This amateurish production was the first work of Boogie Nights and Magnolia's director P.T. Anderson. Boogie Nights discovered his undeniable skill for cross-over, interweaving dramatic narrative, while Anderson's attachment to each of his ever lonely and singularly moving characters was perfected and even dared to take a more in-depth look into their existentially-challenged lives within the equally epic frame of the lyrical Magnolia.
Kind of a homage to the all too brief "golden age" of '70s porn cinema, the large scaled and somewhat overblown melodrama that Boogie Nights effortlessly made the audiences care for was first rehearsed in the half hour-long Dirk Diggler Story. Exclusive focus on the main character, his rise and fall, is a major difference between the two versions; we are supposed to catch a glimpse of the real human being behind the big star mostly through interviews with the recently deceased Dirk's close friends and collaborators, who are basically the same people in the 1997 film, and flashback images. Anderson's inventively makes it up for the lack of any actual production values, taking advantage on the obvious limitations in the making of the short feature to give it the appearance of a false documentary or rather a home-made movie, both of which types are some of the most recognisable traits in the video-based adult industry style.
Also, Anderson's sense of humour, his wit and his powers of persuasion as a storyteller are already here in a way; still not enough in order to relating this title to the misfits odyssey of Boogie Nights without embarrassing afterthoughts. Its significance lies in the context that has its writer and director as one of the most promising figures of American cinema since 1996.
Kind of a homage to the all too brief "golden age" of '70s porn cinema, the large scaled and somewhat overblown melodrama that Boogie Nights effortlessly made the audiences care for was first rehearsed in the half hour-long Dirk Diggler Story. Exclusive focus on the main character, his rise and fall, is a major difference between the two versions; we are supposed to catch a glimpse of the real human being behind the big star mostly through interviews with the recently deceased Dirk's close friends and collaborators, who are basically the same people in the 1997 film, and flashback images. Anderson's inventively makes it up for the lack of any actual production values, taking advantage on the obvious limitations in the making of the short feature to give it the appearance of a false documentary or rather a home-made movie, both of which types are some of the most recognisable traits in the video-based adult industry style.
Also, Anderson's sense of humour, his wit and his powers of persuasion as a storyteller are already here in a way; still not enough in order to relating this title to the misfits odyssey of Boogie Nights without embarrassing afterthoughts. Its significance lies in the context that has its writer and director as one of the most promising figures of American cinema since 1996.
