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1 KASDAN, From K1 it is to force your way into doing it.' After paying your dues and demonstrating that you can write, which is the most direct route to filmmaking, there's comes a point when you're obliged to dig in your heels about one special script. George had said to me, 'The only way you can doSee KASDAN, K12, Col.
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"Everybody wanted me to write stuff after 'Empire' and 'Raiders,' but I said I wanted to direct and kept insisting on it. "I worked out a strategy," recalled Kasdan, a husky, bearded, pensive young man who presents a compact, square-cut physical appearance, short of height but broad of brow, face and torso.
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Where did that assurance come from? It's a question that the star of "Body Heat," William Hurt, kept reiterating when he and Kasdan spent a day being interviewed by the movie press in New York prior to the film's national release.Īccording to Kasdan's modest recollection, it represented the culmination of "15 years of being preoccupied with making movies and going to movies every day before I ever sold my first script," plus whatever pointers could be picked up from random observations on the sets of "Empire" and "Raiders." The hard part was getting the opportunity rather than taking advantage of it.
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This weekend Kasdan himself emerged from the shadow of "Empire" and "Raiders" to establish a distinctive filmmaking identity as the writer and director of "Body Heat," a remarkably assured first feature. He also wrote the screenplay for "Raiders of the Lost Ark." He wrote the screenplay for "The Empire Strikes Back," the runaway box-office champion of summer 1980. Maybe the first act was interesting? Again, I’m finding it incredibly difficult to praise this movie in any way outside of Rourke’s performance and the opening half hour.AS AN INCONSPICUOUS screenwriter in the employ of George Lucas and Steven Spielberg, his celebrated friends and patrons, Lawrence Kasdan has already been associated with back-to-back A blockbusters.
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Florida is full of wild stuff, but Body Heat is not the kind of Floridian insanity I’m interested in seeing. I guess it’s a sultry piece of cinema, but Turner’s performance is just… it’s just bad, and Hurt’s isn’t all that much better. Sorry, but I’m having trouble pointing out the positives when, in my eyes, there are so many negatives. Direction and cinematography? Mostly ugly. I can see why people enjoy this movie it’s hot, sticky, messy and fun at times, I just did not give a damn about these characters or this story. Mickey Rourke is the saving grace, but we only get him for what… two scenes? Ugh.Ĭlassic noir is a style of film I really like, but these erotic thrillers that sexed up the genre and filled themselves with as much convolution as possible that pervaded the ‘80s like this and Fatal Attraction are just not my bag. William Hurt is alright, but he always kinda bores me except for in Broadcast News and Altered States-both of which have much better scripts than this film-but I must say… he does have a sick porn ‘stache here, so points for that, I guess. Ted Danson’s tap dancing prosecutor character made me want to hurl sorry buddy, but you ain’t no Fred Astaire.
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I’m sorry, but Kathleen Turner simply cannot act her performance reminded me of a soap opera and seeing her act all “sexy” was not enough for me. Essentially just a ripoff of Double Indemnity, it doesn’t ever do enough to separate itself from that film, and what it does do made me want to squirm. Agonizingly ‘80s-a time for which I have no sort of personal connection or nostalgic value attached to whatsoever-and aesthetically odious (seriously, the lighting in this movie is horrendous), the charm and kind noir throwback elements that people seem to adore about this one were totally lost on me. Well, looking at the other reviews and scores here on Letterboxd for Body Heat tells me that I’m in the minority, but yeah… just couldn’t vibe with this one at all.