This is vastly different from the first Orchid, which has yourself questioning is this past of the first franchise, for this is a more refined tale about a girl becoming a woman, and discovering her sexual self, and the affect her beauty it has on other men. This is after making a bad choice in the wake of her very sick father (Skeritt, a sax player here, wasted). Left with much financial hardship, she's propositioned by a headmistress, excellently played by the late great Hughes, a real wicked so and so who runs an elite bordello, than caters for some weird tastes, as you'll see. The film runs high on nudity and it's quiet delicious, some really tasty girls on show, (Dominique the hottest) and this movie does have class, and is quite dramatic, specially as how Siesmasko wants to leave the business, where Hughes is intent on snatching her back. Too the black wig donning beauty has fallen in love with a young client, who if you can believe is a virgin. We are talking about Brendon Fraser here. The period and the way the film is shot is none short of excellent and beauty, and some of Blue's (Siesmasko's) clients are nasty, but in the end, the film has you asking what's the purpose of it. Really one answer there: to get you off. All performances are good, but it's Hughes's as that brutal Madam, that stays with you. The film really has some weird out scenes, like Dominique doing a sit and slow strip show for Blue's benefit, where in the back playing mutely on a t.v. in the b.g. is a pornographic cartoon. The little scene with Dominique getting done by a hunk in a steam room, where she catches Blue discreetly spying was hot. Though really there were quite boring stretches in this, that scene with Blue being dominated by her first client in that blue room was ridiculous. Another scene later on in the flick, has three of the girls totally nude standing, where a hession bag is put on a girl's head standing middle. To me and in many other scenes, they're just pointless, the norm with King's films. A few people will find this film a bore, some scenes testing their patience. Milk it for what it's work, an erotic adult pic, hiding under the facade of an adult drama, where I'm not bought but titillated.

Blue (Nina Siemaszko) and her drug-addicted jazz trumpet-playing father Ham McDonald (Tom Skerritt) go on the road. She has to sleep with Jules to get drugs for him. He crashes the car and dies. Alone, she falls under the influence of Elle (Wendy Hughes) working in her brothel. High school hunk Joshua Winslow doesn't know her secret and has fallen for her. Once he's even dragged to the brothel by his father to lose his virginity. Elle's henchman Sully (Robert Davi) rescues Blue from perverted Senator Dixon and they escape trying to live a normal life.

Zalman King's overwrought style is all over this movie. It's luscious and cheesy. It's 90s late night fare. Nina Siemaszko's stone-faced acting limits this and doesn't really help the movie. It's a beautifully shot softcore porn and a slow moving melodrama.

To support her jazz musician father's heroin habit, daughter Blue(Nina Siemaszko)loses her innocence. He later succumbs to that habit leaving her with no place to go with no money. Enter Elle(Wendy Hughes)who offers Blue an opportunity to make real money where profit is certain considering her alluring looks. Elle is the proprietor of a high-class brothel where the establishment plays host to only the wealthiest clientèle. Blue tries to hold her harbored sadness and despair in check, making the best of an unfortunate situation. But, trying to adjust to the sordid life-style of a star-hooker is anything but easy, and Blue finds a savior in Sully(Robert Davi),a driver and bodyguard for Elle. Sully is on the verge of leaving Elle because watching innocent girls fall prey to domineering Elle has almost taken it's toll on his conscience. Blue almost becomes trapped in the profession's pull for lost young women with no niche they can see in the world outside their confines, but a chance couple of meetings with a young man her own age(ironically, she makes love to him as Blue the hooker, underneath a wig which is supposed to hide her looks, I guess)begins to persuade her that life might be worth escaping to. What pushes Blue ultimately over the edge is a Senator(Christopher McDonald, of all people)whose ferociousness, and desire to place her in an uncomfortable situation regarding some political associates of his, presses her motivation to quit the business for good. Sully helps her escape to a normal life of high school, but how long will it be before her past(and Elle)comes calling? The film is certainly morally ambiguous with King not entirely indicting the profession of being a call girl. He tries to put it under the microscope with us judging through Blue and her experiences with the profession, but I never felt totally convinced he made a real statement. The film's final thirty where Blue goes to high school is balderdash, I believe, because it's so overwrought and superficial. The film does show naked bodies in various positions, but does the life-style of this profession ever truly get true dissection? I don't think that flashy visuals and a soothing jazzy score can mask the film's major problems..unconvincing performances and this whole corny melodrama that ensues once Blue and her beau begin their courtship.

All that said, Nina is certainly easy to watch for an hour and 45 minutes and her beauty is quite intoxicating.