A film critic review discusses the announced remake of the Soviet classic Ivan Vasilyevich Changes His Profession. The assessment is blunt: the project is unlikely to succeed in today’s market. The critic observes that remakes of beloved classics rarely win audience enthusiasm, especially when the original has become a touchstone of national cinema. Young viewers, in particular, show hesitancy toward retellings, and the critic notes that the comedy has been performed so often on screen that fresh versions risk feeling unnecessary. The viewpoint echoes earlier critiques of the genre, with titles such as Gentlemen of Fortune 2, Office Romance 2, and Caucasian Prisoner 2 cited as recent examples that did not meet expectations. In this perspective, taking a revered film and attempting to modernize it is seen as a questionable move that may produce disappointing results. [Source attribution: interview excerpt]
The discussion extends to the matter of casting and talent. The critic argues that, at present, there are no Russian actors who match the professional standing and fit of the beloved performers from the original that audiences remember, including Yuri Yakovlev, Alexander Demyanenko, and Natalia Krachkovskaya. The implication is that replacing iconic performances with a new generation might fail to capture the chemistry and charm that defined the original ensemble. [Source attribution: interview excerpt]
In the new project, Timur Batrutdinov is slated to portray Ivan Vasilievich Bunshi as well as the historic ruler, Ivan the Terrible. Demis Karibidis is set to play Shurik, while Maxim Lagashkin takes on the role of thief Georges Miloslavsky. The cast list expands to include Pavel Volya, Sergey Svetlakov, Mikhail Galustyan, Gosha Kutsenko, Pavel Derevyanko, Marina Kravets, Garik Martirosyan, Marina Fedunkiv, Olga Kartunkova, Olga Buzova, Basta, Ivanushki International, Azamat Musagaliev, and Philip Kirkorov, among others. The lineup signals an ambitious, star-studded approach that aims to draw contemporary audiences, yet the critic remains cautious about whether star power can compensate for the absence of the original cast and timing. [Source attribution: interview excerpt]
There is also a brief note about industry movements connected to the entertainment scene, mentioning past business decisions involving public figures and brands. The conversation touches on the pattern of collaborations and acquisitions in the cultural market, illustrating how crossovers between music, television, and film continue to shape public perception and audience expectations. [Source attribution: interview excerpt]