Reflecting on the absurdity of the '90s thriller "Body of Evidence," set in
Portland and featuring Madonna and Willem Dafoe, it's hard not to be baffled
by the events that unfolded on screen. The movie, released three decades ago,
revolved around a Portland jury deliberating whether having s^^ with Madonna
could be deemed a deadly weapon.
In "Body of Evidence" (1993), Madonna, at a career juncture dominated by her controversial works "Erotica" and the S^^ coffee table book, portrayed Rebecca Carlson. She faced accusations of killing her wealthy older boyfriend at the Pittock Mansion through a combination of cocaine and a particularly intense s^^ual encounter. Willem Dafoe played Frank Dulaney, her defense attorney, who, following the neo-noir formula, found himself becoming entangled in potentially fatal domination.
Although "Body of Evidence" was an Oregon-made film, it fell short in many aspects, often being seen as a derivative imitation of the successful "Basic Instinct" (1992). It is unlikely to be celebrated through nostalgic screenings or honored with an Oregon Film Trail plaque. One can only imagine a sign at Pittock Mansion reading, "Man With Heart Disease F^^ked to Death Here."
However, despite its flaws, lack of originality, and surprising lack of sensuality, "Body of Evidence" did make effective use of downtown Portland and offered its own skewed interpretations of local values. While the film may not have perfectly captured Portland's noir ambiance, it was entertaining to witness the city serving as a backdrop for the genre. From the attorney spending his evenings in downtown coffee shops to the mysterious mansion perched on the hillside and the temptress's seductive trap down by the Willamette River, the film made good use of its setting.
Among the notable locations, Madonna's swanky houseboat at Sellwood Riverfront Park stood out. While traditional marital and attorney-client boundaries apply only on land, the houseboat added a touch of allure to the film. Additionally, the courthouse parking garage scene, representing the second tryst, showcased inventive blocking and utilized the environment effectively. Madonna's acrobatic maneuvers, climbing onto a car and hanging from a ceiling pipe while reverse-sitting on Dafoe's shoulders, introduced an element of public scrutiny as both a turn-on and a source of tension.
Of course, not every aspect of the film hit its mark. The ending felt rushed, with Madonna's arch portrayal and Uli Edel's haste to wrap up the story leaving much to be desired. However, Joe Mantegna's performance as the district attorney provided solidity to the film, bringing requisite gravitas to the courtroom scenes.
Madonna claimed that the s^^ scenes were improvised to create surprise and authenticity, but the camera often seemed uncertain about where to focus. The scenes of Madonna dripping burning candle wax and pouring Champagne onto Dafoe's chest, abs, and nether regions came across as indecisive and lacking a clear vision. It felt reminiscent of a child experimenting with a cake recipe, unsure of the ingredients to include.
"Body of Evidence" suggested that Portland was a prudish city, with Frank warning his client about the conservative views on s^^ held by its residents. The courtroom scenes even depicted a judge clearing the courtroom due to disapproving murmurs from the gallery. Nevertheless, the film's portrayal of local values felt contrived and unsubstantial.Among the loose ends in the story, Madonna's character, supposedly a woman who traveled the country ensnaring wealthy men with heart conditions, owned a massive Portland art gallery that was b^^ely seen or mentioned. This left viewers questioning its purpose and relevance to the plot.
The film received scathing reviews, with Roger Ebert advising people to watch it solely to believe its incredibility. Julianne Moore, who played Frank's wife in one of her early roles, later expressed feeling exploited by the gratuitous s^^ scene that added nothing but unnecessary nudity.
In terms of foreshadowing, doughnuts played a critical role in one scene, although they didn't appear particularly artisanal or significant to the story.
Considering what could have saved the film, director Uli Edel might have benefited from borrowing some visual elements from "Basic Instinct" and incorporating intricate boudoir choreography. Furthermore, the casting choices could have been reconsidered. Madonna, with her career built on the exploration of the good girl gone bad trope, might have been better suited for the role of the corruptee rather than the vacant femme fatale portrayed on screen. Conversely, Willem Dafoe's toothy and subversive persona could have been better utilized as the corrupting influence, challenging the traditional archetype of the white-collar family man.
