View Full Version : Jaws
Briare
11-05-2007, 11:52 PM
Watched this one for the first time in a few years- its one that never leave ya.
The effect Jaws has had on the film industry and the perception of its audience is perhaps greater than any in history. Credited with creating the summer blockbuster, this was only Steven Spielberg's second theatrically released film, this is still perhaps his finest film even after all of his seemingly more important efforts. The effect Jaws had on audiences has proven to have taken an unsurmountable toll on its audiences. While Psycho gave some people paranoia when taking a shower, Jaws made them afraid of the entire ocean- we must remember that our oceans cover over 70% of the earth's surface.
While horror films like Psycho and Halloween dealt with those evils that were inherantly human, Jaws is one of those rare films that takes forces which we humans cannot control- nature. Jaws has a respect for nature, an almost gaping awe [Spielberg would later use this in Jurassic Park]. Those who don't respect nature die. The teenagers partying on the beach, littering it with garbage, one of their own is taken and indeed Quint, the infamous shark hunter who only appears fleetingly during the attacks rattles on about money and giggles, cracking jokes with an almost perverse glee until we are given our first look at the shark. He dies because he is direspectful of nature, he has lived through enough years at sea that he doesn't think he needs to take precaution. He is stubborn, underestimating the shark- thinking he is above everybody else and nature because he has never been hurt by it. As seen in this film, one never gets used to nature. She is always changing- always changing and always adapting.
From the moment Brody, Hooper and Quint step into the small craft until the credits roll, Spielberg puts up suspense quite unlike I've ever seen. He doesn't let the cat out of the bag until the film is nearly 2/3's over, and this moment is characteristically masterful- the reaction by Roy Scheider, the angle of the shot, everything is nearly perfect and Spielberg manages to create the illusion that the shark looks real, even if on later shots it doesn't. It is truly one of the scariest moments on film.
The music is course as much of a character as Brody or Quint or the shark. It is first introduced in the first scene, the music bone chilling and entirely perfect for the film. In the later sections, an entirely new take is assembled, using lighter music to highlight the fact that the shark is playing with the three men, waiting for the right moment to pounce. Everything else about the movie is nearly perfect; most of the scenes on the boat are shot at angle that puts the viewer at the centre of the action. Behind Brody and Quint, sitting in a corner of the room and facing all three, looking at one when the other two are speaking, and Spielberg seems to especially enjoy focusing on Roy Scheider who has the most expressive face of anybody on the cast. His face seems a gage in all of the most intense situations throughout the film and even as an inexperience director, Spielberg seems to know how to create a truly chilling image. The juxtaposition of the sun setting on the first night in the boat leaving the trio to start singing songs in a sort of calm before the storm and perhaps none more so than a man and woman hold hands with their children and walk down the beach toward the water, almost as if walking toward death.
rocus
11-06-2007, 12:15 AM
I have to agree with you completely. It's been my favorite movie since I was a teen and I'm not sure that will ever change. The pacing is pitch perfect, which makes it almost impossible to watch just a little bit. It's like a good book in that it makes you say, "Just a few more minutes" over and over until you've watched it all.
Eleven
11-06-2007, 02:05 AM
It's on a par with The Host!
MadMan
11-06-2007, 02:53 AM
A perfect movie in almost every single aspect. Awesome review Briare :cool:
Eleven
11-06-2007, 03:41 AM
Those who don't respect nature die.
True, but I think some of the horror of the film comes from the moral ambivalence of the shark itself. For every partying naked chick there's a swimming boy who isn't disturbing anything yet who gets swallowed up anyway. There's nothing to reason with, only natural instinct and a kind of inhuman, mechanical guile; even though it's really no more supernatural than an overgrown shark, the creature's invisibility through most of the film (not to mention the use of POV, music, and strategies of suggestion) points to it being a force of nature beyond rational understanding. For pure scares, the shark is it; but the human characters, the mayor and Quint, seem more realistically terrifying. The films seems to be as scared of the limits of human greed and bureaucracy in the wake of a natural disaster as it is scared of the disaster itself.
Quint, the infamous shark hunter who only appears fleetingly during the attacks rattles on about money and giggles, cracking jokes with an almost perverse glee until we are given our first look at the shark. He dies because he is disrespectful of nature, he has lived through enough years at sea that he doesn't think he needs to take precaution. He is stubborn, underestimating the shark- thinking he is above everybody else and nature because he has never been hurt by it.
I have yet to really get a good hold on Quint. On one hand, he's the epitome of salty masculine seafaring, a figure sculpted by the sea as much as the shark has been; yet his Ahab-like quest in the wake of the Indianapolis disaster shows that he has indeed been "hurt by it," and seeks vengeance. Is his shark-hunting purely out of revenge, or is there a degree of awful (in the original sense of the word) reverence and perhaps even suicidal tendency to his actions? The Indianapolis monologue betrays a kind of an amoral neutrality on the part of the sharks in the story ("Sometimes the shark would go away. Sometimes he wouldn't go away."), as well as the fact that the delivery of the Hiroshima bomb and subsequent Japanese attack precipitate the disaster. War is more to blame for putting the Indianapolis in that situation than are the sharks, even though Quint seems to take the event somewhat personally. It's a fascinating monologue, and like I said, I haven't quite pinned Quint down.
But anyway, I agree it's a totally marvelous film, a well-acted adventure yarn that does not neglect character. Few films in its wake can claim such indelible performances or singular moments of suspense. One of those times that the general public and their oodles of cash got it absolutely right.
Sycophant
11-06-2007, 05:15 AM
...I haven't seen Jaws.
I make myself sick...
Yeah, I don't know if I really count as a person.
Okay, okay. I'll watch the damned shark movie already!
Briare
11-06-2007, 07:32 AM
True, but I think some of the horror of the film comes from the moral ambivalence of the shark itself. For every partying naked chick there's a swimming boy who isn't disturbing anything yet who gets swallowed up anyway. There's nothing to reason with, only natural instinct and a kind of inhuman, mechanical guile; even though it's really no more supernatural than an overgrown shark, the creature's invisibility through most of the film (not to mention the use of POV, music, and strategies of suggestion) points to it being a force of nature beyond rational understanding. For pure scares, the shark is it; but the human characters, the mayor and Quint, seem more realistically terrifying. The films seems to be as scared of the limits of human greed and bureaucracy in the wake of a natural disaster as it is scared of the disaster itself.
I think the film has a few points to make about nature. One being, of course that those who don't respect nature do indeed pay for it. Is it safe to go swimming alone in the middle of the night? Of course not. Its disregardining this whim of nature you do point out here, which can claim the life of an innocent child a scene or two later. However, I stand by my point because the child died as a result of the town's mayor's disrespect for the animals of the ocean. A child died on his behalf.
I have yet to really get a good hold on Quint. On one hand, he's the epitome of salty masculine seafaring, a figure sculpted by the sea as much as the shark has been; yet his Ahab-like quest in the wake of the Indianapolis disaster shows that he has indeed been "hurt by it," and seeks vengeance. Is his shark-hunting purely out of revenge, or is there a degree of awful (in the original sense of the word) reverence and perhaps even suicidal tendency to his actions? The Indianapolis monologue betrays a kind of an amoral neutrality on the part of the sharks in the story ("Sometimes the shark would go away. Sometimes he wouldn't go away."), as well as the fact that the delivery of the Hiroshima bomb and subsequent Japanese attack precipitate the disaster. War is more to blame for putting the Indianapolis in that situation than are the sharks, even though Quint seems to take the event somewhat personally. It's a fascinating monologue, and like I said, I haven't quite pinned Quint down.
Some interesting points on Quint here as well, but I still seem to lean toward the fact that Spielberg had death planned for Quint because of his disregard for the danger of the sea. Brody is scared to death of water and Hooper is a biologist who loves nature. Quint thinks he's seen it all because of the Indianapolis disaster, he thinks no shark can harm him because he's faced them once already. Brody's call for a bigger boat is gone unheeded, but while Quint may have been right in his methods, he certainly does not suspect the power the shark can have over him as an individual.
Morris Schæffer
11-06-2007, 11:02 AM
Rumour has it that when Spielberg first heard Williams' score, he wasn't too pleased. In fact, I believe the bearded one laughed pretty hard although he might not have had a beard in those days.
rocus
11-06-2007, 12:34 PM
Rumour has it that when Spielberg first heard Williams' score, he wasn't too pleased. In fact, I believe the bearded one laughed pretty hard although he might not have had a beard in those days.
This is true. Apparantly he thought it was a joke.
Briare
11-06-2007, 01:03 PM
Gotta cut old Steve some slack. This was only his second big movie, he couldn't have always been the all seeing, all being beard in those days. Its only a good thing he kept it in the movie then.
Qrazy
11-06-2007, 01:15 PM
It's on a par with The Host!
Hahaha nice.
lovejuice
11-06-2007, 03:52 PM
speaking of which, anyone wants to see sharkwater?
Morris Schæffer
11-06-2007, 06:26 PM
I've read The Jaws Log by Carl Gottlieb. Some interesting bits of info. Sterling Hayden was sought for the role of Quint, but the deal didn't go through.
MadMan
11-06-2007, 09:42 PM
What makes the film even more awesome is that the novel it was losely based on isn't very good. Its one of the few cases where the film is better than the book.
lovejuice
11-08-2007, 06:19 AM
What makes the film even more awesome is that the novel it was losely based on isn't very good. Its one of the few cases where the film is better than the book.
he he...that's true. and this is coming from an ex-fan of benchley. if anything he's better than clusser.
If you don't like Jaws, you have no soul....
Gittes
07-06-2014, 04:37 AM
I think this forum could benefit from more threads specifically focused on older films. This one in particular is due for a timely bump. There are some good insights here already.
I actually revisited Jaws recently and came to love it even more. This has been pointed out already, of course, but Quint's monologue is just marvellous: totally enthralling, beautifully performed, etc. Spielberg believes it's the very best part of the film, and I'm inclined to agree. Robert Shaw is remarkable here. Can anyone recommend any other films starring Shaw? I'm not familiar with his work outside of Jaws.
Also, here are some thoughts on the film and the earlier posts in this thread:
While it's interesting to think about Quint's death in terms of hubris and the hostility and caprice of nature, etc., there's a lot about the character that challenges those associations. Quint's bravado is tempered by several examples of uncomprehending wonder, especially when the shark defies his expectations, and in his haunting reference to "lifeless black eyes, black eyes, like a doll's eyes." He isn't quite as complacent as he initially appears. As Eleven noted earlier in this thread, Quint actually seems to regard the shark with as much awe as contempt.
This recalls another related polarity: while it's clear that Quint is seeking vengeance, there is also the faint suggestion of a haunted man courting disaster (Eleven alluded to something like this in his post, as well). By placating Brody's wife and preventing any contact with the Coast Guard, Quint determinedly sets the terms of the confrontation. He won't suffer the ignominy of an outside party stepping in to save him, which would enact an unwelcome recapitulation of his rescue from the USS Indianapolis massacre. As a man hell-bent on redressing psychic wounds, he'll either overcome his nemesis and avenge his fallen comrades, or he'll share in their fate, which some part of him has perhaps interpreted as being decidedly karmic in nature (i.e., his wry, vaguely rueful conclusion to the monologue: "Well, at least we delivered the bomb"). For Quint, this relentless leviathan is at once a preternatural spectre, a nightmarish momento mori emblematizing the horror of his past, as well as a monstrous agent of retribution. Naturally, his regard for the shark is fascinating and complicated.
Our experience with Quint also colours the conclusion to the film in interesting ways. The image of Hooper and Brody swimming back to shore is a stunner: it's immensely satisfying and permits a sudden windfall of tranquility and relief into a film that had been brimming with so much tension. Brody's final line even suggests the surmounting of personal fears: "I used to hate the water." However, Quint's monologue placed an emphasis on the psychic cost of bearing witness to catastrophe and death. Brody's own experience is different in many respects, of course. For one, his circumstances allowed for more agency, and he was lucky enough to defeat the shark. Yet Brody is also made to watch as Quint is brutally devoured by his nemesis, and Spielberg pays close attention to his reaction.
What endures past the credits, then, is a vague sense of discord between the traumatic implications of such moments and the genuine relief enabled by the final image. These elements chafe against each other as Jaws fades to black. Much of the final shot's plaintive quality is underwritten by the fact of Quint's death, of course. The cathartic beat of Brody and Hooper swimming away cannot fully obscure the devastation in their wake: not only the loss of Quint, but the decimation of the Orca, and their individual, horrific encounters with the shark. It's appropriate that they appear so diminished in that last moment, as they wearily coast to shore on leftover detritus (i.e., the barrels). They aren't quite victors over nature, after all. They've eked some measure of success, to be certain, but at what cost? What they've surely gained is a troubling understanding of nature's cruel and implacable capacities.
Even Hooper's sardonic response to Brody ("I wonder why"), which is the final line, ensures that Jaws will conclude straddling those two poles of calming resolution and lingering trauma. On the one hand, Hooper's reply seems almost blithe. Following much adversity, these two beleaguered heroes have earned the privilege of enjoying some casual banter as the narrative dwindles ("It's Wednesday [...] it's Tuesday, I think," "I think the tide's with us"). At the same time, though, his dialogue specifically directs us back to the devastation in their wake. That obviously ironic line -- "I wonder why" -- foregrounds what is now especially clear to Hooper, Brody, and the audience: the ocean really is a frightening place, partly because it's home to something as inexorably monstrous as that wretched shark, which they just barely managed to defeat (by the skin of their teeth). Also, coming from Brody, this line is particularly interesting. He's the guy who regards the ocean with immense enthusiasm and voracious, academic interest. He's the one who readily investigated Ben Gardner's boat and, in the final act, went into the cage. This last piece of dialogue suggests that, following the ordeal on the Orca, Hooper has gained a greater understanding of Brody's phobia. The ocean has been made newly terrifying.
I'm not arguing that the apparent peace of the ending is wholly suspect or inorganic but, rather, that part of what makes it fascinating are these lingering threads of unease and trauma, which uncomfortably coexist alongside the more salient note of weary jubilance.
It has also occurred to me that, later, in Jurassic Park, Spielberg offers us another blockbuster where exhausted protagonists return home, advancing past the tranquility of the ocean as the film fades to black. Jurassic Park's conclusion is also slightly pyrrhic and melancholy. Thanks in large part to John Williams' beautiful score, it seems to bear the weight of the horror endured, the deflation of Hammond's dreams, and Grant's wistful regard for a vocation that is now, if not antiquated, then irrevocably changed.
Yxklyx
07-10-2014, 04:18 AM
This is my favorite shot in the entire film:
http://4.bp.blogspot.com/_6o1Twa9zmqQ/TA68E0D0N2I/AAAAAAAAAE4/V14CGpe9FGA/s1600/jaws4.jpg
We have this very physical earthly thing going on and are then reminded of how insignificant it all is. Maybe it's too heavy handed to some people but I love this shot and the entire scene.
Dukefrukem
07-10-2014, 12:17 PM
You totally copied me.
That scene also follows a hectic chase with Bruce and the music slowly is softened to be quieter than the dialog. The shooting star is like the eye of the storm.
MadMan
07-10-2014, 02:19 PM
Great review Mitty. I can't rep posts from a smartphone but yours deserves it.
Oh and one of my favorite moments is when, as the ship is sinking, Quint looks at the life preserver hanging on the wall.
Gittes
07-11-2014, 01:56 AM
Thanks, MadMan.
For anyone who is interested, Eric Vespe and Spielberg had a great discussion (http://www.aintitcool.com/node/49921) about Jaws back in 2011. This bit is particularly intriguing. I would love to know what he has in mind:
Quint: Now, they must have asked you to come back for Jaws 2…
Steven Spielberg: Yeah, of course. Of course. And Jaws 3. I was done, I was done with the ocean. I would have done the sequel if I hadn’t had such a horrible time at sea on the first film. I would have absolutely jumped at the chance to own the sequel because I knew that when I was walking away from the sequel I was walking away from a huge piece of my life that I had helped to create, but it wasn’t a hard decision to walk way from it. I just could not imagine going back out to the ocean and sitting in a boat for 9 months. I just couldn’t imagine it.
So, I was happy and relieved not to have made the movie, but also I wasn’t happy with the sequel and I realized I had let a franchise go that I could have made a good contribution to.
Quint: Do you have any idea what you would have done with a sequel?
Steven Spielberg: No, no idea at all, but I have a very, very good scene which I thought would have been good for a sequel someday, which I will tell you someday because I don’t want it in print.
Quint: Okay.
Steven Spielberg: But I’ll tell you my scene some day. Every time I think of this scene I think, “Hmmm, could this be another Jaws movie?” and I have to immediately stop myself and immediately pull myself back down to Earth.
Quint: I will turn this digital recorder off right now.
Steven Spielberg: I’ll tell you some day. We don’t talk enough, we’re going to have to talk more. I’ll tell you some day.
Quint: Alright, just remember that!
Steven Spielberg: I will! I won’t forget it! I promise, I promise!
Yxklyx
07-11-2014, 08:31 PM
You totally copied me. ...
Actually, insignificance is not the idea I was thinking of - more like timeless, epic - like a tale out of The Odyssey.
MadMan
07-12-2014, 11:30 PM
Parts of Jaws 2 felt like Spielberg was directing. The rest...not so much.
MadMan
07-12-2014, 11:31 PM
Great interview btw Mitty.
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