Summary of "Не время улыбаться!"

Overview

A sharp, humorous polemic defending laughter and satire against a growing tide of “strict citizens” who deem humor inappropriate — especially during serious times and public holidays. The speaker argues that forbidding laughter is dangerous for culture and humanity, and shows how satire and comedy expose society’s vices, revive ideals, and help people think rather than merely distract them.

Main plot

The speaker responds to critics who call Soviet comedies frivolous or ideologically harmful and to those who insist holidays must be solemn and educational rather than fun. Using examples from Soviet cinema and cultural debate, the narrator:

Rejects the idea that laughter should be suppressed during hard times or official celebrations.
Defends comedy and satire as social tools that diagnose problems, revive ethical ideals, and provoke thought.
Contrasts the humorless moralizers — the “strict citizens” — with classic Soviet comic directors whose films mixed entertainment with social observation.

Highlights and memorable moments

A recurring contrast between “strict citizens” (the humorless moralizers) and comic directors Eldar Ryazanov (Carnival Night) and Leonid Gaidai (Kidnapping, Caucasian Style).
The famous toast from Kidnapping, Caucasian Style is used as an example of critics twisting jokes into anti‑Soviet evidence:

“I want to buy a house but I have only enough for a goat… let us drink that desire matches ability.” The speaker defends this line as broader philosophical satire about desire versus capability, not a literal endorsement of materialism.
A pointed satire of Sergei Kurginyan and supporters of the “Essence of Time” movement for denouncing festive laughter and demanding solemn reports at celebrations — positions called ignorant and self‑contradictory.
A short lecture on the nature and social value of laughter: its biological roots (chimpanzees and even rats laugh), its communicative role, and why forbidding it is like amputating a human trait.
A quoted definition of satire (from the Great Soviet Encyclopedia) to show satire’s constructive social role:

Satire exposes social vices through humor and ridicule, aiming to diagnose and correct faults rather than merely humiliate individuals.
A distinction between constructive satire (diagnoses problems and can inspire solutions) and destructive ridicule (humiliates without purpose).

Cultural examples and references

Leonid Gaidai’s sunny comedies are credited with helping younger generations imagine Soviet life beyond stereotypes.
Yuri Gagarin’s smile is invoked as a symbol of the space age and proof that cheerfulness is compatible with greatness.
Quirky religious and historical references (John Chrysostom, Saint Lawrence, Ambrose, and others) are used to argue that revered figures sometimes used humor or silence wisely — that laughter is not intrinsically sinful.

Jokes and reactions that stand out

The goat vs. house toast from Kidnapping, Caucasian Style — a comedic kernel critics misread as materialism.
The recurring image of “strict citizens” attempting to turn communism inside out by banning laughter — repeatedly mocked and treated as ironic.
Biological trivia about laughing animals (chimpanzees and rats) contrasted with the absurdity of human leaders trying to outlaw mirth.

Tone and purpose

Witty, polemical, and partly nostalgic: the piece mixes cultural criticism, comedy appreciation, and a moral defense of laughter as essential to human life and a healthy society. Its closing rally is a plea to preserve humor against gloomy, dogmatic minds.

“Hands off your favorite comedies.”

Personalities mentioned

Eldar Ryazanov — director (Carnival Night)
Leonid Gaidai — director (Kidnapping, Caucasian Style)
Sergei Kurginyan — leader of “Essence of Time”
Yuri Gagarin — cosmonaut
Religious/historical figures referenced: John Chrysostom, Saint Lawrence, Ambrose (and other names like “Jorge”)
The recurring archetype: the “strict citizen” (target of the critique)