Somewhat heavy to perceive, late Soviet, darkly melancholy, anti-drug propaganda, interspersed with a viscous detective story. The main scene of action, as far as one can judge from indirect evidence, is western Ukraine, or more precisely, Transcarpathia. A group of cynical and greedy local hucksters spontaneously decides to reach a new level by embedding themselves in a far-reaching chain that spans the region from Bangkok to Central Asia, along the way drawing several random ordinary people into their adventure, which will subsequently lead to the complete collapse of not only their small group, but the entire carefully built pyramid. It is impossible not to note the peculiar sense of humor of the mentioned elements - the cooperative cafe with the catchy name "red poppy" becomes the main hangout point for addicted consumers, prostitutes and other shady characters. Here recall the phrase of one of the mafiosi in "Hard Boiled" (1992), who promised law enforcement agencies to open the next storage point for their goods right at the police station.
Despite the general tone and protracted narration, here, unlike many colleagues in the "perestroika" genre, one can still observe the old, Soviet approach, without the characteristic deliberate descent into trash and frenzy, which in itself is not a plus, but a plus. On the other hand, there's a good cast of the late eighties era, in some places diluted with a Western soundtrack, like a so-so cover of one of Sabrina Salerno's tracks, as well as Volvos of various types, off the top of my head, something from the 240-260 series, which are used by local law enforcement and which, at first glance, can be easily confused with American muscle cars.
The action ends with a moderately happy ending, but the disturbing melody playing in the background seems to subtly hint to the viewer that the Central Asian mafia is no less immortal than the Sicilian one.
Despite the general tone and protracted narration, here, unlike many colleagues in the "perestroika" genre, one can still observe the old, Soviet approach, without the characteristic deliberate descent into trash and frenzy, which in itself is not a plus, but a plus. On the other hand, there's a good cast of the late eighties era, in some places diluted with a Western soundtrack, like a so-so cover of one of Sabrina Salerno's tracks, as well as Volvos of various types, off the top of my head, something from the 240-260 series, which are used by local law enforcement and which, at first glance, can be easily confused with American muscle cars.
The action ends with a moderately happy ending, but the disturbing melody playing in the background seems to subtly hint to the viewer that the Central Asian mafia is no less immortal than the Sicilian one.
