October 25, 1981, Page 002015 The New York Times Archives With 'Body Heat,' the steamiest, most thoroughly satisfying melodrama about love, lust and greed to be seen since Billy Wilder's 'Double Indemnity' and Tay Garnett's 'The Postman Always Rings Twice' (forget about this year's lethargic remake), Lawrence Kasdan, heretofore known as a screenwriter ('Raiders of the Lost Ark,' 'Continental Divide'), suddenly emerges as a member of the American directing elite. I can't remember a film debut to equal it, that is, when a director has made a first film as fully and intelligently realized as 'Body Heat.' ' Here is an inspiriting tale of contemporary adultery and murder set somewhere north of Miami, in a small, dull coastal town, in a Florida that has not yet been efficiently air-conditioned from one coast to the other.
'Body Heat' is about a number of things that don't work, including air-conditioners, and no one seeming to understand why. Because 'Body Heat' opened here in late August, during the vacation period, I've just now caught up with it. Nothing I'd heard about it in the interim had quite prepared me for the vitality of Mr. Kasdan's original screenplay, nor for his remarkable treatment of it as its director. Most directors work up to their first major hits, those films that establish them as directors of particular, one-of-a-kind talents. Before he directed 'The Graduate,' Mike Nichols had more or less tailor-made the screen-version of 'Who's Afraid of Virginia Woolf?' ' Martin Scorsese's 'Mean Streets' followed 'Who's That Knocking at My Door' and 'Box-Car Bertha.'