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Combines user and critic ratings from four sources
Comedy, Science Fiction • 1973 • 88 min

A Soviet scientist accidentally swaps a bumbling apartment manager and a petty thief with Ivan the Terrible himself, sending 16th-century tyranny crashing into 1973 Moscow. Director Leonid Gaidai adapted Mikhail Bulgakov's play into one of the most beloved comedies in Russian cinema history. The humor runs on anachronism and class confusion rather than ideology. The Leans Traditional label fits modestly. The film carries no progressive identity themes, no LGBTQ content, and no political agenda beyond satirizing Soviet bureaucratic absurdity in the mildest possible way. A dissolving marriage appears without moral commentary, which nudges things slightly left of center, but the story otherwise resets to the status quo and celebrates historical continuity through comedy.
Yuriy Yakovlev • Leonid Kuravlyov • Aleksandr Demyanenko
A Soviet scientist accidentally swaps a bumbling apartment manager and a petty thief with Ivan the Terrible himself, sending 16th-century tyranny crashing into 1973 Moscow. Director Leonid Gaidai adapted Mikhail Bulgakov's play into one of the most beloved comedies in Russian cinema history. The humor runs on anachronism and class confusion rather than ideology. The Leans Traditional label fits modestly. The film carries no progressive identity themes, no LGBTQ content, and no political agenda beyond satirizing Soviet bureaucratic absurdity in the mildest possible way. A dissolving marriage appears without moral commentary, which nudges things slightly left of center, but the story otherwise resets to the status quo and celebrates historical continuity through comedy.
Yuriy Yakovlev • Leonid Kuravlyov • Aleksandr Demyanenko
The film is a comedic farce centered on time travel and mistaken identities, with its humor derived from anachronism and cultural clash rather than any discernible political agenda or ideological messaging. The narrative's primary goal is entertainment, concluding with a return to the status quo, reinforcing its apolitical nature.
The movie features traditional casting consistent with its 1970s Soviet origin, without any intentional race or gender swaps. Its narrative is a comedy focused on time travel and cultural clashes, and it does not include explicit DEI themes or critiques of traditional identities.
The film portrays a marriage dissolving without moral judgment and depicts fluid gender roles within relationships, leaning away from traditional family norms without strongly endorsing alternative structures.
The film "Ivan Vasilyevich Changes His Profession" does not feature any identifiable LGBTQ+ characters or themes. The narrative focuses on a time-traveling comedy of errors involving a scientist, a building manager, and a thief, with all character portrayals and plot developments existing outside of LGBTQ+ representation.
The film does not feature any identifiable transsexual characters or explore themes related to gender identity or transition. Its comedic plot revolves around a time machine, a tsar, and a superintendent swapping places, leading to humorous situations based on mistaken identity and historical displacement.
The movie does not contain any action or adventure elements.
The film is an adaptation of Mikhail Bulgakov's play "Ivan Vasilievich." All primary and secondary characters in the film retain the same gender as established in the original source material. No character canonically or historically established as one gender is portrayed as a different gender.
The film adapts a play featuring both contemporary and historical Russian characters, all of whom are canonically and historically white. All significant roles are portrayed by white actors, with no instances of a character's established race being altered.
Not depicted in the film.
Combines user and critic ratings from four sources























