Soft core drama director Zalman King, creator of such erotic films as 9 1/2 Weeks (1986), Two Moon Junction (1988), and Wild Orchid (1990), co-wrote and directed Red Shoe Diaries: The Movie for Showtime, which would ultimately serve as a pilot for the popular television series of the same name that would run from 1992-97.
Jake (a young David Duchovny) and his fiancé Alex (Brigitte Bake) seem like the perfect, happy couple. They’re both nice people. Apparently though, being ‘good’ isn’t quite enough for Alex. One day, she meets a hunk of a man named Thomas (Billy Wirth) who offers her a wild, sexually charged relationship. Initially, Alex resists her urges, but eventually gives in. So begins a sequence of obviously choreographed love scenes and significant inner conflict. Alex must now choose between loving stability and one of intense sexual satisfaction. Unable to choose, no kidding here, she commits suicide.
I’m not giving anything away here. The film opens with a scene informing us that Alex has died, and goes back to inform us just how the tragedy unfolded. Things really get crazy back in the present, as Duchovny and Wirth engage in several scenes of passive aggressive hostility. Duchovny has had his share of low points of his career, and a scene where he grabs his dead fiancé’s red high heels, throws them at Wirth and barks, “Put ’em on, bitch.” Ugh. Is certainly not a highlight.
Directed by Zalman King (who would go on to direct several episodes of the television series), made a career of specializing in thinly written dramas built around several love scenes that often pushed the boundaries of the R-rating. Having seen Two-Moon Junction, 9 1/2 Weeks, and Wild Orchid, I can’t claim to be a Zalman King fan, because like Red Shoe Diaries: The Movie, I found them all terminally boring. I guess I like a significant plot with my films. However, even if you scoop this up for the sex scenes, you might be disappointed. There’s not as many as you might expect, and they’re largely forgettable. That said, if you liked the movie or the ensuing series originally, you’ll likely enjoy having it available on DVD.
Presented in full frame, Kino Lorber’s transfer is mediocre. The film looks very soft throughout, partially due to the transfer itself, and partially because of King’s shooting style. Color bleeding is in evidence on occasion, along with a rather flat appearance.
The Dolby 2.0 Stereo track is sufficient, though the noisy George S. Clinton score doesn’t really add anything to the proceedings.
English SDH subtitles are available.
Extras include an introduction by Zalman King and a photo gallery.
