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Red Wind (1991)

A Miami psychotherapist specialized in treating people trapped in abusive relationships becomes obsessed with her new patient who keeps fantasizing about killing her abusive husband.





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Cast overview, first billed only:
Charlie Lapidus
Jane Beckum
Victor Lange
Camilla More ...
Rhona Chambers ...
Prosecuting Attorney
Tom Kouchalakos ...
Defense Attorney
Tony Bolano ...
Lori Creevay ...
Darlene Deacon ...
Woman in mall
Rob Fuller ...
Terry Markwell ...
Anne E. Gilliam-Martin ...


A Miami psychotherapist specialized in treating people trapped in abusive relationships becomes obsessed with her new patient who keeps fantasizing about killing her abusive husband.

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Lust Can Breed The Most Dangerous Desires




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Release Date:

15 May 1991 (USA)  »

Also Known As:

Fluch der Leidenschaft  »

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[last lines]
Kris Morrow: [on phone, voice shaking] I'd like to report an accident. I just killed someone. I'm at 7016 North 69th Avenue. My name is Kristine Morrow. No, M-O-R-R-O-W.
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User Reviews

Fails To Convince After A Promising Beginning.
15 May 2005 | by See all my reviews

Lisa Hartman is cast here as Kris Morrow, Miami-based psychotherapist whose specialty, abusive sexual relationships, brings her into contact with Lila, a patient whose revelations emphasizing the sado-masochistic nature of her marriage, unsettle Kris to a level jeopardizing a doctor-patient association. When Kris becomes obsessed with her new lover, Charley Lapidus (Philip Casnoff), to a degree that she believes will interfere with her ability to treat Lila, she requests that an alternate therapist (and former lover of Kris), Victor Lange (Christopher McDonald), take over the case, leading to a situation that causes Victor to harbour suspicions of Lapidus, a private investigator searching for Lila, who may have murdered her spouse. This is rather a bit of a tangle, but there is yet more trouble in sight when Lila does in fact confess to Kris that she is indeed a murderess, and additionally enamoured of Kris who is also attempting to locate the increasingly evasive woman before the police can do so. That excellent player Tom Noonan produces and scripts this film, but his writing talent must be ranked below his skill as an actor since his plot is riddled with weaknesses in logic and character development, not lessened by continuity flaws that increase as the story moves along. The cast performs well together and Hartman is vividly appealing in her erratically structured role, with Casnoff and McDonald giving solid performances, but there is no saving a film that steadily declines into a patently silly and predictable affair. There is another positive contribution that shall be noted: splendidly creative effort with camera and lighting from cinematographer Bernd Heinl and his crew, whose compositions are consistently inventive and, despite being in service to an inferior production, they provide pleasures independent of the hackneyed scenario.

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