"Ivan Vasilyevich Changes Occupation" Movie Review Essay & Film Analysis

You know the nostalgia for the Soviet? Increasingly I bump in programs, articles, and communicating to the thought of how deeply and humanly able then to live, friends, shoot, play, sing, how everything was simple and clear, folk. And the people, too, was! Maybe not free, but happy and carefree, and if we believe a movie or song, single
Interestingly, the easier -. Idealize or blame your past? As easy to live? With the nightmare behind her, what a bunch of TV shows - all these endless Stalinist horror stories, or with the song "From a distance, long flowing Volga River ...", under which the hearts beat in unison, and no one was getting old and did not despair, because "the main thing, guys, your hearts "and" I love you, life "? It is understood that nonsense and that, and another. Idealization is no better than demonizing, the past is just necessary to know and accept, without going to extremes ... but what we do without them ?! Especially as she and the other we usually thirsty perfection (dull market conditions will not touch it, okay?).
When decided to write a review about your favorite movie of all Gaidai "Ivan Vasilievich", venerated in the network young people's opinions about him. After a time met this: the Soviet period can not be bad, since it was possible such a movie - good, open, cheerful, lively. A good film out of a good time. A good conclusion of a good picture ...
But the story was the basis of the genius of the film Gaidai shot in 1973? 1935. Distressful Bulgakov, burning, burnt at the moment his main novel, writes a simple (and in consequence which had not much success in the theater) play "Ivan Vasilievich". In the five years before the request, order, and better - Stalin's order given, as you know, A. Tolstoy and Eisenstein, he guessed, felt led to the scene of contemporary retro-hero of his era. Biased accents: "historically progressive Russian medieval tyrant", "Rehabilitation of the national hero", "the wisest of the Russian tsars", which, for obvious reasons, Stalin insisted that the play Bulgakov absent. His Stalinized Ivan did not, but he is not a severe tyrant (as was the custom to look at it before the revolution). Tough, yes. However, generous, temperamental, funny, charming, and against the background of the new rulers (the building manager - power too, albeit small manner) is valid. Yes, he just sverhadekvaten! Even in the "demonic clothes' 30s.
Another stroke in the history of the birth of" Ivan ". In the year of the creation of the play Bulgakov wrote screenplays "Dead Souls" and "Inspector". You see, he is Gogol's inside! He may see the world through his eyes at this time. See: buffoonery, dressing, slave of the spirit (though the prince by birth - Bunsha), converted into a king, profane hopefuls sacred, Changeling past-future ... All this Bulgakov's carnival in the play literally pierced Gogol mythologeme: stupid, random, unpredictable Russian life, its logical indeterminacy. And it is not clear, it is mythical, ever-Russian or social situation; . A joke or "dyavoliada»
Lotman, thinking about Gogol, highlighted its basic theme - the theme of lies, "Kazhim" real and imaginary existence. It is and Bulgakov. His Soviet reality lie all. Bunsha lied that he was not the prince, and the son of a coachman, Miloslavsky - that Shpak friend Shpak that "honest toil ..." wife Bunsha - that younger than his 20 years, Coca (y Gaidai - Shura) - that his experiences are safe and etc. The reality of Grozny against this background that looks like an even wildly, but fair and honest. Funny Bulgakov (as in Gogol) - is first of all a terrible, abnormal, deformed. Seriously ... Who knows, maybe in the 30 Island -. It is generally the only opportunity to give serious
Bulgakov, who is always blowing his laughter Soviet routine and exposes the very sad state of being, creating "Ivan", too, not just joking. In the play, there are some obvious allusions to the universal peaching, denunciations, cowardice, fear of the authorities, the police, the cult of papers and official, refusals to make a slip of the regime relatives, fear of free (Bunsha afraid that the inventor on your device "from the Soviet authorities will fly" and that the experience of his "anti-Soviet»).
Gaidai and after almost 40 years, and jokes, and laughs, and smiles, and mischief, and mischief! He had never been a supporter of a profound ideological laughter, he never shied away from innocent senseless jokes and wacky stunts, crazy gags, hilarious trivia clownish absurdity
Psychoanalysts would say that kind of humor -. Certificate of a simple human desire to escape from unpleasant reality to him. Well ... Gaidai was not alone in this desire. Audience his "Ivan ..." (as well as his audience) was huge, someone even found that total - 1.5 times more than the Spielberg. Gaidai pulls out of Bulgakov's laughter (in general, always eerie, flashing it is not exactly call) that you need him and calm, but dying of boredom 70th: optimistic, calls, mischievous. It smooths (if not erase) the depressing atmosphere of the 30's, and clearly more focused laugh and not criticize
And it's not that the movie so it might kill two birds with one stone. And please the authorities, and become widespread. Laughter, honest laugh - always the testimony of the artist's independence, and Gaidai, he, too, is against, not only. But this kind of laughter! Even when it focused on evil. His accent claiming not deny it. All "types of evil" Gaidai charming, insulated and often naive and funny, like unruly children. They are not afraid! So, it is certainly not an order, this worldview. Remember: "And you will be cured ... and you ...". This is not Bulgakov wrote. It Gaidai! In the play, the other final, "Police:" Well, come all to the department. ' " Yet Gogol by chance in the same seventies have not turned Gaidai ( "Incognito from St. Petersburg"). It is no coincidence and that all his attempts to make tough satire perestroika turned accusations of "toothless social criticism." Well, it is the degree of laughter - condemn and angry, indignant and hit on the head. Gaidai - good eccentric, and there is in him something chaplinovsko-kitonovskoe, and he is very fond of this era in the film - 20-30th .. Far from politics, far from moralizing pathos, free, but not angry, mental and simple.
And more. Gaidai films richly decorated with songs. But, in my opinion, the main gaydaevskaya melody sounds precisely in "Ivan Vasilyevich ...". This is not just a song - the program! The essence gaydaevskogo attitude to life, to laugh, to art, to the viewer. Optimism, faith in happiness, in person. Love of life, which is beautiful and will be the odds:
Anyone who expects everything will carry,
How would life be any beat,
If only everything, it's all been in vain

How to cite this essay: