The convention that wasn't used
Every neo noir film tends to use the conventions of classic noir: the fedora, venetian blinds, Gothic camera angles, the femme fatale and so forth. It's telling then when a movie skips over one of the obvious choices.
Body Heat does not feature a narrator. That is quite telling because Phillip-Marlowe-style narration is used by the vast majority of neo noir films. And it is used for a very simple reason, it's the first thing you hear and therefore plays an important first impression role. That voice instantly tells you "This is noir". And there lies the problem for if the movie has to tell you what it is then maybe it isn't really.
Instead of a narrator, Kasdan uses a realist convention some times called the flâneur. A flâneur is sort of loiterer. The story teller—in this case, the camera—seems to simply record what is in front of them as they float through life and we try and assemble some sort of narrative in our heads as we follow them. I say seems to float along because the details they and therefore we see are all carefully selected by the writer to create a sense of character, place and time. Kasdan is particularly interesting in that he uses this stylistic convention of realism to deceive rather than to be realistic.
The "time" in that trio is particularly interesting because the time he seeks to create is a nostalgic time. Thus the first things we hear Ned Racine say is this
A moment later, Ned ruefully adds that it was probably one of his clients who torched the Seawater Inn. Character, place and time in four sentences. And in four sentences that do nothing to call attention to themselves. That's writing.
But consider how much more authoritative this would have sounded if delivered by voice over narration. We'd still have time place and character but it would be a different character with more distance on the story and therefore more authority. Even when that narrator was later revealed to be Ned it would still be stuck in our heads as something that had been narrated.
By simply giving us Ned (and what a perfect name, it sounds like the name of a guy who always wanted to be Nancy Drew's boyfriend) and loitering along with him the camera forces us to either like the guy or stop watching. You have to want to be Ned for the movie to work and you do want to be him.
His "family" is also an interesting choice. Most heroes don't have families. They don't have fathers or mothers. This one mention changes everything about this guy. He isn't going to be Mike Hammer.
The camera flaneur goes on for a full eight minutes before we start to get anything like a story when he tries to pick up Matty Walker. Everything we have seen up until that moment is stuff that happens to Ned. This is the first thing he tries to do. We know he'll fail of course because of what we have already seen. What is different is that we have effortlessly slid into a story—a very deliberately constructed story—with no sense of having done so.
By the way, in a brilliant musical choice, the orchestra plays "That Old Feeling" as he first sees Matty. Nostalgia and the woman blend into one. And away we go for a wild ride.
I've written before of the unrealistic moment. The touch where the writer goes too far as if by accident and forces us to take their side. In this movie it is a scene in the Pinehaven Tavern when Ned and Matty shake hands and he comments that her hand is hot and she says her temperature runs a couple of degrees above normal. This too is a noir convention; think of Phillip Marlowe describing a woman as a blonde to make a Bishop put his foot through a stained glass window.
But, again, it isn't narrated but acted out and our reaction is to think, "O come on". It's just too too much. But, like Charlotte Haze getting run over, if we choose to accept it and go along we embroil ourselves just a little too far to back out of we decide to let it go. If we go beyond this point, we have to go all the way.
The first Body Heat post is here. This is the last as I will move on to another neo noir (I haven't decided which yet) next week.
Every neo noir film tends to use the conventions of classic noir: the fedora, venetian blinds, Gothic camera angles, the femme fatale and so forth. It's telling then when a movie skips over one of the obvious choices.
Body Heat does not feature a narrator. That is quite telling because Phillip-Marlowe-style narration is used by the vast majority of neo noir films. And it is used for a very simple reason, it's the first thing you hear and therefore plays an important first impression role. That voice instantly tells you "This is noir". And there lies the problem for if the movie has to tell you what it is then maybe it isn't really.
Instead of a narrator, Kasdan uses a realist convention some times called the flâneur. A flâneur is sort of loiterer. The story teller—in this case, the camera—seems to simply record what is in front of them as they float through life and we try and assemble some sort of narrative in our heads as we follow them. I say seems to float along because the details they and therefore we see are all carefully selected by the writer to create a sense of character, place and time. Kasdan is particularly interesting in that he uses this stylistic convention of realism to deceive rather than to be realistic.
The "time" in that trio is particularly interesting because the time he seeks to create is a nostalgic time. Thus the first things we hear Ned Racine say is this
It's the Seawater Inn. My family used to eat dinner there twenty-five years ago. Now somebody's torched it to clear the lot.And there we are. And it helps that the scene is set in a room that gives us a very indistinct notion of time. (As I've said before, it's a brilliant touch that the sense of the nostalgia is not for the specific period of the classic noir but for a past for which there was still lots of evidence at the time the film is set in.)
A moment later, Ned ruefully adds that it was probably one of his clients who torched the Seawater Inn. Character, place and time in four sentences. And in four sentences that do nothing to call attention to themselves. That's writing.
But consider how much more authoritative this would have sounded if delivered by voice over narration. We'd still have time place and character but it would be a different character with more distance on the story and therefore more authority. Even when that narrator was later revealed to be Ned it would still be stuck in our heads as something that had been narrated.
By simply giving us Ned (and what a perfect name, it sounds like the name of a guy who always wanted to be Nancy Drew's boyfriend) and loitering along with him the camera forces us to either like the guy or stop watching. You have to want to be Ned for the movie to work and you do want to be him.
His "family" is also an interesting choice. Most heroes don't have families. They don't have fathers or mothers. This one mention changes everything about this guy. He isn't going to be Mike Hammer.
The camera flaneur goes on for a full eight minutes before we start to get anything like a story when he tries to pick up Matty Walker. Everything we have seen up until that moment is stuff that happens to Ned. This is the first thing he tries to do. We know he'll fail of course because of what we have already seen. What is different is that we have effortlessly slid into a story—a very deliberately constructed story—with no sense of having done so.
By the way, in a brilliant musical choice, the orchestra plays "That Old Feeling" as he first sees Matty. Nostalgia and the woman blend into one. And away we go for a wild ride.
I've written before of the unrealistic moment. The touch where the writer goes too far as if by accident and forces us to take their side. In this movie it is a scene in the Pinehaven Tavern when Ned and Matty shake hands and he comments that her hand is hot and she says her temperature runs a couple of degrees above normal. This too is a noir convention; think of Phillip Marlowe describing a woman as a blonde to make a Bishop put his foot through a stained glass window.
But, again, it isn't narrated but acted out and our reaction is to think, "O come on". It's just too too much. But, like Charlotte Haze getting run over, if we choose to accept it and go along we embroil ourselves just a little too far to back out of we decide to let it go. If we go beyond this point, we have to go all the way.
The first Body Heat post is here. This is the last as I will move on to another neo noir (I haven't decided which yet) next week.
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