Igla

In Soviet Union, nearly everything was Soviet -- Soviet music, Soviet food (you don't want to know the details, believe me), Soviet politics and, yes, Soviet cinema. And, as with all things Soviet, also Soviet cinema had those very special marks that distinguished it as typically Soviet. Now, Igla is the essence of Soviet cinema. Just about everything that has to be in Soviet Perestroika time drama is present in Igla -- lousy storyline about some "current problem" (drug addicts in this one -- although if it was called a problem then, I don't know how to call it now), very clear and visible efforts to make "art" out of this storyline, popular "star" (Tsoy) in leading role, Soviet rock as a soundtrack, unbelievably low-quality picture with mono sound and lots and lots of Soviet reality.

Overall, I find the film very depressing (must be because it reminds me of the "good ol'" Soviet Union times), but what do I know. Anyway -- if you're interested in Soviet Union, especially Perestroika time, this is a must see -- it really captures the mood of the time and feels much like time-machine. But if you are not, then you really shouldn't bother (and it might be extremely hard to get a copy anywhere that's to West from Russia).

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.

If you can understand Russian then you simply have to watch this film, I'm not aware of an English translation available but if you find one and have an interest in life at the end of the USSR then watch Igla. This film is a vehicle for Viktor Tsoi, Soviet rock superstar and one of the most talented musicians there has ever been. It's a film made on a budget but this adds to the atmosphere of the thing,The film has some great direction and although cheap has been made with thought and care. However the best thing about this film is it's soundtrack, truly brilliant, Tsoi really is a music icon and this film, made not long before his death is a fitting tribute to him and his legacy. I recommend this film wholeheartedly!

The main attraction in the movie is obviosly it's main actor - Viktor Tsoy, a late Russian rock star with an asian facial qualities. Eleven years after his death, his music still holds a huge following and unfortunately exploited. In this movie, he plays a Bruce Lee-esque character who defeats the villains and suffers for it in the end. I love this movie because I'm a huge fan of Tsoy's band "KINO" otherwise I wouldn't pay much attention to it. Great soundtrack and interesting photography. Unfortunately Tsoy was not an actor and he was pretty much playing himself. Pyotr Mamonov, ex-leader of Russian experimental band "Zvuki Mu" probably was the best actor but received a minor role.

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.