Russian comedy is certainly a very strange phenomenon, for a number of reasons. The first time we encounter it, we might think that it’s a bit of a contradiction, since there is a quality of seriousness that is often associated with the country, with most of the more prominent Russian films known internationally often being bleak and harrowing social tales. However, the more we venture into the history of Russian film, the more we realize that there is a strong culture of comedy that persists throughout it, with many fascinating (and often outright ridiculous) works being produced over time. Perhaps the best decade for Russian comedy is the 1970s, which is when arguably their finest cinematic humourist was at his peak. Leonid Gaidai produced some absolutely exceptional works that may be seen as absurd and outrageous by logical standards, but have such a delightful undercurrent of audacity, it’s difficult to not be entirely bewitched by his peculiar approach to making audiences laugh, as evident in one of his more well-known comedies, It Can’t Be! (Russian: Не может быть!), which contributed to him being awarded the honorary title People’s Artist of the USSR, an honour reserved for only the most important entertainers and artists in the union. Pro-Soviet comedy (or rather, the kind that wasn’t explicitly critical of the regime, but rather almost consolidatory of it in some way) is a fascinating area, and one I’ve been enjoying exploring, particularly those that hide their socio-cultural intentions behind a veneer of irreverent humour, disguising some striking social commentary as charming stories of well-behaved citizens trying to regain some sense of order in their lives, normally after some obstacles come in their way. Charming, hilarious and irreverent in the way that only Gaidai could weave a story, It Can’t Be! is a delightful romp that takes on a few very daring themes with conviction and an enormous amount of heart, while not neglecting the much-needed humour that the director was known to produce.

It Can’t Be is an anthology film based on the writings of satirist Mikhail Zoshchenko, who was known for his very distinct style of comedy, which Gaidai translates wonderfully to the screen. Comprised of three segments, each one being linked by the common theme of marriage, which the film explores in different ways. The first segment is “Crime and Punishment” (the title clearly intentionally chosen to evoke arguably the definitive Russian literary classic), which focuses on a man being called to the police station, fearful that he has been caught for his criminal offences, while his wife stays behind and sells all their possessions before the inevitable state confiscation, only to realize that he is merely being called to be a witness in another person’s trial. The second is “Fun Adventure”, about a man who concocts an elaborate lie that he would be working all weekend, while in actuality spending the time with his mistress – only to find out that not only is his wife doing the same, but his married mistress’ husband also has been engaging in infidelity as well, leading to a sextet of very angry people who are quite concerned about their complete lack of commitment. The final is “The Wedding Party”, which sees a young groom falling in love and hastily marrying a young woman, but when it comes time for the wedding party, and she sheds her winter coat and hat, he fails to recognize her, causing the entire event to become an elaborate game of trying to find the woman he decided to dedicate his life to without daring to even learn or name or get to know her beyond her immediate appearance. Each story digs deeper into the cultural perceptions of marriage, presenting them in twisted and surreal ways that point to how this sacred institution was understood, and the manner in which it could be taken for granted.

In comparison to some of Gaidai’s other work, It Can’t Be! may not be as audacious as Ivan Vasilievich Changes Profession, nor as outrageously brilliant as another anthology film, Operation Y and Shurik’s Other Adventures (truly one of the funniest films ever made), but it still has its particular charms that work in its favour. Getting on the wavelength with Russian comedy is a relatively long process, but its entirely worth it, since once we are able to get over the initial difficulties brought on by the very distinct brand of humour shared between these films, there is an entire treasure trove of hilarious comedy to be enjoyed, the likes of which remain relevant to this day, since they may be rooted in social and political issues, but are presented in a way that is understandable, especially since most of the commentary is confined to very simple allegory, rather than being overtly discussed. Gaidai’s films are defined by their excessive physical humour (he was clearly inspired by the slapstick comedies of the silent era, which he blends with more contemporary satirical concepts, creating a very strange but compelling cinematic brew) and tendency to veer towards the surreal – and it’s not difficult to see exactly why these are such cherished works, since their intricate plots are woven together by exuberant humour, which makes them so thoroughly entertaining, and hints at something deeper, inviting us to look beyond the absurdist theme and go in search of some allegorical meaning, which may not be clear at first, but awaits us as a reward once we realize what it attempting to convey. It’s a method that may not work very well in other instances (especially when dealing with comedies that are far more obtuse with providing contextual clues to more serious cultural issues), but through his forthright commitment to evoking laughter before anything else, it’s not difficult to understand why Gaidai managed to become some a cherished figure in Russian cinematic culture.

However, sometimes we need to consider that perhaps there isn’t a deeper meaning to a film like this, and that it is essentially just a charming comedy that is inspired, rather than driven, but a particular social milieu. This approach works the best when trying to come to terms with a film like It Can’t Be!, which functions as quite a provocative little comedy, albeit not necessarily in terms of specific commentary, being more attuned to a more universal concept. This isn’t the first comedy to be centred on romance and marriage (although it implies that there are many instances of these being mutually exclusive concepts), but it is one that is a lot more generous to looking at familial dysfunction than your garden-variety satirical relationship comedy. Adapting three stories by an author known for his scathing approach to the material, and brought to life by someone with a vivid attention to detail in every frame of his comedic stylings, It Can’t Be! feels like a strangely glimpse into marriage, in a way that feels daring without becoming controversial. There are some moments of unhinged silliness, but an equal number of profound situations in which Gaidai is fully intent on capturing the spirit of a relationship through a distinctly comedic lens. It works out very well, especially in terms of the way he styles his comedy – slapstick, but with undercurrents of amusing satire that feels both refreshing and traditional. There’s also a sincerity to how these stories, despite being centred on profoundly foolish characters, isn’t mean-spirited, nor particularly controversial in their portrayal. In Gaidai’s world, absolutely everyone is made out to be an idiot, so it gradually becomes quite funny to see the extent to which he is willing to go to demonstrate their stupidity – and every moment is just thoroughly entertaining in every conceivable way. 

Russian comedy is certainly not for everyone, and it does serve to be quite an acquired taste, normally being loved mostly by those who are either interested in Russian culture, or have a fascination with strange, offbeat comedies that don’t really fit into any preconceived categorization, being the epitome of questionable in both form and content. However, for those looking to get into this sub-genre, or at least dip their toes into this extensive world, the films of Leonid Gaidai is a wonderful place to start, since he is a director who paid attention to detail, so much that every moment in his films feel essential and worth analysing, even when they’re as bizarre as they are curiously misplaced from a wider sense of reality. It Can’t Be! is a great film for this purpose, since it presents bite-sized stories that are about as deep as a well-constructed joke, so we’ll never be lost, nor scrambling to find some meaning behind the social and cultural references, which are easy enough for even the most neophytic viewer to understand. Ultimately, this is an absolutely charming little comedy about marriage in its different forms, put together with a delightful irreverence that feels authentic, while still be incredibly entertaining and endearing. It’s not the peak of Russian comedy, but rather one that offers enough to justify the viewer’s time, and like many similar films, it feels genuinely good-natured, which only helps in proving that the most dynamic works of art sometimes come in the most unassuming forms, which is perhaps the definition of Gaidai’s career in general, one of the more interesting to come out of his country.