Ivan Vasilevich Muda de Profissão

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 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.

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.

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.

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.