Tiburón

I saw this movie again after a few decades. There are a lot of movies from past eras that don't hold up over time, but this one does. It's just as suspenseful as it was in 1975. But the best reason to watch it is Robert Shaw's performance. You hardly ever see those type of personalities in movies anymore.

I re-watched this film recently and was blown away by the absolute suspense it invoked in me. My daughter (whom is 17) and I were both stunned at the quality and realism of a film made in 1975!! Our TV is 55 inches which showed the movie off to it's full potential and it certainly did not disappoint.

That iconic moment of the young lady going skinny dipping in the dark with her male friend is utterly haunting. You know the horror of what's going to happen, the buoy dinging in the background gives you the chills. Steven Spielberg captures pure terror in that scene.

Jaws completely absorbs you, as the trio of shark hunters venture off to try to snare the great white you begin to feel part of their adventure. You fear for them, get excited with them and dread what will happen next. When that fishing line starts spinning your heart starts pumping. This is pure class.

The dynamics of Richard Dreyfuss, Roy Scheider and Robert Shaw's relationship(s) work brilliantly. The differences in their characters persona's is such that they rub each other up the wrong way, disrespect one another and wind each other up but in the end they are there for each other and develop a bond that I think surprises them all.

As things begin to unravel your heart goes out to the trio and trepidation is the only way forward. They have the fight of their life on their hands, their bravery is boundless. You feel in awe of them.

An absolute legend of a movie which I am grateful to have been able to watch and enjoy.

There are perils when it comes to beach and sea, on occasion they might make you want to flee, a large mandible or two, clamping down right over you, could be one, and you'll become, an absentee (or an amputee if your lucky).

Three of the best performances from three outstanding actors of their day make this a perpetually piercing picture of perfection.

Jaws is very much a spiritual child of Moby Dick, with a Great White Shark inserted in place of a giant white whale.

The hunting of the shark means something different for each of the three main male leads. For Brody, killing the shark would mean ensuring the safety of his children (the relationship between parents and their children being a strong running theme in nearly all of Spielberg's films). For Hooper, the shark is just another shark. It's his job to study them and provide his expertise. That's it. Then there's Quint, a Captain Ahab like figure whose obsession places him in a fit of blind fury. To him, all sharks are the same and killing this one would operate as ultimate revenge.

And like Moby Dick, Jaws is a perfectly told straightforward story depicting believable human beings and observing human behavior. Part of the joy of Jaws is watching these characters interact with each other in ways that make them seem truly alive and real, which only serves to make the threat of the shark even more threatening. We also have the land scenes of the first half that expose the stakes at the same time as it depicts the conflict between Brody and the mayor who wants to keep the beach open.

And of course, the film is marvelously constructed by Spielberg. Much is made of the way he directs the scenes of suspense, but there's also very intelligent decisions being made in non-action scenes. Many shots burned into my eyes are something as simple as a quiet moment between a father and his son who is innocently ignorant of the danger at hand.

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.