“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 features Ted Danson, J. A. Preston, and Mickey Rourke. The film was inspired by Double Indemnity.” – Wikipedia
My wife and I saw this film in a theater with another couple soon after it was released. Our first comments outside the theater afterwards were about the silence of the audience during the sex scenes. You could have heard a pin drop. It was like nobody dared to breathe. The mood was that intense.
Sex, nudity, body heat, the heat of a Florida summer, the music with the moaning saxophone, the pitch-perfect performances, and the very strong film noir style brought this story together as a very unforgettable film. I think every author hopes, should his work be adapted to film, that the ambience will be this overpowering.
I’m a long-time fan of film noir. I’ve seen most of it. There’s a brittle, hopeless nostalgia surrounding such films. Fate, too, I guess.
My wife and I have seen “Body Heat” on TV several times. It remains strong after all these years. But sitting in our living room, the experience is not as intense as that of a small-town movie theater.
What impresses me with such films is their intensity and the fact that the audience is dragged into them with no exit even after the final credits fade from the screen. I’m impressed by the direction, cinematography, music, and acting that come together to present such a powerful experience.
I thought of the intensity of the film as I read Temptation Rag, reviewed in my previous post, and recalled Doctorow’s novel (and feature film) Ragtime. Some films and some novels, even those not highly reviewed by the critics or remembered by prizes and awards, pull readers into their stories–with or without their consent, perhaps–and those are the books I remember.
Authors hope their audiences will lose themselves in their stories just as surely as many of those in the theater were lost in “Body Heat.”