The Needle

There is an opinion under this sky that Russian cinema died at the end of 1980s or in the beginning of the 1990s and since then nothing appropriate has been shot on camera. Well, to be more exact, to my mind, the end of the 1980s and the beginning of the 1990s is the golden era of Russian cinema. While Soviet era shined on screen for quite some time delivering many amusing and family-oriented masterpieces, the period we are talking about is like a flash of light. Being a shooting star, it screeched and vanished near the end of the millennium, while sky-rocketing in its full bliss. The movies of this short, tragic but awesome period were loaded and loaded with real ammo unlike today's flip-flop chicken flicks-blockbusters, which, in most cases, are able to shoot blanks only... OK, got carried away, for which sorry, ladies and gentlemen.

"Igla" is one of those loaded movies. Maybe you should have spent your teen years in the 1980s-1990s to feel its drive. Or perhaps you should be kind of out-of-this-world. Or, maybe, just a very romantic and un-CGI dreamer. Or corny and unpretentious fellow, who enjoys cinema without cornflakes & Coca-Cola. Or insane... Just make sure that you are watching the original "Igla", not a glamour remix/remake, which, as this treacherous cinema business rotates today, does exist too.

Oh, almost forgot to say a couple of words regarding the essence of the movie. It's about a bunch of young degenerates living on the ashes of the once prolific empire (USSR). You cannot blame these weirdos - the older generation led them into a dead end.

A 10 out of 10 for this greyish no-escape flick from the amazing 1980s. Thanks for attention.

I have no doubt that the main reason why many people chose to watch this film was because the Soviet rock legend Viktor Tsoi was the protagonist, and this was my reason for watching too. I have been a fan of his music for quite a while, so was curious how about this film, and it was actually far better than I expected.

Tsoi does a great job at playing the role of the protagonist Moro, and whilst the plot was fairly simple, I still enjoyed it. As many others have also pointed out, the ending scene was very good and I can understand why it became so iconic.

The soundtrack here is also great, with several iconic Kino songs playing throughout the duration of the film, as well as some original music that was created specifically for the film.

Ultimately, if you are a fan of Viktor Tsoi and Kino, you will definitely enjoy this film. However, if you are not, you may not find much that holds your interest unless you are particularly a fan of late Soviet-era films such as this.

This movie's main attraction is, of course, the protagonist played by Viktor Tzoi - famous Russian rock mucisian who died tragically in a car accident merely two years after making this movie. The film's plot is quite primitive and unoriginal. Moro (Tzoi) comes to Alma-Ata and tries to save his junky girlfriend from drug addiction, but runs into trouble with the local drug mafia. The lowest point of the film are Tzoi's pathetic attempts to imitate Bruce Lee. Plus, his coolness comes off as a bit forced and pompous. Despite all that, director Rashid Nugmanov was able to create some pretty cool moments with addition of post-modern twists and some surreal scenes. Piotr Mamonov's performance as an evil doctor also helps.

The film's soundtrack, including original music by Tzoi's band KINO, is also very cool, and really contributes to the overall feeling of the movie.

This movie was originally released in Russia in 1989, and as a teenager I still remember that all the people, especially the young, impressionable kids, agreed that the movie's final scene was quite a highlight. I don't want to give it away, although it's not as mindblowing as you might think (and it's definitely not up to the standard of contemporary Western movies), but I still think that it's pretty effective, especially with KINO's hit song playing in the background. To sum it up, I will say that if you are not Russian, and not into rock music, there isn't much you will get out of this movie. Personally, I still like it quite a bit, but in a nostalgic sort of way.

I'm not someone who understands broad labels when it comes to "movements" in any medium of art; terms like Impressionism, Romanticism, or Expressionism mean nothing to me, only the works to which such labels may be applied. I couldn't tell you what "New Wave" genuinely means - but then again, even the most unstudied layperson can surely recognize the similarities in style between the films of "French New Wave" auteurs like Agnès Varda, Francois Truffaut, or especially Jean-Luc Godard, and the approach adopted here by "Kazakh New Wave" filmmaker Rashid Nugmanov. A complete narrative is imparted, yet very obliquely as we're treated to instances of shots, scenes, or dialogue that seem attached to the storytelling only barely and in a sidelong fashion (if indeed at all), and which sometimes carry a disjointed or stilted sensibility about them that would seem amateurish if not for how obviously it's all very deliberate. To these add instances of jump cuts; cuts to other footage, and samples of audio, that are very distinctly unrelated to the immediate proceedings (and which may or may not be woven back in); sparing use of narration or intertitles; and even lighting or (Lettrist) manipulation of the film stock echoing what we saw coming out of France some years before. 'The needle' bears a discrete story, yes, but it's clear that the particular manner in which that story is told was very important to Nugmanov. Of course this doesn't inherently speak to the quality of this 1988 picture, but one's engagement with it will probably be impacted by how one views its cinematic kin; in fairness, I don't think the artistic flourishes are as heavy or overbearing here as we've seen elsewhere. When all is said and done I do actually like this, rather a lot, but I'd be lying if I said I entirely knew what to make of it.

I'll say this: whatever one thinks of the "New Wave" veneer (for my part, while "hostile" is too potent a word, I can't say I specifically think much of it), it's not so central to the feature as to significantly detract from the value this otherwise represents. Taken in and of itself, the story is earnestly compelling, and actually relatively simple as protagonist Moro reconnects with an old girlfriend and finds that she's in need of help. The details of that story enrich the experience, and the scene writing is likewise quite strong; the characters are sympathetic and at least indirectly relatable, and while perhaps not fully fleshed out are given sufficient identity and personality to make us care about them. Meanwhile, in all those ways that matter most the movie is pretty sharp in its construction - indicative of limited resources, perhaps, but admirably well done within those constraints. Nugmanov demonstrates a terrifically keen eye at points for outstanding shot composition, and for generally orchestrating shots and scenes. Aspects like the filming locations, set design, cinematography, and costume design, and even those few stunts and effects that are employed, are at once a minor treat for the eyes, modest, and charming, and lend a small sense of verisimilitude to the proceedings. Combine such facets with Nugmanov's direction and the result is more engaging than how it first comes off. Moreover, while I disagree that all the choices made here were good ones, I'll at least allow that the work behind them is appreciable. The cast is swell, if not majorly remarkable, and I certainly enjoy the songs of Kino that greet us on the soundtrack.

I think the main factor diminishing my favor here is that the stylistic flair is more unnecessary than it is useful or meaningful, and often at least distracting if not also off-putting. Some of the choices made here evoke bewilderment at the emptiness more than anything else; as far as I'm concerned some whole scenes could or should have been trimmed, substantially revised, or even omitted outright without losing anything. Even setting that aside, I don't believe 'The needle' is anything so special as to altogether demand viewership in any capacity - it's enjoyable, but not crucial. Then again, mileage will certainly vary from one viewer to the next, and no doubt others emphatically like it or dislike it more than I do. I guess I'm of the mind that if one is a supreme devotee of all things "New Wave," or digging deep into cinema of the former Soviet Union, this this is probably a higher priority; for wide audiences, maybe you're best served by simply setting it aside for a lazy day when you want something good to watch but not necessarily something that wholly spellbinds and requires heavy engagement. There are elements of this that at best add nothing to it and at worst detract from the viewing experience, but nonetheless it's suitably capable that it's much more worthwhile than not. Don't go out of your way for it, and bear in mind the film-making approach that's taken here, but 'The needle' is a decent way to spend some time if you do have the chance to watch.

It's a western in a way. A drifter comes into town to seek out a guy who owes him money and gets in touch with an old flame. But it's a bleak world, with gang violence and drug addiction lurking beneath the surface.

People act tough and just trying to get by in a seemingly hopeless post communist Russia, where life is a little dark and absurd. The hero tries to do the right thing, benefited of a somewhat comic stoicism, he is compassionate of the eccentric types he finds.

It's touching and sad and finds humor in odd moments. The hero does not affect coolness but is cool, despite being kind of a thug. The mellow mood conveys a poetic sense of longing. From within a sense of cultural decay, there is a hope for a better world, and a sad awareness it is not so easily found.

The music, the mood, the visual style are all very good. It's understated but elegant, symbolic but subtle. There's a post punk attitude, and a jangly alternative guitar vibe.

Highly recommended for fans of quirky indie dramatic comedies.