line). In fact, Shurik's wife in the separate dream world seems almost a caricature of Hollywood with her posters and dreams of falling in love with Yakin and finding fame. Gaidai's camera work utilizes quick photography. This is exemplified in the episode in which Miloslavsky is robbing Shpak's apartment and cannot get out; Gaidai cuts to the many faces of statues and paintings that, in context, are shocked and seem to mock him. This is an amusing riff on the Kuleshov Effect. The sets themselves are also fantastic, and Ivan's (the tsar, not the bureaucrat) palace appears lifted straight out of Eisenstein's 1947 feature. Ivan Vasilievich (both of them), too, is an exact copy of Eisenstein's tsar, pointy beard and all! These visual homages would have been obvious, one assumes, to Russian audiences of the time and surely would have made it all the more comedic. However, Gaidai's humor is not intrinsically Russian, like earlier Soviet comedies, but appeals internationally. The humor lies in the situational: the police/Oprichniki chase, the switching of identities, the mad scientist, even a regal food fight. The only context clues to the time are slight jabs at Soviet rations, the black market, and housing codes. These tropes give the film the ability to transcend the trappings of a fifteen- minute fame, and allow it to be just as funny, if not more, decades later.

In early 1970's Moscow, scientist Shurik toils in his apartment trying to create a working time-machine. He is dedicated to the task, so dedicated he barely registers it when his wife leaves him. One day, Shurik successfully transports himself back to the time of Ivan The Terrible, taking with him a burglar and the superintendent of his building. While Shurik makes it back to the present, there is one problem: the other two are left in the 1500's and Ivan the Terrible has come home with him. So begins a raucous tale combining science-fiction, comedy and history: Leonid Gaidai 's 'Ivan Vasilievich Changes His Profession.'

Based on the play 'Ivan Vasilievich' by Mikhail Bulgakov, the film tells a wild tale that is sure to entertain. A successful combination of science fiction with comedy, it contains much broad humour, as well as many witty moments and acerbic set pieces. The Tsar's reactions to the contemporary world and its' trappings makes for fantastic satire, highlighting the cultural juxtaposition between the Russia of the past and (that which was then) the present. One also may learn a little about the country's history from the film- though to rely on it as a teaching aide for that purpose would be folly. While the ending is a little underwhelming, the film is a crazy, funny trip through time that is full of delights.

'Ivan Vasilievich Changes His Profession' is also a visually striking movie, with Vitali Abramov and Sergei Poluyanov's naturalistic cinematography being strong, though slightly traditionalist in terms of composition and framing. The production design- overseen by Yu. Fomichov and Yevgeni Kumankov- is stylish, making everything on screen seem deeply textured and intricate. The set and location design and decoration is of an especially high, rich quality, bringing life and realism to the picture; which works as a counterbalance to the fantasy of the narrative.

Nadezhda Buzina's costume design brings additional authenticity to the film, with her detailed work lingering in the mind long after the credits have ceased to roll. Her outfits for the Tsar are particularly impressive, not to mention appearing reasonably period accurate. Aleksandr Zatsepin's musical score also impresses, being highly atmospheric and stirring. He makes good use of traditional- and not so traditional- numbers throughout- with the film's version of 'Marusya' being most memorable. Additionally, Klavdiya Aleyeva's editing should be mentioned, as it is effective, keeping the somewhat chaotic proceedings coherent and moving at a steady pace.

All in the cast are fantastic, clearly having a ball with the movie. Yury Yakovlev plays a dual role as the Tsar and the Superintendent, delineating both characters as individuals through the depth of his physicality. He is terrific as both men, and will really make you laugh. Leonid Kuravlyov plays the burglar, and is equal parts charming and deceitful. Kuravlyov brings a lot of good-natured humour to the role, and is immensely likable. Aleksandr Demyanenko has less to do as Shurik, but does it well, and the supporting cast can't be faulted. Of particular note is Natalya Seleznyova, playing Shurik's wife. She has impeccable comic timing, and steals the few scenes she's in completely.

Leonid Gaidai's 'Ivan Vasilievich Changes His Profession' is a wacky comedy with science-fiction elements that has a lot going for it. The story and screenplay is full of witty dialogue and wild scenarios, as well as being satirical, featuring much irony and social commentary, about (what was then) contemporary Russia and its' past. The cast perform admirably, the visual style is distinct- if sometimes orthodox- and the score is rousing. While the film may lose steam near the end, 'Ivan Vasilievich Changes His Profession' is a terrific tale of time travel that is an awful lot of fun.

I own two copies of this film, one purchased in Russia (no subtitles), and one I've acquired recently to show it to my wife with subtitles. She wasn't very excited about Russian cinema, she isn't a film person and hates to read subtitles, but this time she gave in.

As many reviewers mentioned before, majority of the humor relies on the verbal misunderstandings between the characters from different time eras, that of 1500's and that of 1970's.

I've paused the film no less than a dozen times to explain such details as the meaning of world "liapota," it being the ancient word for the modern equivalent of "beauty," and to explain Visotskii's (a Russian singer whom Ivan the Terrible listens) lyrics. Also, there are many little social comments that those who haven't lived in, visited, or studied Soviet Union wouldn't understand completely i.e. the obvious ridicule of the "social reports" and the black market commentary.

Nevertheless, she liked it, and I was dumbfounded.

This film is popular and remembered because of its many layers. You may enjoy it simply as slapstick, someone else can view it for the language, while yet others can view it as a social commentary. It adds up if you know the Russian language and history, but even if you don't you will still find it funny and charming because there is always something to take away.

For those Americans who cannot understand the movie and appreciate it entirely, I suggest that you watch it for its visual value. I myself have moved out of Russia when I was 7 so I did not get to study the history culture and language of Russia that much, so movie like these I use as an educational tool. I've learned a lot about the clothes, speech, and history from this movie than I did anywhere else. My heart is more in this than perhaps yours might be, but educationally this film is worth it, as well as providing humor and fun. It's not a preachy, soapy, cramped kind of comedy. It is fast paced, energetic, and fun.

This is one of the greatest comedies produced by the Soviet cinema. It continues to be hugely popular among Russian speaking people (who have all seen it). Even if one does not understand any Russian, the movie is quite watchable in subtitled versions.

The plot itself is a rather standard one about ordinary guys thrust into a strange culture with action and adventure. What makes the movie special is superb acting, witty dialog, good pacing, and engaging music.

This movie deserves a place along side other action-adventure comedies such as The Princess Bride.

Hi!

As the title of the comment points this is one of the best Soviet comedies ever filmed. And that's is the reason for many people from other countries of the world not to get it's meaning. I would say that even modern day Russians - who have never lived in The Soviet Union, who have no idea what Iron Curtain or Warsaw Treaty Organization is will never understand and enjoy it in full. But anyone who is acquainted with Soviet reality will vote 10 of 10 - I am sure. So do not blame Americans or peoples from other countries for not getting Soviet comedies (those were great; and modern day Russian comedies is pure crap - I am sorry) - they were so very oriented to our former reality that are hard to get in modern days. My score is 20 of 10.

It is perhaps the best Soviet comedy ever made... But it`s very difficult for a person, who does not speak Russian to understand it completely. The movie is full with tricky details, specific language and many funny episodes, so typical for the Socialist era. It is a constant pleasure to watch over and over again!

This film is not only very funny, but also the product of a deep knowledge and love of classic Russian cinema. Some cadres are clearly inspired by Eisenstein's Ivan the Terrible, part I (Ivan Vasilevich looking from the window, Ivan Vasilevich sitting with the scribe) and their presence in the comedy context (in a world turned upside-down, as Bachtin would have it) is the silver bullet that provides laughter and delight to the intellectual as well as to the unsophisticated viewer, who may be content with recognizing on the apartment's wall a reproduction of Repin's "Ivan Grozny killing his own son". Building on this, Gaidai displays his own masterly craft: he can make you laugh with just one word (Tsar Ivan looking at contemporary Moscow - devastated by modern buildings - and bursting out "Beauty!"). Great acting by everyone, Miloslavski (Leonid Kuravliov) being my personal favourite.

This is a pretty nice comedy, popular in Soviet Union and Russia. I would give it 7.5 out of 10. Please, be aware, that this is not SCIENCE FICTION. Yes the story line is not too realistic, still it's pure comedy, without any attempts to become classics in sci-fi genre. I think this movie is placed in the wrong category.

As far as comedy goes, it has nice actors, music, story, interaction. It's not an intellectual comedy: if you look for depth, or mix of sad and funny moods, you will not find those in this movie. It's more like "take it easy and have fun" film. Some lines and episodes from this film became extremely famous in Russia. Still, be aware: lots of jokes will not be understood by western viewer as they are related to Soviet way of life. Those jokes are already out-dated (though still appreciated) in modern Russia and - completely not comprehend-able in the west.

This is a trivial question of any person who do not know anything about USSR and Russia's history. I like movies, and I've seen hundreds of foreign comedies but I couldn't understand even half of the jokes. But soon I realized that if I want to enjoy the film I need to know at list something about their culture and history, to know where does this jokes came from.

"Ivan Vasilievich: Back to the Future" is a great comedy, I've seen it hundred times and I like it more and more from time to time, because I learn history of my country.

I proud for creators of this film, because they've found a great piece of humor in the mount of historian tragedy

So if you want to really enjoy this film, read at list something about Ivan IV and USSR :)

"The subjects switched by the machine are the notorious Ivan the Terrible and his look-alike, an anal-retentive building superintendent Ivan Vasilievich Bunsha (both played by Yakovlev, alternating between alpha and beta male personalities with moderation). So in the present day, Ivan the Terrible gets to acquaint himself with mod cons and a modern world four centuries after his time, not that the film allows him to go out of the main building where lives the scientist Shurik (Demyanenko, indeed a variation on Jerry Lewis's nerdy persona, but less objectionable). An encounter with Shurik's wife Zinaida (Seleznyova) and her lover, film director Yakin (a smarmy and incredulous Pugovkin) reassures him that his repute doesn't lost on posterity."

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A fairly humorous mix of Mr Bean visual puns, pre-Perestroika Russian stereotypes, Benny Hill chases and a bit of caviar thrown in (black, red and eggplant)! I was expecting something very special from a film with such a high rating, but unless all the comedy in Russian jokes is lost in translation - which I don't believe - then the film was on a par with a romp Up-Pompeii. Now, don't get me wrong. I love Carry-On films, Benny Hill, Mr Bean, and dare I say it - Franky Howard. But to put this whimsical ditty up there as the fourth best Science Fiction film ever, with the greats of Star Wars and The Matrix and above Blade Runner and Alien leads me to believe that something is wrong! Ah yes! only 1,130 votes as compared to 135,273 for Blade Runner. As they say, there's lies, damn lies....... and I will let you finish the rest. The film clearly has a solid, committed core of devoted followers. Watch the film, but don't expect to be moved to philosophical pondering. More imported eggplant caviar anyone?

An adaptation of Mikhail Bulgakov's story based on a grotesque collision of different historical periods. Some visual humor involved. A couple of awkward chases and a lot of awesome jokes. One of the best Russian comedies, second to none except 'Brilliantovaya ruka' by the same film director.

It is interesting that the film spans not only the time of Ivan the Terrible and the 70's but also the 20's when Bulgakov's original was written. Although the influence of the 20's is mainly atmospheric, it is nevertheless visible in the fact that most of the character's names sound funny in the way usual for the satirical literature of that period.

Contrary to what may seem to a foreign audience, the chase sequences in the movie serve only as a rather ineffectual background for the main comical action, which is almost entirely verbal and basically relies on the combination of contemporary language with its archaic counterpart of the 16th century - a detonating mixture that is guaranteed to kill the native-speaking audience.

Considering the fact that the movie is featuring some of the most popular Soviet actors, it is not surprising that this low-budget and obviously slap-dash production has managed to gain the nationwide reputation of a classic, with most of its memorable quotes nearly approaching the status of catch-phrases.

The film can be tentatively recommended to advanced learners of Russian and certainly to all those who specialize in the study of this language.

If You have a chance to see the movie - just do it! If You're looking for a way for enabling to see the impossible like too much possible without tricks with computerized effects, for doing great movie with a lot of meanings (needs to know and understand a bit the Socialist Soviet Reality) You can find all of that in that movie. But if You're looking just for fun and nothing more, see the movie and make for Yourself great relaxing evening.

melinda2001, this film does not Benny Hill, you fool! Benny Hill - is silly faces, lust and antics. Ivan Vasilievich - this is a profound satire. Russian do not like the silly faces, lust and antics Benny Hill. Russian need intelligent comedy, satire, allegory different. In this film, the humor in words, as they say in the characters, as they say, and items that you probably did not understand without knowing Russian. And the Russian will always watch this movie. Today in Russia do not remove these movies - it means "Ivan" and other Soviet satirical comedy will be popular. Until new satirical masterpiece comedy . Unfortunately today all over the world to take off stupid, and Russia in this way. New Russians comedy - idiotia as the worst in American comedies. :(

All the humor in the movie was original at the time, and still is, but I guess not to everyone, especially residents of the US who are used to perverted humor and such.

I find it silly how a non Russian speaking person could rate this movie at all...

This movie is purely made for Russia and all the former USSR countries, and most of the Russian population have all seen it and love it!

A lot of phrases in the movie are commonly used everywhere in Russia to this day, and will be used for at least another century.

This film made Russian history.

I love it too!

I would like to propose to IMDb to unmercifully deny Americans to comment foreign (to them) movies, especially when everything they have ever heard of a country which the movie is made in /times it describes was/is a cliché. You cannot comment something you don't understand and especially when you cannot possibly understand it in lifetime. Likewise you cannot comment Pythagorus theorem when you're not mathematician or Eifel Tower if you are not architect, you cannot criticize gem of comedy for being silly when you don't understand it in first place. You can, however, tell the others that its been silly TO YOU, just because YOU are used to toilet-drawn "humor", with silliness and stupidness you see in every modern American comedy which has gone its way from stardom in 50's to 80s to total drop down quality nowadays. _Shoe maker, do not watch above the shoes!_ And leave masterpieces like this one alone. If you're American, this is probably not your movie for the evening. Go grab the American Pie 10 instead.

This movie might had been something and original at its time but this movie just isn't exactly my idea of a great or hilarious comedy. It's not like I hated it, I actually still quite enjoyed it but that doesn't prevent this movie from being an overrated one.

Most of the movie its comedy comes from the character looking and talking into the camera and comical sequences that are being played fast-forward, "Benny Hill"-style. It just doesn't work out as being THAT funny. The movie of course has a couple of nice moments but overall the comedy is really lacking, which is a disappointing aspect of the movie.

The story however is quite original, at least for its time it was. It involves time traveling and mistaken identities, when Ivan The Terrible find himself in 'modern' Russia, while another man from the modern Russia and Czar Ivan look-alike takes over his place in return, in the 16th century. This concept of course provides the movie with plenty of comical situations but still I feel that this movie didn't exploited all of its potential. The movie and its comedy mostly remain very simplistic and therefore also somewhat predictable.

Aside from its horrible bleak '70's Moscow look, this movie is a quite good looking one, with professional looking sets and costumes. No doubt that this was quite a cheap movie to make but for most of the time this doesn't show on screen.

Directing-wise the movie is quite flawed, as some of the sequences don't flow in well with each other and the movie features some little mistakes, such as a boom-mike hanging in frame. Leonid Gaidai was a director who felled comfortable within the comedy genre and worked with a lot of famous Soviet comedians during his career. This movie is perhaps his best known- and most popular one.

The actors also didn't convinced much within this movie but luckily saying your lines convincingly isn't the most needed required for a comical movie.

Nothing too horrible but also far from the best that the genre has to offer.

6/10

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All russians know this film by quotes, it's a part of Soviet films' "gold collection". Firstly, the plot that based on Mikhail Bulgakov's book is very interesting with a lot of jokes. The cast is great, they are the best actors and actresses of USSR. So, it's great comedy film.

This is one of the movies Russians were practically forced to watch in the early days of television, as there were only a couple of state channels and not much choice. The tradition of watching this and other comedies gradually substituted quality with mass hysteria and, more importantly, habit.

Even today many people enjoy watching it, subconsciously not understanding that it is nostalgia for the past they feel, not joy of watching a quality comedy.

Really, though, the script is horrible and the fact that this pulp of a movie is based on Bulgakov's story just adds insult to the injury. Bulgakov - pulp?! Even idea seems ridiculous, yet, here it is. The comedy itself comes from a lot of slapstick, in very low intelligence ways, like making fun of lisps or speed-up movements, ala Benny Hill. The cinematography is sickening yellowish, for some reason really loved by Gaidai (director). Yet, the worst is acting, or likely directing, which forced such acting. Characters can freely speak to the camera and behave like complete idiots. How could actors play well in such movie is beyond me and apparently beyond them as well, so they do not even try. They just make faces and deliver their lines.

Which is the only saving grace of this whole farce. The film has become a well of one-liners over the years.

All in all, if you enjoy other comedies created by Gaidai, this can even be considered one of his best, so watch it with no worries, as it has all of his safe trademarks. But if you don't or simply don't know what kind of films Gaidai did, I can summarize them to you in two words - Soviet Kitsch.

Shurik (a character in several other comedy films) is experimenting at home with an invention which goes wrong and puts him, a passing burglar, and the apartment supervisor back into the time of Ivan the Terrible. There are a lot of chases and action, so you can still enjoy the film even if some of the Russian dialogue passes you by. Good views of several historic buildings, and an insight into 1973 Moscow as well as a bit of a history lesson. Not all Russian films are doom and gloom.