Vladimir’s repeated humiliations are especially entertaining, and he’s eventually forced (while still wearing his concert tails) to stoop on all fours while those with more useful skills use him as a human stool. The film’s script moves through its episodic paces nicely, rationing out bits of useful knowledge about the planet and observing how each man’s personality is suited (or not) to surviving out of his element. Though they’ll sometimes agree to help, the inhabitants of Pluke have a habit of ditching the two at the first opportunity. Begging for help getting back to Earth, they learn they have only two assets: a box of matches, which are mysteriously very valuable here, and Vladimir’s cello, whose sounds are appreciated here very differently than they are back home.
The two were interrupted by a space traveler they mistook for a beggar, then accidentally teleported to a world, Pluke, whose inhabitants can somehow read their minds and are disdainful of the concerns they find there. Die Story ist abgefahren: Ein vermeintlicher Obdachloser fragt die beiden Helden nach der 'Nummer' unseres Planeten. The humans being introduced to this world are a renowned (and appropriately haughty) cellist named Vladimir and Tolik, a youth who was just moments ago asking Vladimir for money. Bei Kin-Dza-Dza ist das zwar vor allem Schrott, aber immerhin: Das wichtigste Requisit ist eine alte, echte () Raketenstufe, die als Flugapparat fungiert.
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