FrameFatale
Jul 29, 2026
Based on the 1983 novel Here to Get My Baby Out of Jail by Louise Shivers, Michie Gleason’s Summer Heat (1987) succeeds wildly at establishing a suffocating, Depression-era tobacco farm aesthetic, but it fails to accurately map out the human psychology driving its plot.\ \ I enjoyed the film's pacing and look, it’s beautifully atmospheric, sun-drenched Southern setting, but the character development is undeniably weak. For a romantic thriller, there is a distinct lack of heat or tangible magnetism between Lori Singer's Roxy and Bruce Abbott's Jack. Without that undeniable, electric draw, Roxy’s decisions become entirely baffling to watch.\ \ She blows up her life, but the film never properly answers why. Did she do it for love? No. Was it lust? Maybe. Was it sheer, isolating boredom? Quite possibly. But because the movie doesn't firmly establish her internal mindset, her betrayal feels cheap, and her eventual return to her husband at the end lacks emotional weight. It's a textbook example of a film where the technical style works beautifully, but the script leaves the audience cold.\ \ And don’t even get me started on Jack. His total lack of boundaries is immediately evident in the way he forces himself into Roxy’s and others personal space, using inappropriate, predatory physical touch to dominate her body and mind. He is completely untrustworthy, executing a ruthless betrayal against the very people who welcomed him as a friend. Ultimately, his spiraling obsession drives him to make the monstrous decisions to murder Aaron and kidnap Roxy. He is a deeply unsettling character, and the film does a fantastic job of making him feel genuinely dangerous and predatory, which I don’t believe was the intent.\ \ The back half of the narrative tries to steer the audience into feeling a sense of sympathy for Roxy during her kidnapping, the subsequent murder trial, and the ultimate resolution where Jack takes the full blame. Structurally, we are supposed to pity her as a victim of a crime she didn’t ask for, trapped in a terrifying legal system where she faces the death penalty. Yet, because her emotional core remains so blank and impenetrable throughout the film, that empathy never quite lands. \ \ When Jack is arrested and assumes total responsibility for killing Aaron, which he absolutely should, given his reckless violence, his sacrifice is framed as a tragic act of devotion. However, instead of feeling like a satisfying emotional payoff, the courtroom climax falls entirely flat. Roxy's passive stance during the trial makes it difficult to feel pity and instead just scratch our heads, turning what should have been a heavy, high-stakes melodrama into a cold, emotionally detached sequence. And this is too bad because I really was rooting for and liked Roxy.\ \ Ultimately, the film suffers from a massive identity crisis, leaving the viewer completely unsure of its core intentions. On one hand, it feels like it wants to be a classic morality tale about a naive, innocent girl who blindly falls for the wrong guy, only to realize the true danger of her actions far too late. On the other hand, it plays out as if the audience is supposed to view Jack as this irresistible, brooding sex magnet whose passion simply morphs into a dangerous obsession. Because the movie refuses to pick a lane, it fails to deliver on either front, never fully committing to the heavy psychological weight of a warning tale, nor finding the genuine electric chemistry needed to make Jack's magnetic draw believable, is f it was even the real intent, it let me confused a bit.
