In 1988, as "Angel Heart" was still resonating with Western audiences, the Soviet Union produced its own haunting tale of demonic bargains - "The Servant" (Sluga) by Vadim Abdrash*tov and Alexander Mindadze. While these films emerged from radically different political systems, they share a remarkable exploration of the eternal struggle between human ambition and moral integrity. Like Mickey Rourke's Harry Angel encountering Robert De Niro's Louis Cifer, "The Servant" presents us with a Faustian relationship between Kryukov (Yuri Belyaev), a simple chauffeur, and his master Gudionov (Oleg Borisov). Both films masterfully blur the line between reality and supernatural, though "The Servant" employs a more subtle, surrealist approach compared to "Angel Heart's" noir-horror aesthetics. The devil figures in both films are particularly worthy of comparison. While De Niro's Lucifer exudes sophisticated menace with his manicured nails and expensive suits, Borisov's Gudionov presents a uniquely Soviet interpretation - a seemingly modest government official whose true power manifests in almost imperceptible ways. A scene where forest bushes part before him serves the same purpose as De Niro's infamous egg-peeling scene - revealing the supernatural through mundane details. Both films explore the theme of talent as a diabolic gift. Just as Harry Angel discovers his true identity through a series of supernatural interventions, Kryukov mysteriously transforms from a driver into a gifted conductor. However, while "Angel Heart" reveals its protagonist's past sins, "The Servant" focuses on the gradual corruption of its hero's soul. The films diverge significantly in their visual language. "Angel Heart" embraces the sultry atmosphere of New Orleans and the stark imagery of film noir, while "The Servant" creates an almost timeless Soviet space where past and present blur together. Yet both achieve a similar sense of moral decay and impending doom through their distinct aesthetic approaches. What makes these films particularly fascinating is their timing. Both emerged during periods of significant social transformation - America's late 1980s era of excess and the Soviet Union's perestroika. "Angel Heart" can be read as a critique of American materialism, while "The Servant" serves as a prophecy of the USSR's impending collapse, where society would trade its values for Western consumer goods. The endings of both films reinforce their shared theme of inescapable damnation. Harry Angel's horrific realization of his true identity parallels Kryukov's arrest at the height of his success. Both conclusions suggest that deals with the devil inevitably end in destruction, though "The Servant" focuses more on social consequences while "Angel Heart" emphasizes personal damnation. The most striking parallel between these films is their subversion of the traditional Biblical narrative. Unlike Christ who rejects Satan's temptations in the desert, both protagonists succumb to their respective devils' offerings. This shared deviation makes both films powerful commentaries on modern moral corruption, transcending their specific cultural contexts. "The Servant" employs fascinating surrealist elements that set it apart from "Angel Heart's" more straightforward supernatural horror. Gudionov's ageless appearance throughout different time periods and Kryukov's inexplicable musical talent create an atmosphere of subtle unease rather than outright terror. This approach makes "The Servant" a more ambiguous work, open to various interpretations ranging from political allegory to spiritual parable. Directors Abdrash*tov and Mindadze create a multilayered narrative where social criticism intertwines with biblical motifs, while Alan Parker's "Angel Heart" focuses more on personal guilt and identity. Yet both films ultimately warn us about the price of ambition and the seductive nature of power. For Western viewers familiar with "Angel Heart," "The Servant" offers a fascinating Soviet perspective on similar themes. While Parker's film emphasizes individual damnation in a noir setting, Abdrash*tov's work expands this concept to encompass societal corruption. Together, these films demonstrate how the Faustian bargain remains a powerful metaphor across cultural boundaries, especially during times of social transformation.