Body Heat is a 1981 American neo-noir erotic thriller film written and directed by Lawrence Kasdan. It stars William Hurt, Kathleen Turner and Richard Crenna, and. 'Everything's just a little askew. Pretty soon people start thinking the old rules are no longer in effect.' A character says that in Body Heat, though in. Body Heat is zoals al vaker gezegt een film die tijd nodig heeft om echt goed op gang te komen, gelukkig waren de personages wel gelijk al interessant om te zien en. Directed by Lawrence Kasdan. With William Hurt, Kathleen Turner, Richard Crenna, Ted Danson. In the midst of a searing Florida heat wave, a woman convinces her lover. The latest critic and user reviews, photos and cast info for Body Heat. BODY HEAT "Everything's just a little askew. Pretty soon people start thinking the old rules are no longer in effect." A character says that in Body Heat, though in this movie the old rules are the only ones that matter. Those rules—which say the world is a sultry, shadowy place full of characters motivated solely by lust and greed—have little to do with anything lifelike, and everything to do with the 1. Body Heat is skillfully, though slavishly, derived. This feature is not available right now. Please try again later. Theatrical trailer for the film BODY HEAT. Caused quite a stir in 1981. It was my favorite film for the longest time. BODY HEAT An Original Screenplay by Lawrence Kasdan Converted to PDF by SCREENTALK www.screentalk.org FOR EDUCATIONAL PURPOSES ONLY THIRD DRAFT October 6, 1980. Like a tantalizing mirage, film noir haunts modern filmmakers. Noir is the genre of night, guilt, violence and illicit passion, and no genre is more. Body Heat (1981) is a dramatic, modern day film noir, set in the hot atmosphere of Miranda Beach, Florida. The alluring, crafty, and sultry femme fatale 'Matty Walker. They don't make movies like that anymore—but oh, how they try. Body Heat, which opens today at the Loews State and other theaters, can lay some claim to a textbook perfection. Lawrence Kasdan, who wrote and directed the film, has learned the lessons of Double Indemnity and The Postman Always Rings Twice very well. And he hasn't confined himself strictly to the conventions of his material. While Body Heat involves murder, fraud, a weak hero led astray, and a seductive, double- dealing broad, it also incorporates something new: a sexual explicitness that the old films could only hint at. When Ned Racine (William Hurt), the libidinous, slightly down- at- the- heels lawyer, who is the movie's hero, meets Matty Walker, she drives him wild. Matty (Kathleen Turner) is a rich and unhappily married beauty in a clinging white dress, and she means to arouse in Ned a sexual longing so powerful it will make him absolutely ruthless. When characters in forties movies experienced such lust, their passions were revealed to the audience only in oblique ways. But these are modern times. Ned and Matty embark upon a sexual tryst that might be powerfully erotic were Mr. Kasdan not so concerned with his characters' posing. Their postures suggest what Ned and Matty may have been up to, and their dialogue is full of bold (Matty's) and more sly (Ned's) sexual patter. But most of the lovemaking is a matter of either promises or memories. Ned is seen breaking down a door to get to Matty, but there's barely so much as a memorable kiss on camera. If there were any other chemistry at work between Ned and Matty, perhaps that wouldn't matter so. But sex is all- important to Body Heat, as its title may indicate. And beyond that there isn't much to move the story along or to draw these characters together. A great deal of the distance between them can be attributed to the performance of Miss Turner, who looks like the quintessenial forties siren, but sounds like the soap- opera actress she is. Miss Turner keeps her chin high in the air, speaks in a perfect monotone, and never seems to move from the position in which Mr. Kasdan has left her. Yet her allure is supposed to be the magnet that leads Ned away from the straight and narrow. Because Mr. Kasdan relies as heavily upon old- movie motives as he does upon old- movie wooden blinds and headlights seen through fog, his story is quite implausible on its own terms. Matty's selfishness might have a certain wicked grandeur if it came from Barbara Stanwyck, but coming from Miss Turner it just seems silly. So does Ned's fatal weakness, although Mr. Hurt does a wonderful job of bringing Ned to life. Once again, Mr. Hurt establishes himself as an instantly affable screen star, an actor who combines some of Dustin Hoffman's best qualities with some of Jeff Bridges's. He seems thoughtful, wry, and funny, yet he has a comfortable physical presence, too, and a friendliness that's uncomplicatedly disarming. As played by Mr. Hurt, Ned may not be the good- hearted fall guy the screenplay is about, but he's a likable enough leading character to hold the film together. Mr. Kasdan demonstrates enough talent and thoroughness to breathe life into sections of the movie, particularly those parts that don't involve Miss Turner, who can deliver a line like "I love you and I need you and I want you forever" with perhaps less conviction than it has ever been delivered before. Mr. Hurt's key scene with Richard Crenna, as Miss Turner's very unwanted husband, is staged with unexpected energy, as are Mr. Hurt's encounters with a young hood (Mickey Rourke) and two buddies (Ted Danson and J. A. Preston). Mr. Danson, as a lawyer, does the same little soft- shoe dance on several different occasions, and he is also established, rather pointedly, as virtually the only character in the movie who doesn't smoke. Matty, on the other hand, has a body temperature several degrees higher than normal and likes to wear red. Ned, whose life may go up in smoke, is first seen watching a fire, and he has a predilection for women in uniform. These are the kinds of touches an audience either loves or hates. But no audience ever finds them as interesting as the director who's seen fit to include them. BODY HEAT (MOVIE) Written and directed by Lawrence Kasdan; director of photography, Richard H. Kline; edited by Carol Littleton; music by John Barry; produced by Fred T. Gallo; released by Warner Brothers. Running time: 1. 13 minutes.
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