Sumptuous is unfortunately not the right word to describe Body Heat. I wish it were because sumptuous just sounds hot, temperature-wise. And Body Heat is all about heat. It takes place in during a very hot Florida summer, its cast dripping with sweat, constantly in search of a cool breeze or a cool drink. Functioning air conditioning too.
The film opens with lead William Hurt watching a building burn in the distance. Lots of arson for insurance money going on in the small city. Hurt’s a lawyer, the type who defends arsonists and general fraudsters. He’s not good at his job, but he’s charming, good-looking, and likable enough. He’s maybe too objectively stupid to be particularly sympathetic, but the liability and charm goes a long way. Despite his questionable lawyering, he’s a local ladies man, regaling pals Ted Danson and J.A. Preston with his exploits. Danson’s the county prosecutor who regularly beats Hurt in court but there are no hard feelings, they’re good friends. Preston’s the town’s single detective; he looks on Hurt a little more paternally than fraternally, which gives the relationship some texture. Hurt’s relationships with Danson and Preston, which never have enough drama to even be C plots, are one of writer and director Kasdan’s great accomplishments in the film. There’s a history between the men, a warm one (not a Heat pun), and as it gets more and more strained, it’s affecting to watch. Hurt’s friends see the best in him, even when he doesn’t.
For texture Danson gets a whole Fred Astaire wannabe thing, dancing in and out of rooms, or just while he’s walking along. It’s a fun character trait.
Again, Kasdan’s got all sorts of wonderful details. Plus Danson—not a short man—is great at the dancing.
Things start getting complicated when Hurt sets his sights on married woman Kathleen Turner. She’s an ideal conquest—her husband’s out of town during the week—and she’s able to keep up with Hurt’s innuendo banter. Kasdan does a phenomenal job with the innuendo banter; you wish there was more of it but Hurt’s able to seduce her pretty quickly so things go quickly from banter to lovey-dovey talk. Hurt’s rather receptive to the lovey-dovey when it comes from Turner. The film establishes in the first scene he’s not from his regular paramours, but they’re also not stinking rich and have actual jobs; as long as its a week night, Turner and Hurt are able to just have sex marathons, breaking only when physically exhausted in her luxurious house.
Sumptuous is the right word to describe the house.
And things carry on pretty well, even after the film introduces Turner’s husband (an appropriately nebulously creepy Richard Crenna); Hurt and Turner even survive getting busted by her best friend (Kim Zimmer) and niece (Carola McGuinness). But then Hurt runs into Turner and Crenna at a restaurant, leading to an incredibly awkward dinner, and then they start talking about how much nicer life would be if Crenna weren’t around anymore. After all, Hurt knows plenty of lowlife criminals (Mickey Rourke, who’s awesome in a small part) and he’s tapped into the law and order side thanks to Danson and Preston.
Can Hurt and Turner go from a passionate affair to something more dangerous? Well, maybe the more appropriate phrasing is can they successfully go from their passionate affair to something more dangerous.
The film’s got a fantastic lead performance from Hurt, who’s so charming, good-looking, and likable it isn’t even initially obvious he might not be the sharpest knife in the drawer. And Turner’s always playing him for some reason, it’s just not clear what. Body Heat has no illusions about its leads’ affair. John Barry’s booming, sweeping, jazzy-ish score is never romantic. Tragic, sure. But never romantic. Even if Turner is capable of it, there’s never a sign Hurt could be.
She’s hot, sure, but rich and hot is twice as good.
Then there’s the lush Richard H. Kline photography—the film looks sharp but muggy, like through a heat haze—and Kasdan’s spectacular direction. Kasdan goes all out with composition, both for static shots and the swooping crane shots. All of them cut together sublimely, courtesy Carol Littleton. Body Heat is a technical marvel.
Then there’s the script. Outside the lovey-dovey talk, where Turner turns the tables (no pun) on Hurt, it’s all sharp, deliberate. Kasdan does a great job directing the actors. Big parts, small parts, everyone in Body Heat gives an outstanding performance. The way Hurt delivers the dialogue is something special. The filmmaking elevates Heat from its thriller and suspense tropes already—but Hurt’s performance (along with Turner’s, though in a different way) make it a singular picture.
It’s pulp but it’s not. It’s too humid to be pulp. The pulp gets waterlogged. Body Heat is exceptional.
Written and directed by Lawrence Kasdan; director of photography, Richard H. Kline; edited by Carol Littleton; music by John Barry; production designer, Bill Kenney; produced by Fred T. Gallo; released by Warner Bros.
Starring William Hurt (Ned Racine), Kathleen Turner (Matty Walker), Ted Danson (Peter Lowenstein), J.A. Preston (Oscar Grace), Lanna Saunders (Roz Kraft), Carola McGuinness (Heather Kraft), Mickey Rourke (Teddy Lewis), Kim Zimmer (Mary Ann), Jane Hallaren (Stella), and Richard Crenna (Edmund Walker).