Der weiße Hai

Jaws (1975) **** (out of 4)

Steven Spielberg's classic about a man-eating Great White shark stalking the beaches of Amity and the three men who go out to try and kill it. Seriously, is there anyone who doesn't know the plot to this masterpiece?

Considering all the production trouble on this thing it would be amazing to get a half-way decent film yet for some reason, perhaps the movie Gods were shining down, we ended up with one of the greatest films ever made. This is without question one of the greatest films to deal with tension as Spielberg masterfully handles all the material. The movie is like an amazing roller coaster as we get one scare after another until the end when we just get our senses attacked from all around. Millions of people have discussed the greatness of this film so it's hard to pick one thing but I'd say the greatest achievement of the film is the simple adventure it gives us.

Even though we get some very intense scenes the screenplay is smart enough to give us other things to go with. We got some nice black humor in the witty dialogue but we also get a good buddy picture with Roy Scheider, Robert Shaw and Richard Dreyfuss delivering memorable characters. The three of them together are so different yet all three are like people I'm sure each viewer has met so it's easy to connect with them and it makes the film all the more fun when we go on this adventure.

The film, of course, benefits from the brilliant John Williams score, which is perhaps the most memorable in film history. Bruce, the name given to the shark, caused most of the problems during filming but you wouldn't know that by just watching the picture. The look of the shark is incredible and Spielberg certainly made the right decision of keeping it hidden and just revealing bits and pieces as the movie went along. The first glimpse in the pond is hauntingly shocking and each sighting just grows more and more tension. The director also knows how to build suspense without us seeing the shark as we're constantly viewing objects floating (the dock, the barrels) to imply that the creature is there.

What's even more amazing is that this film scared people so badly that they refused to go into the water yet the most suspenseful scene is probably the now legendary speech by Shaw about his time on the USS Indianapolis. It goes without saying but the three leads are all terrific in their roles and I really can't think of too many movies that have as many memorable characters as the ones here. We also get strong supporting work from Murray Hamilton as the Mayor and Lorraine Gary as Brody's wife.

For me this ranks as one of the greatest adventures ever captured on film because everyone involved makes it feel so real. When the men get on the boat to go after the shark you feel as if you're really there. When the camera is underwater given a POV shot of the shark, you feel as if you're in the water. The final death scene in the movie also just happens to be one of the most terrifying ever captured on film and it might even be the most brutal. The movie is a true masterpiece of suspense and I think it would be fair that nothing has come close to this in the past 35 years. Like PSYCHO, we've had a lot of rips of imitations but nothing has come close to the same power and it's doubtful anything ever will.

Back in 1975, "Jaws" made a huge splash (pardon the pun) in theaters. It set all sorts of box office records and made the covers of magazines all over the country. And, the film was seen as groundbreaking and amazing. When seen today, it's still a great film to watch even with it's very dated technology. In other words, the shark often looks very fake but the story is so good and handled so well, you really don't care. Excellent acting, a very nice script and excellent direction make this a definite must-see.

This is the movie that started it all. I'm not talking about the Hollywood blockbuster, or the insane madness that sent thousands of misunderstood Great Whites to their deaths, I'm talking about the beginning of my interest in movies. This is the movie that did it. I couldn't tell you how old I was when I first saw it, but I do remember this is the movie I made my parents rent time and time again when we went to the video store. This is the movie that drove my parents and some of my friends nuts while I watched it day after day after day when my mom gave it to me for Christmas. This is the movie that made me want to turn a real interest in the movies from just a hobby and into a career. For that, I owe Spielberg, Benchley, Scheider, Shaw, Dreyfuss, Williams, Fields and everyone else a sincere and heart-felt thank you. I own this movie on every format in which it is available. I love it that much. I've probably seen it between 200 and 300 times. I guess you can say it is an obsession. A sick obsession. The plot, the pacing, the editing, the score, the acting, and, oh yes, the shark. Who cares that is fake? By the time we finally get to see it, do we care? Truly, a more suspenseful movie was never made. Several come close, but none quite reaches the primal level the JAWS does. No other film so effectively taps into our fear of the unknown, and then gives it a riveting score to boot. No other movie grips us so strongly with heart stopping suspense that we find ourselves nearly falling off our seats. And no other movie leaves us feeling so spent and wasted after a viewing. And the reason for all the fear, suspense and emotional withdrawal is not top-notch special effects. It was the mid-70's. You can barely apply top -notch to anything of that era. The reason the movie does all that to us is that it is a great story. It is filled with real people, who have real jobs, and who have real fears. And who must now confront a real shark. Can you think of anything more terrifying that getting on a rickety, leaky boat to kill a 25-foot shark when you already have a paralyzing fear of the water? I can't. And Martin Brody sure can't. And so, no matter what ranking JAWS may get on AFI's list of the 100 greatest movies, or TV Guides list of the top 50 movies, or any list for that matter, JAWS will always come in number one on mine. Steven, Peter, Roy, Robert, Richard, John, and Verna -- thank you. Not for just giving me a sense of direction in my life, not for just making me want to be a screenwriter, but also for making a movie that still thrills me as much now when I watch it as when it did when I saw it for the very first time.

Reputationally-speaking, "Jaws" will forever be known for two things: director Steven Spielberg's unique "shark-eye view" camera work and building of suspense, and composer John Williams' two note "attack" motif that became as iconic as any piece of music ever created. Perhaps those two aspects alone would have been enough to make "Jaws" an iconic film--who knows. But the fact is, this 1975 effort is about so much more than just suspense/horror. It is one of the most well-rounded, complete movies ever made.

For a very basic overview, "Jaws" tells the story of the coastal town of Amity, which suddenly and inexplicably becomes the hunting grounds for a rogue Great White shark. Sheriff Brody (Roy Scheider) wants to close down the beaches until further notice, but is opposed every step of the way by city official Vaughn (Murray Hamilton), who worries about the potential loss of tourist business. When the attacks continue, however, Brody enlists the help of shark expert Hooper (Richard Dreyfuss) and grizzled boatsman Quint (Robert Shaw) to help hunt down the giant predator.

As stated, the general premise and music here are well-known. But what always strikes me with each "Jaws" re-watch is how much it is a human drama as opposed to a horror piece driven by a villain (the shark, in this case).

The first half of "Jaws" takes place almost entirely "on land", if you will, and focuses more on the politics of fear and commerce than anything supernatural or scary. If there are ever any doubts as to whether that material holds up, they can easily be put to rest after viewing the film through a pandemic context. Substitute "global contagious disease" for "mindless, unstoppable shark" and it's as relevant today as ever.

The second half leans more towards "adventure sea chase", and is buoyed by ocean scenes that, despite being filmed 45+ years ago now, do not seen old or outdated in the least. Masterful cinematography almost always holds up, and Spielberg's behind-the-camera decisions certainly do here as well. Even then though, in the midst of a brutal and thrilling chase, Spielberg stops the action for a touching scene in which the three seaman bond over song and shared experiences.

In order to fully exhibit such depth of character, great acting is required--and given here in spades. "Jaws" features a collection of unique characters that are always a joy to revisit. Scheider as the "why-won't- anyone-listen-to-me!" sheriff lets viewers relate to the story in a much more personal aspect, while Dreyfuss' Hooper is insightful, hilarious, and provides some of the best dialogue of the whole show. Of course, Shaw as Quint is singularly iconic, juxtaposing jocularity and complexity perfectly within his single character.

Perhaps the greatest compliment I can give "Jaws" is that every time I see it, I can't help but be swept away in all its winning aspects. Whether it be the drama, emotion, music, thrills, adventure, visuals, acting, or just overall heart of the piece, there is not a single scene wasted or underutilized. I have absolutely no doubt that it will remain just as visceral of an experience going forward as it was for those sitting in the theaters in 1975.

'Jaws' is the original summer blockbuster, setting the standard by which all others are measured. It's the Michael Jordan of cinema: there will never be another 'Jaws,' simply because the film so profoundly changed the way movies are made and marketed.

Based on Peter Benchley's bestselling novel, 'Jaws' centers around the fictional North Atlantic resort island of Amity, which finds itself terrorized by an enormous great white shark. Our hero is Martin Brody, a New York cop who took the job as Chief of the Amity PD to get his family out of the city and then finds himself in the midst of an unprecedented crisis none of his prior experience has prepared him for. The remains of young Christine Watkins are found on the beach, the apparent victim of a shark attack(Chrissie Watkins' death scene at the opening of the movie is one of the most legendary in the history of film). Chief Brody wants to close the beaches, but is refused permission by Mayor Larry Vaughn (Murray Hamilton) and the Amity selectmen, all of whom fear that news of a shark attack off of Amity will threaten the summer tourist trade, on which the town depends for its very survival. The Mayor and his lackies persuade Chief Brody that such incidents are always isolated, and, inexperienced in such matters, he grudgingly agrees to keep quiet.

Consequently, the shark kills again (and again), and Chief Brody eventually finds himself dealing both with his own moral guilt for agreeing to hush up the first shark attack and with an enormous human and social catastrophe which appears to be his sole responsibility. Help comes first in the form of Matt Hooper (Richard Dreyfuss, in the role that propelled him to stardom), an icthyologist and oceanographer dispatched to Amity to lend his expertise. Together, Hooper and Brody struggle in vain against both the shark and Mayor Vaughan, who is certain that keeping the beaches open for the sake of the town's economy (and his own real-estate business) is worth the gamble.

Finally, Brody and Hooper charter an expedition with the enigmatic, vaguely malevolent Quint (Robert Shaw), Amity's most feared and respected shark hunter, to find and kill the shark and save the town from financial disaster. What ensues is an epic, archetypal man vs. beast quest that would make Herman Melville and Joseph Campbell proud. Our shark, it turns out, is way above average size, terrifically swift and powerful, and uncannily smart, to boot. Hooper, the scientist, is awestruck at having encountered the Bigfoot of the sea; Quint, the crafty fisherman with a serious chip on his shoulder against sharks, realizes he has met the ultimate test of his skills; Brody, who swims poorly and is afraid of water, must overcome abject fear and disorientation just to maintain his composure.

Robert Shaw's Quint is one of the greatest anti-heroes the movies have ever seen. He is funny and frightening all at once, and the famous soliloquy in which he recalls the tragic sinking of the USS Indianapolis--where, over the course of a week waiting for rescue, at least 90 US Navy personnel died from shark attack wounds--is one of the most chilling and unforgettable performances ever committed to film.

'Jaws' is the movie that made Steven Spielberg's career, and it's among his finest. It's easy to forget because of his enormously successful blockbusters that Spielberg is a phenomenally skillful and artful director. His timing is superb, he mixes horror with comedy to brilliant effect, he gets great performances out of his actors, and his love for special effects has never overwhelmed his understanding of the importance of story and character.

That said, the most brilliant aspect of 'Jaws' was a serendipitous accident.

The special effects team had yet to fully troubleshoot 'Bruce,' the mechanical shark, by the time filming was to begin. Under tight budget restraints and enormous studio pressure, Spielberg had no choice but to press on while his crew labored vainly to make the shark work in the cold and corrosive north Atlantic seawater. To compensate for the absence of the non-functional fake shark, Spielberg used shots from the shark's point of view and John Williams' famous two-note theme to create the illusion of the shark's presence in the early scenes. Fortunately the crew was ultimately able to get Bruce into operational status in time to film the big showdown, and some of the scenes are filled in with live-shark footage filmed by Australian underwater video pioneers Ron and Valerie Taylor. Consequently, the audience's fear is magnified by the fact that, for the majority of the film, they cannot see the shark, creating suspense towards the climax of the confrontation between man and beast on Quint's fishing boat.

'Jaws' succeeds on almost every level. It is terrifying without being grotesque, and spectacular without being unbelievable (if the shark looks a little fake, remember that, at the time 'Jaws' was released, 'Space Invaders' was on the cutting edge of computer graphics design and there was no such thing as 'Shark Week on the Discovery Channel'). Roy Scheider's Brody is a quintessential everyman, an average guy beset by fear and guilt who finds himself in extraordinary circumstances and rises to the occasion. Dreyfuss' Hooper is brash and brave enough not to come off as nerdy or self-righteous, and his friendship with Brody becomes the backbone of the movie (Spielberg and screenwriter Carl Gottlieb wisely deviated from the novel in regards to the character of Hooper, who was originally Brody's nemesis). Robert Shaw's Quint is a modern-day Captain Ahab, a worthy foe for the malevolent shark. The suspense is potent and the action thrilling, but the humor, emotion, and character development make this movie much more than a summer blockbuster.