The Accidental Tourist

 SPOILER ALERT! The plot will be discussed.

The film title, The Accidental Tourist (1988), based on Anne Tyler’s novel and directed by Lawrence Kasdan (Body Heat, The Big Chill, Silverado) suggests traveling is something problematic. It implies the danger in the act of traveling, possibly referring to life itself as being a scary trip. Kasdan said that he likes to explore how life is chaotic and how people try to control it. As William Hurt’s Macon Leary (an appropriate last name, suggesting a fear of what may occur) packs a suitcase, he delivers a voice-over narration about the business traveler needing to be aware of things going wrong. However, Macon acts in opposition to his advice, carrying more than one book since he knows he will use them as a tool to not be social. When he says don’t pack anything “dear,” that losing it would “devastate you,” we see him holding a picture of his young son, who he has already lost, and whose picture and memory he carries with him, despite his advice to leave anything precious behind.

On the plane he talks with Lucas Loomis (Bradley Mott), a large man who literally “looms” over others. He swears by Macon’s book, The Accidental Tourist, and says following its advice makes it seem he is traveling in a “cocoon.” That word stresses the isolation that Macon uses to protect himself from the pain that personal relationships can lead to. Loomis points out that despite Macon saying reading a book protects one from intrusive travelers, it didn’t work with Loomis. So much for Macon’s attempt at insulation.

Hurt reunites with his Body Heat co-star, Kathleen Turner, who plays his wife, Sarah. After his return home, we see a distance between the two, as they do not embrace or kiss after his time away. Macon shows more affection for his dog than Sarah. She mentions how the pooch still expects “Ethan to come home.” It’s been a year and the pain of the memory of the loss of their boy has made life with Macon intolerable for Sarah. She tells him she can’t live with him anymore, wants a divorce, and has already secured an apartment. He wants to persevere, but she sees people now as “evil,” since their son was killed by a gunshot wound to the head. Macon certainly wants no close contact with others. She says that his books show how people can travel without feeling “touched” by where they go, as if they never left home, which is what Macon desires. It is interesting that Macon is a man who wants to stay home, but travels a great deal. Perhaps this is either ironic or shows how he is torn about what he wants out of life.

Sarah sounds suicidal as she wonders how she can live in a world of “evil,” and asks what’s the point of existing? After she moves out, Macon continues his daily routines like shaving and eating, probably hoping that maintaining activities will propel him forward through life while not enjoying it.

Macon needs to board his dog, Edward, while he is away again. (Kasdan said that the dog is the “agent” that causes the plot to move forward). The prior place will not accept him because he did some biting (the animal’s anti-social attitude mirrors that of his human companion). Macon notices a boarding place and drags the reluctant Edward inside. There he encounters Muriel Pritchett (Geena Davis, who won the Best Supporting Actress Oscar for this role). Muriel discovers quickly that Macon is available since he says that the apartment complex where his wife lives doesn’t allow pets. Edward seems to take to her right away, and the fact that Muriel smiles and repeats her own name to Macon shows that maybe she is drawn to the dog’s owner, also.

We again have Macon narrating for his readers. He says he encourages the use of the London “underground,” the subway there. Does he like the underground because he suppresses his feelings below the surface? He complains about the abrasive fabrics used in bedding, stressing how foreign traveling can be inhospitable. He says in London one can find food similar to what is in Cleveland. Macon emphasizes that the business traveler is not voluntarily visiting other lands for recreation. So, he wants him to feel like he is not away from home as best as he can. It fits his own desire to stay safe in a secure domicile. He does not wish to take chances on local adventures or cuisine.

Macon returns to pick up Edward. The camera lingers on Muriel to stress her unique expression in her appearance. She has flowers in her hair and very long fingernails. Her clothes are bright with patterns which are a far cry from Macon’s gray-suit wearing advice. She says he can call just to talk with her, but he admits he has no social desire to do so given his preference for being alone.

Macon has a nightmare where his son calls saying he is still at camp and his father forgot to pick him up. It’s an unconscious denial dream about his son’s death, and it also may contain guilt for not being there to protect his son. Macon receives a call from the pushy Muriel, who volunteers to take care of Edward’s growling when Macon leaves the house. She even invites Macon to dinner at her place. He says he would rather handle things on his own, which is his default position. She seems to understand that he is not ready to socialize so says she will leave it up to him if he wants to get in touch.

Macon sustains a broken leg in a Keystone Cop-like accident. He attaches a laundry basket to a skateboard so that it will catch the clothes coming down a shute that he can then wheel to the washer. But Edward hears the washer make a loud noise, gets freaked, and jumps on Macon, who puts his leg in the traveling basket. The broken leg makes the staid Macon even more stationary. Macon winds up at his deceased parents’ house where his quirky siblings live. Amy Wright plays his sister Rose, who drives a beat-up car showing a distaste for change. David Ogden Stiers is brother Porter, and Ed Begley, Jr. portrays brother Charles. They don’t answer the phone since it just interrupts their static way of life with intrusive information. They play a game called “Vaccination,” which is significant because they want to immunize themselves against the invasive elements of everyday disorder.

Julian Hedge (Bill Pullman) arrives. He is Macon’s publisher who came up with the slogan for Macon that says that armchair travelers want to leave home, while traveling armchairs want to stay put, equating some people with furniture, which would seem not to be a complimentary comparison. Julian comments that the family house is really “something.” It looks like a museum and Macon says that it was his grandparents’ home. Apparently, the Leary family likes living a static existence. When Julian discovers that Macon is separated from Sarah, Macon’s explanation for the split is that these things happen for no apparent reason. He is again in the underground, not wanting to bring deeper feelings to the surface. Edward growls as Julian leaves and when Macon reaches for the dog, he bites him. Porter says he should get rid of the dog. We then get a flashback of Ethan (Seth Granger) playing with Edward. Macon says he can’t discard Edward. He retains a connection to his son through the dog.

 Rose mentions obedience school. That suggestion brings Macon back to Muriel. She has a way with Edward, but she is not initially successful with training Macon. Muriel tells him that Edward isn’t taking him seriously. So, Macon even has trouble interacting with his dog. Muriel shows her unconventional side again, wearing a tiger-striped dress. She plays with items on the fireplace mantlepiece and has no qualms about exploring family pictures. When she finds out he writes travel books, she says she loves traveling. It fits with her extroverted style. In contrast he says travel is not liberating for him as he lets himself get bogged down in “red tape,” consisting of “ticket lines, custom lines.” She would love to see “romantic” Paris, but instead of acknowledging the wonder of the city, he mentions the rudeness of the citizens. Just like she helps to get the dog back in step with his surroundings, Muriel will help Macon return to a worthwhile life. As Maude in Harold and Maude is the mentor for Harold so he can see the total spectrum of life, it is Muriel’s job to add dimension to Macon’s limited world view.

Even from their first encounter, Julian asks about Rose, who smiles when she sees Julian. When Julian delivers some notes on Macon’s writing, the attraction between the two is obvious as they exchange agreement on the desire for marriage and children. Porter is not there because he went to a hardware store and may have become lost. This family is a real stay-at-home bunch.

That preference carries over in the scene where Macon, after having his cast removed, tells Muriel that he doesn’t go out to see films because he doesn’t “care for movies.” This fellow is such a fun guy. His words are ironic since he is a character in a movie. He says that films make everything seem too close up, while Kasdan gives us a close-up of the two, showing how filmmaking stresses its intentions. Muriel reveals about having a child and is divorced, so her son could use a father figure. Her romantic overtures are quite loud, but Macon is Beethoven-deaf to her flirtations.

Julian is at the Leary’s Thanksgiving dinner where Macon and Charles discovered the turkey was cooked at too low a temperature. Even cooking is a peril to these people. They don’t say anything about their trepidations concerning food safety until the bird is ready to be served, which embarrasses Rose, who prepared the meal. She shows her feelings, saying that they are conspiring to dampen Julian’s love interest in her because they want her to stay and take care of them and the house. She states that her brothers lost their chance at romantic happiness, and she will not give up her opportunity for success in love. Julian, showing his dedication for Rose, says he will have some turkey. Turns out he has two helpings and doesn’t get sick, which makes Rose feel vindicated about her feelings for him.

Muriel’s son, Alexander, has allergies to everything, maybe even what’s in the air, she says. She, too, has her burden in life to carry. She invites Macon to dinner with her and her son. He reluctantly accepts but then goes to deliver a hand-written note to Muriel saying he can’t make it. She opens the door to her place when he slips the note under the threshold. He finally shares his trauma with her and says he can’t have dinner with a child since it is too painful a situation for him. She silently holds him, allowing him to make an embracing confession. He says the loss of his son seemed unreal at first but now he feels worse because, instead of adapting over time to his death, the loss has become more real. He tells her, “Now, I’m far from everyone. I don’t have friends anymore. And everyone looks trivial and foolish, and not related to me.” His words ring true to anyone who has suffered a great loss. It jolts one into a broader perspective about life where everyday matters seem inconsequential. The numbing of emotions is an emotional defense to allow the individual to continue to exist, albeit in a blunted manner. Muriel tucks him into her bed as if comforting a child and says he can sleep there. She cuddles with him, and that closeness that he needed resurrects his physical need for intimacy which he consummates with her.

The next scene has Macon arriving at Muriel’s house and the neighbors recognize him, so we know he’s been around a great deal lately. He is even okay with spending time with Alexander, shopping for clothes, going to movies (which Macon used to dislike). When Alexander experiences negative behavior from other boys, Macon is there to comfort him. The boy holds onto Macon’s hand, establishing a father-son relationship that Macon lost. Macon is more upbeat now, even joking a bit, showing the effect of Muriel’s positive influence on him. The better-behaving dog, Edward, reflects the improvement in Macon’s personality.

In a way, Julian’s relationship with Rose mirrors that of Macon and Muriel. The publisher and the sister are also going through a rebirth cycle, as Julian is excited by Rose’s presence. He has an engagement ring and will ask her to marry him on Christmas. He says to Macon, “Isn’t it amazing how two separate lives can link up together? I mean two differences.” His statement could accurately apply to Macon and Muriel, too.

Porter wants to know what Macon is doing with, “this Muriel person.” The brother is condescending, saying that Macon is too good for the woman living in the slum with the diseased child, and that Macon has changed, obviously for the worse according to Porter. Macon knows he wasn’t such a “catch,” given his downbeat personality, and he probably is grateful for the change in himself. He tells Porter to shut up.

When Macon is concerned about Alexander’s inability to do math problems, he offers to pay to send the child to a private school. Muriel is sternly forthright when she asks about Macon’s intentions. She points out that she can’t jerk the boy in and out of schools if Macon is not committed to the relationship. She feels that sometimes he shows being ashamed to be with her, echoing what Porter said. She suggests that maybe he’ll even go back with Sarah. Their argument continues as he says in response to the possibility of them getting married that the institution is seriously flawed. She is angry, saying his decisions are selfish. Her words point out that Macon has no idea as to what he wants in the long term, and that lack of consistency impacts others with whom he is involved.

On Rose and Julian’s wedding day, showing the couple are not afraid to move forward with their lives, Macon encounters Sarah, who has learned that Macon is living with someone. The looks of Muriel from across the gathering show her worry about Macon having used her and is ready to return to his prior life. The man officiating at the wedding says that marriage is a sort of home, a sanctuary, where people can find solace in turbulent times. His words could imply that Macon might consider obtaining that peace either with Sarah or Muriel.

Muriel wakes up and sees a packed bag on the bedroom floor. Macon is just going to Canada for his writing, but she says that she doesn’t want to fear all the time that he will leave her. He says that he is not, but he tells her to go to sleep instead of definitively declaring his love for her.

Sarah calls Macon while he is in Canada, and says her lease is running out. She asks if she can temporarily stay at the family house. Rose is back there, too, taking care of her brothers, while delivering meals to Julian at their apartment. Sarah expresses feeling an emotional jolt when she received their divorce papers. Macon agrees to the living accommodations, but ends the call abruptly, showing he is upset. The past lives of both Rose and Macon are like black holes, trying to suck the two back into their insulated, womb-like existence. Sarah calls again after moving back to the house and says she is lonely, asks him to come “home” (that safe place) and that they can try to be together again. They do attempt a reconciliation, and even have sex. But, Sarah complains that Macon still lives “sealed up” and doesn’t share what he is feeling. He becomes angry and wants the discussion to end since it reminds him of how Sarah would bring up his faults and say that she knew him “better than he knew himself.”

Macon goes back to the house and Sarah says that she feels happy about being together again, enjoying the little things they shared doing together. She says, “anything different just doesn’t feel right.” The thrust here is that change is unwanted because it is upsetting. Rose tells Sarah, who asks when she is going to move back with Julian, that their apartment’s location would consistently confuse her and she would get lost when she left it. Her statement reminds us of Porter’s inability to navigate outside the family house. The Leary’s are definitely out of their element when outside of their comfort zone.

Macon types and narrates that travelers should not be “lulled into a false sense of security.” He pauses after typing and the sentence could reflect what is happening to him back at the house. Julian is worried that Rose has left him. Macon agrees that Rose (like himself and his brothers) has worn a “groove” in the house and can’t get out of it. Macon actually offers a helpful suggestion. He says that Julian should offer Rose the chance to help him at the office. He says to tell her that he needs her to “get things under control.” Macon knows of the appeal of a steady, safe routine, and believes his sibling Rose will respond to that request.

Macon gets on a plane to Paris. Apparently, Muriel is not ready to give up on Macon, and gets on the same plane after borrowing money for the trip to go to that romantic spot she hoped to visit, Paris. She argues that he needs her because he “was falling to pieces” before being with her. Macon clings to home by waking up Sarah with a phone call to maintain the umbilical cord to his safe past. Muriel pressures him into eating with her. Do they have beef bourguignon? No, they dine at Burger King, because, as Dorothy in The Wizard of Oz would say, “There’s no place like home.”

Macon sprains his back. He seems to require recovery after setbacks, which includes the psychological one involving the loss of his son. His accidents, which fit in with the film title, show how life is an unexpected obstacle course that one can’t escape. Sarah finds out about the back problem from Rose and arrives ready to help Macon. She will visit the other cities on his itinerary so she can help him with his writing. She informs him that Julian moved into the house with the brothers. This fact suggests that Julian is capitulating to the influence of the emotional gravity of the Leary household.

Sarah offers that they go on a second honeymoon after she is done traveling to the other cities. But she saw that Muriel was at the same hotel as Macon. Sarah wants to know if the other woman’s son was what attracted him to Muriel. She also brings up the idea of having another child, which Macon dismisses. It must seem to Sarah that he was fine having another child in his life, but not with her. She feels that Macon could have done something to prevent Muriel from traveling to Paris. There is the implication that Macon’s passiveness may have led to the death of their child. She gives him pills that anesthetize his pain, but the action is symbolic of her wanting to control him, to lull him back into his prior life.

Macon seems to realize that going backward is not the right path for him. He tells Muriel in the morning that he is going back to Muriel. He admits he didn’t take “steps” in the past in a proactive way, but thinks he should now. He says, “I’m beginning to think that maybe it’s not just how much you love someone. Maybe what matters is who you are when you’re with them.” Macon seems to be saying what an individual becomes with the person one loves is what’s important. If loving someone diminishes oneself, then the relationship is unhealthy. He realizes that one can’t plan life like “a business trip.” Life is too complicated and full of variables, so “things just happen.” Muriel helped him “step out,” and “stay out” of the “Leary groove.” He is opening himself up to the sometimes scary randomness of life, which can bring its joys.

A young boy helps Macon get a taxi, and the youth reminds him of his son. It is a sign that he is on the right path, as he encounters Muriel, who is ready to leave, thinking she has lost Macon. They see each other and they smile. He has found a new home.

The next film is The Prestige.

Body Heat

SPOILER ALERT! The plot of the movie will be discussed.

I’ve been to Florida in the summer, and I sweated as much as the characters in Lawrence Kasdan’s Body Heat. But I was at Walt Disney World, so my activities were very different from the ones depicted in this movie. The steamy Florida locale adds to the atmosphere of this erotic film noir. The title of this film implies contradictions. A dead “body” is cold. It represents the absence of heat. And, murder is a calculating cold-blooded act, an unfeeling one. But, a crime of passion is considered to be irrational, based on hot-blooded impulses. Also, bodies involved in sexual activity create a heated encounter. A mind immersed in sultry passion many times cannot see straight. The dark titles seen through flitting garments at the beginning of the film emphasize the lack of clarity that can result when a person is in heat, both physically and mentally.

The film opens, appropriately, with a fire. Attorney Ned Racine (William Hurt), looks out of a bedroom window at a burning restaurant in the distance. He shares sweat (and presumably other bodily fluids) with a woman who occupies the room with him. It is suggested that the restaurant was destroyed by an act of arson, which is a foreboding event of what is to come. At the local diner, the air conditioner strains unsuccessfully to cool the patrons. The deep fryers boil. The waitress says she’s not thinking straight because of the heat. Characters say that “when it gets hot, people start to kill people,” another foreshadowing. Someone says the heat causes things to be “a little askew,” and the usual rules don’t apply. The exchange between Ned and his friend, prosecutor Lowenstein (Ted Danson), presents Ned as a man preoccupied with sex, and who has a weakness for women. He is also defending a man in a case involving fraudulent payments revolving around toilets, which may imply that Ned’s life resides in the porcelain throne.

These initial scenes are a setup to Ned meeting Matty Tyler Walker (Kathleen Turner). He sees her at a beach concert as people fan themselves. Matty seems to be playing hard-to-get, quickly saying that she is married. However, when he starts to wipe a spill off of her jacket, she says to him, “Don’t you want to lick it?” She also says to him, “You are not too smart. I like that in a man.” Another definite foreshadowing of events to come. He says he’s not looking for trouble, but, of course he is. After throwing him off balance by alternately pushing him at a distance and then drawing him closer, Matty mysteriously leaves, but not before telling him she lives in nearby Pine Haven. He finds her there at the only night spot in town. They engage in what Kasdan said is the highly stylized dialogue of film noir. She says that she is always warm because her “temperature runs high,” which again refers to her sexual steaminess. When she complains about the local men who are always hitting on her, he says she shouldn’t wear the clothes she dons. When she says she is only wearing a blouse and skirt, Ned says, “You shouldn’t wear that body,” which implies that no matter what she does, or he does, she will be irresistible to him. She manipulates him by saying how he has made it farther with her than the other men at the bar, thus pandering to his macho competitiveness. 

 She invites him to her place, as long as nobody sees them leave together (which will protect her later against a conspiracy to commit murder charge), and only to hear her wind chimes (what’s that saying about “it’s an ill wind that blows no good?”). She slaps him before they leave to make it look like he is a rejected suitor. He drives his corvette (a fast car, indicating that lustful haste makes waste) to her place. Her husband, Edmund (Richard Crenna) is away often doing business. The maid is also not there, making putting a move on Matty almost irresistible. She kisses Ned, and swoons, saying she is weak (as we see, far from it), and locks him out of the house. In an act symbolic of rape, Ned smashes the French doors, and takes her in his arms. They have a torrid affair for about a month. There is an interesting scene where Ned approaches a woman from behind who he thinks is Matty. It turns out to be Matty’s old friend, Mary Ann Simpson (Kim Zimmer).

Matty starts to plant seeds (a reversal of what the male usually does) that will lead Ned to suggest killing Edmund. She calls her husband a small. mean, weak man (which we discover he is not). She will only get a small amount of money for a year if she divorces him, based on the pre-nuptial agreement he had her sign. However, she will split his fortune with his young niece if he dies. She says “I wish he were dead,” but, she plays the part of the innocent female concerning legal matters involving Edmund’s estate, saying “I’m too dumb a woman you know … we can talk about pantyhose.” When Ned meets Matty and her husband accidently at a restaurant, Edmund says that he won Matty because she was with a man who didn’t do what it takes to get the job done. In a way, this statement ironically is like throwing down the gauntlet, and eggs Ned on to take extreme measures.

When Matty shows up at Ned’s office, seemingly unable to stay away from him despite their agreement not to be seen together, he sees this act as her commitment to him. He says that they have to kill Edmund. Edmund owns an abandoned property on the beach, and Ned plans to make it look like he was killed in a fire at that location. He gets a shady character, Teddy Lewis (Mickey Rourke) to make him an incendiary device with a timer. But Teddy warns him that a genius can’t prevent himself from getting caught in a crime, and he reminds Ned that he admitted to Teddy that he was no genius. Matty says they can get all the money if Ned writes up a new will leaving everything to her and make it look like her husband initiated it. Ned says if they get greedy, they’ll “get burned” – an interesting choice of words considering the theme of heat associated with sexual passion and arson.

When her husband is home one night, Ned sneaks into the Walker house and clubs Edmund to death. They put the body in a rented car and Ned dumps it at the beach property. He activates the device to start the fire. He had checked into a hotel in Miami to have an alibi. But, there were no eyeglasses on the body, which indicates that Edmund was killed elsewhere. Also, Matty had the will changed and made it look like Ned did the revised document. Since Ned had made a mistake in a previous will, she made it appear plausible that he could do it again. The current error invalidates the will. Edmund thus dies intestate, and Matty, as the widow, inherits it all. There were phone calls to Ned’s room in Miami, which he did not answer. He is now a suspect in the murder. We find out later that Matty made the calls to frame Ned. In this film about acting in the heat of the moment, she is actually one cool conniver. We find out that she worked in a lawyer’s office and that is how she knew about writing up the will. Also, her father died in a fire – was Matty a budding arsonist? Is she a woman who can figuratively and literally ignite the world around her?

Ned runs into a lawyer and finds out that Matty was asking about him a while ago, and found out about his error on the previous will. Now Ned sees that he was targeted and is being set up. Teddy says that a woman came to him asking about Ned and requesting another explosive device with a timer. Matty says that the maid took the eyeglasses and was blackmailing them for money. The eyeglasses, according to Matty, were placed by the maid in the Walker boathouse. When Ned walks to the boathouse he can see it is rigged to start a fire. He goes back and accuses Matty of double-crossing him. To prove her innocence, she goes to the boathouse. It explodes. The police show up at that moment. Ned thinks she is dead. The dental records prove that Matty Tyler Walker’s body was in the boathouse. Ned is imprisoned. The money she inherited has vanished. He wakes up in jail realizing that she is alive. Matty was really Mary Ann Simpson, and she switched identities with her schoolmate, Matty Tyler. Matty knew about Mary Ann’s sordid past with drugs, and settled for a piece of the inheritance to keep quiet. Mary Ann had planned on killing Ned and Matty in the boathouse, but settled for getting rid of Matty and having Ned jailed. But, Ned acquires the two women’s yearbook, and sees the pictures with their correct names. Mary Ann was called “The Vamp,” which is a female who sucks the life from you. The last scene we see is Mary Ann on a beach presumably in another country, enjoying her wealth, with another man (the next victim?). He says, “It is hot.” She says “Yes.” She is in her element. Demons call the inferno home.

There are many fine moments in this film. There is a scene where Matty (Mary Ann) looks out of the window and sees a spider web. Obviously, she is the spider weaving this story’s deceitful plan. Just before Edmund is clubbed by Ned, Matty seduces him into an exhaustive lovemaking act to prevent him from going downstairs too quickly. He says, “You’re trying to kill me.” If he only knew. Ned sees a clown driving a car. Take a good look, pal, because you are the clown in this story, and the joke is on you. When Ned drives the car with the body in it, he is riding in a literal fog, almost getting into accidents and whacking into a tree branch. But, he has been in a figurative fog, as the femme fatale in this script has completely clouded his judgment.

Next week’s movie is 3 Days of the Condor.