Suffice it to say Matty isn't exactly who she appears to be, and that sets up a delicious little coda to the proceedings that elevates Body Heat into the noir stratosphere. Once Racine finally comes to the sad realization he's been played for a dunce, Kasdan reveals one final sleight of hand in a stunning denouement that may whiz by some viewers' heads, even if they pride themselves on guessing twists way ahead of time. Once the dastardly deed is done, Racine finds himself increasingly the suspect of the murder as clue after clue mysteriously turn up in the police's hands. What provides three quarters of the plot of Double Indemnity is here pretty much just the first act.
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Enter gorgeous well-married Matty Walker (Kathleen Turner), who quickly starts steaming up every room she's in with Racine, leading to them hatching a plot to kill her nebbish husband (Richard Crenna, who interestingly starred in the rather lame television movie remake of Double Indemnity). Body Heat of course updates that premise to the more sexually lurid 80s, taking the basic Double Indemnity plot of a woman plotting to off her drab husband and wrapping it around a couple more plot twists that most viewers won't see coming, and which will continue to perhaps confound even after multiple viewings.īody Heat follows the exploits of Miami attorney Ned Racine (William Hurt), not exactly at the top of his profession and prone to being led around by the smaller of his two heads. It's perhaps hard to realize that film noir wasn't really a much-discussed genre back in the early 80s, aside from a few critics (many of them French) who championed the dark and gritty little films that started popping up in the 1940s, most of them featuring a femme fatale and patently stupid male dupe who did her bidding. The fact is they haven't really made 'em like Body Heat since this film's release in 1981.
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Obviously a callback to the halcyon days of film noir, and specifically to Billy Wilder's iconic Double Indemnity, Body Heat has it all: a convoluted plot with one twist after another, a sultry femme fatale (Kathleen Turner in what may be her finest performance), a dumb and in love puppet (William Hurt in what may be his finest performance), and a film literally basking in the dusky and muddled ambience which is the hallmark of all great noir films. A great musical score by John Barry of James Bond composing fame expertly aids the steamy mood."They don't make 'em like they used to" may be a well-worn adage, but there's always an exception to the rule, and no finer example than Lawrence Kasdan's brilliant Body Heat can be found in the annals of film. Lawrence Kasden, who doesn't waste a shot, expertly directs the film. In addition to Hurt, Turner, Crenna, Danson and Preston, this was Mickey Roarke's break-through role. The performances in `Body Heat' are excellent. Try to figure out at what point they know Hurt is guilty.
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Preston and a pre-`Cheers' assistant prosecutor Ted Danson. In "Heat" Hurt has two friends he must deceive, cop J.A. In `Indemnity' part of the fun is watching the Fred MacMurray character trying to outsmart his friend and mentor, played by Edward G. `Body Heat' is almost as good as `Double Indemnity,' which is considered by many to be best of the man-teams-with-woman-to-kill-her-husband genre.
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`It's the movie code,' she explained: Evil-doers must be punished." While I'm not a fan of the sex and language direction that films have taken since the movie code died, part of the fun in watching `Body Heat' is knowing that there is a chance that either or both William Hurt and Kathleen Turner will get by with killing Turner's husband, played by Richard Crenna. The two killers will be punished in the end.' `Why?' I asked. After the couple murdered Turner's husband, mom turned to me and said, `Watch.
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I remember watching the John Garfield and Lana Turner film noir classic `The Postman Always Rings Twice' with my mother when I was little.