Funny that, about red lights in darkrooms: unless you were doing stacks of line film it makes no sense at all. It used to be much brighter yellowish/green things: OB or, a bit later, O-something else I can't remember. At the right distance, you fogged nothing, even in a pro darkroom where there were several of those lights, one above each work station, with batch-processing going on which meant paper exposed to several safelights for far longer than the norm.
Oh well, red sounds romantic, or why else would more or less all movie renditions of darkroom prints coming up be in glorious, difficult red? Guess not many Hollwood folks heard of the Purkinje Shift connected with red light.