Jaws (film)

Jaws
Movie poster shows a woman in the ocean swimming to the right. Below her is a large shark, and only its head and open mouth with teeth can be seen. Within the image is the film's title and above it in a surrounding black background is the phrase "The terrifying motion picture from the terrifying No. 1 best seller." The bottom of the image details the starring actors and lists credits and the MPAA rating. Theatrical release poster
Directed by	Steven Spielberg
Screenplay by	Peter Benchley Carl Gottlieb
Produced by	David Brown Richard D. Zanuck
Starring	Roy Scheider Robert Shaw Richard Dreyfuss Lorraine Gary Murray Hamilton
Cinematography	Bill Butler
Edited by	Verna Fields
Music by	John Williams
Distributed by	Universal Pictures
Release date	June 20, 1975 (1975-06-20)
Running time	124 minutes
Country	Template:Film US
Language	English
Budget	$9 million
Box office	$470,654,000

Jaws is a 1975 American thriller film, directed by Steven Spielberg and based on Peter Benchley's novel of the same name. It is regarded as a watershed film in motion picture history, the father of the summer blockbuster. In the story, the police chief of Amity Island, a fictional summer resort town, tries to protect beachgoers from a giant man-eating great white shark by closing the beach, only to be overruled by the town council, which wants the beach to remain open to draw revenue from tourists during the summer season. After several attacks, the police chief enlists the help of a marine biologist and a professional shark hunter. Roy Scheider stars as police chief Martin Brody, Richard Dreyfuss as oceanographer Matt Hooper, Robert Shaw as shark hunter Quint, Murray Hamilton as the mayor of Amity Island, and Lorraine Gary as Brody's wife, Ellen. The screenplay is credited to both Benchley, who delivered the first draft, and actor-writer Carl Gottlieb, who rewrote the script during principal photography.

The film was shot on location on Martha's Vineyard, Massachusetts, and had a troubled production, going over budget and past schedule. As the art department's mechanical sharks suffered many malfunctions, Spielberg decided to mostly suggest the animal's presence, using representative props and an ominous minimalistic theme created by composer John Williams to indicate the shark's impending appearances. Responding to the film's success in advance screenings, Universal Pictures executives decided to distribute it in a much wider release pattern than originally envisioned, accompanied by an extensive marketing campaign with a heavy emphasis on television spots and tie-in merchandise.

Jaws was generally well reviewed on its release, and became the highest-grossing film in history to that point. It won many awards, mostly for the soundtrack, and is widely regarded as one of the greatest films of all time. Along with 1977's Star Wars, Jaws is considered to have cemented the notion that to maximize profit, major film studios should distribute their top action and adventure pictures—their tentpole films—during the summer months and open them in wide release. The film was followed by three sequels, none with the participation of Spielberg or Benchley.

Plot

Chrissie Watkins, a 23-year-old woman, leaves an evening beach party on New England's Amity Island to go skinny dipping in the Atlantic Ocean, only to be dragged back and forth and then pulled under the water. Amity's police chief, Martin Brody, is notified that Chrissie is missing, and deputy Len Hendricks finds her remains on the beach. The medical examiner informs Brody that she was killed by a shark. Brody plans to close the beaches but is overruled by mayor Larry Vaughan, who fears that reports of a shark attack will ruin the summer tourist season, the town's primary source of income. The medical examiner consequently attributes the death to a boating accident. Brody reluctantly goes along with the explanation.

A short time later, a boy is killed by a shark at the beach. The boy's mother places a bounty on the shark, sparking an amateur shark-hunting frenzy and attracting the attention of local professional shark hunter Quint. Brought in by Brody, marine biologist Matt Hooper examines Chrissie's remains and concludes she was killed by a shark, not a boat.

A large tiger shark is caught by fishermen, leading the townspeople to believe the problem is solved, but Hooper is unconvinced and asks to examine its stomach contents. Vaughan refuses to make the "half-assed autopsy" public, so Brody and Hooper return after dark and discover the dead shark does not contain human remains. Scouting aboard Hooper's boat, they come across the half-sunken wreckage of a boat belonging to local fisherman Ben Gardner. Hooper explores the vessel underwater and discovers a sizable shark's tooth protruding from the damaged hull. While prying it loose, Hooper is startled by the remains of Gardner, which causes him to drop and lose the tooth. Vaughan refuses to close the beaches, and on the Fourth of July many tourists arrive. A children's prank causes panic while the real shark enters a nearby estuary, killing a man; Brody's son, who witnesses the attack, goes into shock. Brody persuades Vaughan to hire Quint, who reluctantly allows Hooper to join the hunt along with Brody. The three set out to catch and kill the shark aboard Quint's vessel, the Orca.

Brody is given the task of laying a chum line while Quint uses fishing tackle to try to hook the shark. An enormous great white shark looms up behind the boat; the trio watch the great white circle the Orca while Hooper takes pictures of it for research purposes. They estimate it weighs 3 tons (2.7 mt) and is 25 feet (7.6 m) long. Quint harpoons it with a line attached to a flotation barrel, designed to prevent the shark from submerging and to track it on the surface, but the shark pulls the barrel under and disappears.

Night falls without another sighting, so the men retire to the boat's cabin, where Quint relates his experience with sharks as a survivor of the sinking of the warship USS Indianapolis during the War in the Pacific in 1945. The shark reappears, damaging the boat's hull before slipping away. In the morning, the men make repairs to the engine. Brody attempts to call the Coast Guard, but Quint destroys the radio with a baseball bat. After a long chase, Quint harpoons another barrel to the shark. The men tie it to the stern, but the shark drags the boat backward, forcing water onto the deck and flooding the engine. Quint is about to cut the ropes when the cleats are pulled off the stern. The shark continues to attack the boat and Quint heads toward shore with the shark in pursuit, hoping to draw it into shallow waters, beach, and suffocate it. In his obsession to kill the shark, Quint overtaxes and stalls the Orca's engines.

With the boat immobilized, the trio attempt a desperate approach: Hooper dons scuba gear and enters the ocean inside a shark proof cage, aiming to stab the shark with a hypodermic spear filled with strychnine. When the shark attacks the cage, Hooper drops his spear. The shark gets tangled in the cage's remains, allowing Hooper to escape to the seabed. As Quint and Brody raise the remnants of the cage, the shark leaps onto the boat, crushing the transom. As the boat sinks, Quint slips down the deck into the shark's mouth and is eaten alive. Brody retreats to the boat's partly submerged cabin. When the shark attacks him, he shoves a pressurized scuba tank into the shark's mouth, then takes Quint's rifle and climbs the Orca's mast. Brody shoots at the scuba tank, blowing it and the shark to pieces. Hooper emerges, and the two make rafts out of the Orca's remains to paddle back to Amity Island.

Production

Development

Richard D. Zanuck and David Brown, producers at Universal Pictures, independently heard about Peter Benchley's novel Jaws. Brown came across it in the fiction department of the Cosmopolitan lifestyle magazine, then edited by his wife, Helen Gurley Brown. A small card written by the magazine's book editor gave a detailed description of the plot, concluding with the comment "might make a good movie". The producers each read the book over the course of a single night and agreed the next morning that it was "the most exciting thing that they had ever read" and that, although they were unsure how they would accomplish it, they wanted to produce a film version. They purchased the movie rights in 1973, before the book's publication, for approximately $175,000. Brown claimed that had they read the book twice, they would never have made the film because they would have realized how difficult it would be to execute certain sequences.

For a director, Zanuck and Brown first considered veteran filmmaker John Sturges—whose résumé included The Old Man and the Sea—but then offered the job to Dick Richards, whose directorial debut, The Culpepper Cattle Co. had come out the previous year. However, they grew irritated by Richards's habit of calling the shark "the whale" and soon dropped him from the project. Spielberg, meanwhile, very much wanted the job. The 26-year-old had just directed his first theatrical film, The Sugarland Express, for Zanuck and Brown; at the end of a meeting in their office to discuss future projects, he had picked the still-unpublished Benchley novel up off a stack of manuscripts, read it, and was immediately captivated. He later observed that it was similar to his 1971 television film Duel in that both deal with "these leviathans targeting everymen." After Richards's departure, the producers signed Spielberg to direct in June 1973, prior to the release of The Sugarland Express.

Before production began, however, Spielberg grew reluctant to continue with Jaws, in fear of becoming typecast as the "truck and shark director". He wanted to move over to 20th Century Fox's Lucky Lady instead, but Universal exercised its right under its contract with the director to veto his departure. Brown helped convince Spielberg to stick with the project, saying that "after [Jaws], you can make all the films you want". The film was given an estimated budget of $3.5 million and a shooting schedule of 55 days. Principal photography was set to begin in May 1974. Universal wanted the shoot to finish by the end of June, when the major studios' contract with the Screen Actors Guild was due to expire, to avoid any disruptions due to a potential strike.

Writing

For the adaptation, Spielberg wanted to stick with the novel's basic concept, while removing Benchley's many subplots. Spielberg declared that his favorite part of the book was the shark hunt on the last 120 pages, and told Zanuck when he accepted the job, "I'd like to do the picture if I could change the first two acts and base the first two acts on original screenplay material, and then be very true to the book for the last third." When the producers purchased the rights to his novel, they guaranteed that Benchley would write the first draft of the screenplay. Overall, he wrote three drafts before deciding to bow out of the project, although he later returned to play a small onscreen role as a reporter. One of Benchley's changes was to remove the novel's adulterous affair between Ellen Brody and Matt Hooper, at the suggestion of Spielberg, who feared it would compromise the camaraderie between the men on the Orca. Spielberg also changed the cause of the shark's death from extensive wounds to a scuba tank explosion, as he felt audiences would respond better to a "big rousing ending".

After Benchley left, Spielberg invited the young screenwriter John Byrum to do a rewrite, but he turned down the offer. Tony and Pulitzer Prize–winning playwright Howard Sackler happened to be in Los Angeles when the filmmakers began looking for another writer and offered to do an uncredited rewrite; since the producers and Spielberg were unhappy with Benchley's drafts, they quickly agreed. Carl Gottlieb, who had just been cast as Meadows, the politically connected editor of the local paper, was hired for "a one-week dialogue polish". Gottlieb eventually became the primary screenwriter, rewriting the entire script for a nine-week period during principal photography. The script for each scene was typically finished the night before it was shot, after Gottlieb had dinner with Spielberg and members of the cast and crew to decide what would go into the film. Many pieces of dialogue originated from the actors' improvisations during these meals; a few were created on set, the most notable case being Roy Scheider ad-libbing the line "You're gonna need a bigger boat". John Milius contributed dialogue polishes, and Sugarland Express writers Matthew Robbins and Hal Barwood also made uncredited contributions. Spielberg has claimed that he prepared his own draft, although it is unclear if the other screenwriters drew on his material. The director estimated the final script had a total of 27 scenes that were not in the book.

Benchley had written Jaws after reading about sport fisherman Frank Mundus's capture of an enormous shark in 1964. According to Gottlieb, Quint was "in the abstract" based on Mundus, whose book Sportfishing for Sharks he read for research. The question of who deserves the most credit for writing Quint's monologue about the fate of the cruiser USS Indianapolis has caused substantial controversy. Spielberg described it as a collaboration between Sackler, Milius, and actor Robert Shaw, who was also a playwright. Sackler came up with the concept of the Indianapolis disaster as Quint's motivation, Milius turned Sackler's "three-quarters of a page" speech into a monologue, and that was then rewritten by Shaw. Gottlieb gives primary credit to Shaw, downplaying Milius's contribution.

Casting

Despite complying with Zanuck and Brown's request to cast known actors, Spielberg tried not to get big stars. He felt that "somewhat anonymous" performers would help the audience "believe this was happening to people like you and me", whereas "stars bring a lot of memories along with them, and those memories can sometimes ... corrupt the story." The first actors cast were Lorraine Gary, the wife of then-president of Universal Sid Sheinberg, as Ellen Brody, and Murray Hamilton as the mayor of Amity Island. Most minor roles were played by residents of Martha's Vineyard, where the film was shot.

Three men on a boat, two of whom are holding a rope. All three are looking in the same direction along the rope.

Robert Shaw as Quint, Roy Scheider as Martin Brody, and Richard Dreyfuss as Matt Hooper aboard the Orca

The role of Brody was offered to Robert Duvall, but the actor was interested only in portraying Quint. Charlton Heston expressed a desire for the role, but Spielberg felt that Heston would bring a screen persona too grand for the part of a police chief of a modest community. Roy Scheider became interested in the project after overhearing Spielberg at a party talk with a screenwriter about having the shark jump up onto a boat. Spielberg was initially apprehensive about hiring Scheider, fearing he would portray a "tough guy", similar to his role in The French Connection.

Nine days before the start of production, neither Quint nor Hooper had been cast. The role of Quint was originally offered to actors Lee Marvin and Sterling Hayden, both of whom passed. Zanuck and Brown had just finished working with Robert Shaw on The Sting, and suggested him to Spielberg. Shaw was reluctant to take the role since he did not like the book, but decided to accept at the urging of both his wife, actress Mary Ure, and his secretary—"The last time they were that enthusiastic was From Russia With Love. And they were right." Shaw based his performance on fellow cast member Craig Kingsbury, a local fisherman, farmer, and legendary eccentric, who was playing fisherman Ben Gardner. Spielberg described Kingsbury as "the purest version of who, in my mind, Quint was", and some of his offscreen utterances were incorporated into the script as lines of Gardner's and Quint's.

For the role of Hooper, Spielberg initially wanted Jon Voight. Timothy Bottoms, Joel Grey, and Jeff Bridges were also considered for the part. Spielberg's friend George Lucas suggested Richard Dreyfuss, whom he had directed in American Graffiti. The actor initially passed, but changed his mind after he attended a pre-release screening of The Apprenticeship of Duddy Kravitz, which he had just completed. Disappointed in his performance and fearing that no one would want to hire him once Kravitz was released, he immediately called Spielberg and accepted the role in Jaws. Because the film the director envisioned was so dissimilar to Benchley's novel, Spielberg asked Dreyfuss not to read it. As a result of the casting, Hooper was rewritten to better suit the actor, as well as to be more representative of Spielberg, who came to view Dreyfuss as "my alter ego".

Filming

"We started the film without a script, without a cast and without a shark."

—actor Richard Dreyfuss on the film's troubled production

Principal photography began May 2, 1974, on the island of Martha's Vineyard, Massachusetts, selected after consideration was given to eastern Long Island. Brown later explained that the production "needed a vacation area that was lower middle class enough so that an appearance of a shark would destroy the tourist business." Martha's Vineyard was also chosen because the surrounding ocean had a sandy bottom that never dropped below 35 feet (11 m) for 12 miles (19 km) out from shore, helping the prop sharks to operate smoothly. As Spielberg wanted to film the aquatic sequences relatively close-up to resemble what people see while swimming, cinematographer Bill Butler devised new equipment to facilitate marine and underwater shooting, including a rig to keep the camera stable regardless of tide and a sealed submersible camera box. Spielberg asked the art department to avoid red in both scenery and wardrobe, so that the blood from the attacks would be the only red element and cause a bigger shock.

The fishing village of Menemsha, Martha's Vineyard, was the primary location.

Three full-size pneumatically powered prop sharks—which the film crew nicknamed "Bruce" after Spielberg's lawyer, Bruce Raimer—were made for the production: a "sea-sled shark", a full-body prop with its belly missing that was towed with a 300-foot (roughly 100-m) line, and two "platform sharks", one that moved from camera-left to -right (with its hidden left side exposing an array of pneumatic hoses), and an opposite model with its right flank uncovered. The sharks were designed by art director Joe Alves during the third quarter of 1973. Between November 1973 and April 1974, the sharks were fabricated at Rolly Harper's Motion Picture & Equipment Rental in Sun Valley, California. Their construction involved a team of as many as 40 effects technicians, supervised by renowned mechanical effects supervisor Bob Mattey, best known for creating the giant squid in 20,000 Leagues Under the Sea. After the sharks were completed, they were trucked to the shooting location. In early July, the platform used to tow the two "side model" sharks capsized as it was being lowered to the ocean floor, forcing a team of divers to retrieve it. The model required 14 operators to control all of the moving parts.

The film had a troubled shoot and went considerably over budget. David Brown said that the budget "was $4 million and the picture wound up costing $9 million"; disgruntled crew members gave the film the nickname "Flaws". Spielberg attributed many problems to his perfectionism and his inexperience. The former was epitomized by his insistence on shooting at sea with a life-sized shark: "I could have shot the movie in the tank or even in a protected lake somewhere, but it would not have looked the same." As for his lack of experience: "I was naive about the ocean, basically. I was pretty naive about mother nature and the hubris of a filmmaker who thinks he can conquer the elements was foolhardy, but I was too young to know I was being foolhardy when I demanded that we shoot the film in the Atlantic Ocean and not in a North Hollywood tank."

Shooting at sea led to many delays: unwanted sailboats drifted into frame, cameras got soaked, and the Orca once began to sink with the actors on board. The prop sharks frequently malfunctioned owing to a series of issues including bad weather, pneumatic hoses taking on salt water, frames fracturing due to water resistance, corroding skin, and electrolysis. From the first water test onward, the "non-absorbent" neoprene foam that made up the sharks' skin absorbed liquid, causing the sharks to balloon. The sea-sled model frequently got caught in the seaweed forests, prompting effects divers to search for the lost shark, scaring a few in the process. Spielberg later calculated that during the 12-hour daily work schedule, on average only four hours were actually spent filming. Gottlieb was nearly decapitated by the boat's propellers, and Dreyfuss was almost imprisoned in the steel cage. Editor Verna Fields rarely had material to work with during principal photography, as according to Spielberg "we would shoot five scenes in a good day, three in an average day, and none in a bad day."

The mechanical shark, attached to the tower

To some degree, the delays in the production proved serendipitous. The script was refined during production, and the unreliable mechanical sharks forced Spielberg to shoot many scenes so that the shark was only hinted at. For example, for much of the shark hunt, its location is indicated by the floating yellow barrels. Spielberg also included multiple shots of just the dorsal fin. This forced restraint is widely thought to have increased the suspense of these scenes. As Spielberg put it years later, "The film went from a Japanese Saturday matinee horror flick to more of a Hitchcock, the less-you-see-the-more-you-get thriller. In another interview, he similarly declared, "The shark not working was a godsend. It made me become more like Alfred Hitchcock than like Ray Harryhausen." The acting became crucial for making audiences believe in such a big shark: "The more fake the shark looked in the water, the more my anxiety told me to heighten the naturalism of the performances." A few scenes were planned with a visible shark from the start, such as the death of Chrissie, for which stuntwoman-turned-actress Susan Backlinie was dragged and yanked by cables to simulate an attack.

Footage of real sharks was shot by Ron and Valerie Taylor in the waters off Australia, with a smaller-framed actor in a miniature shark cage to create the illusion that the sharks were enormous. During the Taylors' shoot, a great white attacked the boat and cage. The footage of the cage attack was so stunning that Spielberg was eager to incorporate it in the film. No one had been in the cage at the time, however, and the script, following the novel, originally had the shark killing Hooper in it. The storyline was consequently altered to have Hooper escape from the cage, which allowed the footage to be used. As production executive Bill Gilmore put it, "The shark down in Australia rewrote the script and saved Dreyfuss's character."

Although principal photography was scheduled to take 55 days, it did not wrap until October 6, 1974, after 159 days. Spielberg, reflecting on the protracted shoot, stated, "I thought my career as a filmmaker was over. I heard rumors ... that I would never work again because no one had ever taken a film 100 days over schedule." Spielberg himself was not present for the shooting of the final scene in which the shark explodes, as he believed that the crew were planning to throw him in the water when the scene was done. It has since become a tradition for Spielberg to be absent when the final scene of one of his films is being shot. Afterward, underwater scenes were shot at the Metro-Goldwyn-Mayer water tank in Culver City, with stuntmen Dick Warlock and Frank James Sparks as stand-ins for Dreyfuss in the scene where the shark attacks the cage, as well as near Santa Catalina Island, California. Fields, who had completed a rough cut of the first two-thirds of the film, up until the shark hunt, finished the editing and reworked some of the material. According to Zanuck, "She actually came in and reconstructed some scenes that Steven had constructed for comedy and made them terrifying, and some scenes he shot to be terrifying and made them comedy scenes." The ship used for the Orca was brought to Los Angeles so the sound effects team could record sounds for both the ship and the underwater scenes.

Two edits were made following the first test screening in Dallas: As the audience's screams had covered up Scheider's "bigger boat" one-liner, Brody's reaction after the shark jumps behind him was extended, and the volume of the line was raised. Spielberg also decided that he was greedy for "one more scream", and reshot the scene in which Hooper discovers Ben Gardner's body with $3,000 of his own money, after Universal refused to pay for the reshoot. The underwater scene was shot in Fields's swimming pool in Encino, California, using a lifecast latex model of Craig Kingsbury's head attached to a fake body, which was placed in the wrecked boat's hull.

Music

John Williams composed the film's score, which earned him an Academy Award for Best Original Score and was ranked sixth on the American Film Institute's 100 Years of Film Scores. The main "shark" theme, a simple alternating pattern of two notes, E and F, became a classic piece of suspense music, synonymous with approaching danger (see leading-tone). Williams described the theme as having the "effect of grinding away at you, just as a shark would do, instinctual, relentless, unstoppable." The soundtrack piece was performed by tuba player Tommy Johnson. When asked by Johnson why the melody was written in such a high register and not played by the more appropriate French horn, Williams responded that he wanted it to sound "a little more threatening". When Williams first demonstrated his idea to Spielberg, playing just the two notes on a piano, Spielberg was said to have laughed, thinking that it was a joke. Spielberg later said that without Williams's score the film would have been only half as successful, and according to Williams it jumpstarted his career. He had previously scored Spielberg's debut feature, The Sugarland Express, and went on to collaborate with the director on almost all of his films.

As Williams saw similarities between Jaws and pirate movies, he tried to add much "pirate music, which is primal, but fun and entertaining". The score contains echoes of Igor Stravinsky's The Rite of Spring, particularly the opening of "The Adoration of the Earth" and "Auguries of Spring". The music has drawn comparisons to Bernard Herrmann's score for Alfred Hitchcock's Psycho and the ominous music for the off-screen hunter in Bambi, which similarly amplifies the effect of an unseen terror.

There are various interpretations of the meaning and effectiveness of the primary music theme, which is widely acknowledged as one of the most recognizable cinematic themes of all time. Some have thought the two-note expression is intended to mimic the shark's heartbeat. Others have stated that the music at first sounds like the creaking and groaning of a boat, and is thus effectively inaudible when it begins so that it never seems to start, but simply rises out of the diegetic soundscape. One critic believes the true strength of the score is its ability to create a "harsh silence", abruptly cutting away from the music right before it climaxes. Furthermore, the audience is conditioned to associate the shark with its theme, since the score is never used as a red herring—it plays only, and almost invariably, when the real shark appears. This is exploited toward the end of the film when the shark suddenly appears with no musical introduction.

The original soundtrack for Jaws was released by MCA Records in 1975, and as a CD in 1992, including roughly a half hour of music that Williams redid for the album. In 2000, two versions of the score were released: Decca/Universal reissued the soundtrack album to coincide with the release of the 25th-anniversary DVD, featuring the entire 51 minutes of the original score, and Varèse Sarabande put out a rerecording of the score performed by the Royal Scottish National Orchestra, conducted by Joel McNeely.

Inspirations and themes

Jaws bears similarities to several literary and artistic works, most notably Moby-Dick by Herman Melville. The character of Quint strongly resembles Captain Ahab, the obsessed captain of the Pequod who devotes his life to hunting a sperm whale. Quint's monologue reveals a similar obsession with sharks; even his boat, the Orca, is named after the only natural enemy of the white shark. In the novel and original screenplay, Quint dies after being dragged under the ocean by a harpoon tied to his leg, similar to Ahab's death in Melville's novel. A direct reference to these similarities may be found in the original screenplay, which introduces Quint watching the film version of Moby-Dick; his continuous laughter prompts other audience members to get up and leave the theater (Wesley Strick's screenplay for the 1991 remake of Cape Fear features a similar scene). However, the scene from Moby-Dick could not be licensed from the film's star, Gregory Peck, the copyright holder. Screenwriter Carl Gottlieb also drew comparisons to Ernest Hemingway's The Old Man and the Sea: "Jaws is ... a titanic struggle, like Melville or Hemingway."

The underwater scenes shot from the shark's point of view have been compared with passages in two 1950s horror films, The Creature from the Black Lagoon and The Monster That Challenged the World. Gottlieb named two science fiction productions from the same era as influences on how the shark was depicted, or not: The Thing from Another World, which Gottlieb described as "a great horror film where you only see the monster in the last reel"; and It Came From Outer Space, where "the suspense was built up because the creature was always off-camera". Those precedents helped lead Spielberg and Gottlieb to "concentrate on showing the 'effects' of the shark rather than the shark itself".

Critics such as Neil Sinyard have noticed similarities to Henrik Ibsen's play An Enemy of the People. Gottlieb himself said he and Spielberg referred to Jaws as "Moby-Dick meets Enemy of the People." The Ibsen work features a doctor who discovers that a seaside town's medicinal hot springs, a major tourist attraction and revenue source, are contaminated. When the doctor attempts to convince the townspeople of the danger, he loses his job and is shunned. This plotline is paralleled in Jaws by Brody's conflict with Mayor Vaughn, who refuses to acknowledge the presence of a shark that may dissuade summer beachgoers from coming to Amity. Brody is vindicated when more shark attacks occur at the crowded beach in broad daylight. Sinyard calls the film a "deft combination of Watergate and Ibsen's play".

Scholarly criticism

Jaws has received considerable attention from academic critics. Stephen Heath relates the film's ideological meanings to the then-recent Watergate scandal. He argues that Brody represents the "white male middle class—[there is] not a single black and, very quickly, not a single woman in the film", who restores public order "with an ordinary-guy kind of heroism born of fear-and-decency". Yet Heath moves beyond ideological content analysis to examine Jaws as a signal example of the film as "industrial product" that sells on the basis of "the pleasure of cinema, thus yielding the perpetuation of the industry (which is why part of the meaning of Jaws is to be the most profitable movie)".

Andrew Britton contrasts the film to the novel's post-Watergate cynicism, suggesting that its narrative alterations from the book (Hooper's survival, the shark's explosive death) help make it "a communal exorcism, a ceremony for the restoration of ideological confidence." He suggests that the experience of the film is "inconceivable" without the mass audience's jubilation when the shark is annihilated, signifying the obliteration of evil itself. In his view, Brody serves to demonstrate that "individual action by the one just man is still a viable source for social change". Peter Biskind argues that the film does maintain post-Watergate cynicism concerning politics and politicians insofar as the sole villain beside the shark is the town's venal mayor. Yet he observes that, far from the narrative formulas so often employed by New Hollywood filmmakers of the era—involving Us vs. Them, hip counterculture figures vs. "The Man"—the overarching conflict in Jaws does not pit the heroes against authority figures, but against a menace that targets everyone regardless of socioeconomic position.

Whereas Britton states that the film avoids the novel's theme of social class conflicts on Amity Island, Biskind detects class divisions in the screen version and argues for their significance. "Authority must be restored," he writes, "but not by Quint". The seaman's "working class toughness and bourgeois independence is alien and frightening ... irrational and out of control". Hooper, meanwhile, is "associated with technology rather than experience, inherited wealth rather than self-made sufficiency"; he is marginalized from the conclusive action, if less terminally than Quint. Britton sees the film more as concerned with the protection of children—from an early accident on a swing to the moment where "Mayor Vaughan is revealed to be totally corrupt ... hiss[ing] to Brody that he is perfectly willing to let his own children go swimming"—which in turn helps generate a "pervasive sense of the supreme value of family life: a value clearly related to [ideological] stability and cultural continuity".

Fredric Jameson's Marxist analysis highlights the polysemy of the shark and the multiple ways in which it can be read. He argues that it fundamentally serves a reification function, bringing the conflicting characters, of different social strata, together in order to defeat it.

Release

Promotion

Universal spent $1.8 million promoting Jaws, an unprecedented $700,000 of that on a television marketing campaign. Universal "devised and co-ordinated a highly innovative plan" for the first film's distribution and exhibition. The studio and publisher Bantam designed a logo that would appear on both the paperback and on all film advertising. "Both publisher and distributor recognized the mutual benefits that a joint promotion strategy would bring." Producers Zanuck and Brown toured six cities to promote the paperback and the film. The centerpiece of the promotion was the poster image featuring the shark approaching a lone female swimmer. It was based on the paperback's cover, and had the same artist, Bantam employee Roger Kastel, while employing a design made by Tony Seiniger of Seiniger Advertising. The agency spent six months working at the poster, with Seiniger declaring that "no matter what we did, it didn't look scary enough," until Seiniger decided that "you had to actually go underneath the shark so you could see his teeth."

More merchandise was created to take advantage of the film's release. In 1999, Graeme Turner wrote that Jaws was accompanied by what was still "probably the most elaborate array of tie-ins" of any film to date: "This included a sound-track album, T-shirts, plastic tumblers, a book about the making of the movie, the book the movie was based on, beach towels, blankets, shark costumes, toy sharks, hobby kits, iron-transfers, games, posters, shark's tooth necklaces, sleepwear, water pistols, and more." The Ideal Toy Company, for instance, produced a game in which the player had to use a hook to fish out items from the shark's mouth before the jaws closed.

Theatrical run

Test screenings in Dallas and Long Beach in March 1975 generated a positive response, spurring theater owners' interest in the film and leading Universal executives to give Jaws a wide release. This practice was often used either for holiday releases to capitalize on family availability, or films of doubtful quality to diminish the effect of negative reviews and word of mouth (exceptions included The Trial of Billy Jack, Magnum Force and the James Bond series), with the typical film release at the time being opened slowly, usually in a few theaters in major cities, which allowed for a series of premieres. As the success of a film increased, and word of mouth grew, distributors would forward the prints to additional cities across the country. Some films eventually achieved a wide release, such as The Godfather, but even that blockbuster had originally debuted in just five theaters. On June 20, Jaws became the first film to successfully open nationwide on hundreds of screens simultaneously, coupled with a national marketing campaign—a then-unheard of practice. (A month earlier, Columbia had done the same with a Charles Bronson thriller, Breakout, but the box office was middling at best.) The film became the first to use extensive television advertising. The media blitz "included approximately twenty-five thirty-second advertisements per night on prime-time network TV" between June 18 and opening day. Universal executive Sid Sheinberg's rationale was that nationwide marketing costs would be amortized at a more favorable rate per print than if a slow, scaled release were carried out. Sheinberg's gamble paid off, with Jaws becoming a box office smash hit and the father of the summer blockbuster. The foreign release followed the same pattern as the domestic one, with heavy advertisement and wide release - for instance, the United Kingdom opening in December encompassed more than 100 theaters.

After the release of Jaws, journalists and critics detailed its impact on how films were released in theaters. Peter Biskind wrote, "[The film] diminish[ed] the importance of print reviews, making it virtually impossible for a film to build slowly, finding its audience by dint of mere quality. … In a sense, Spielberg was the Trojan horse through which the studios began to reassert their power." Author Thomas Schatz also wrote on the film's impact: "If any single film marked the arrival of the New Hollywood, it was Jaws, the Spielberg-directed thriller that recalibrated the profit potential of the Hollywood hit, and redefined its status as a marketable commodity and cultural phenomenon as well. The film brought an emphatic end to Hollywood's five-year recession, while ushering in an era of high-cost, high-tech, high-speed thrillers." Following the success of Jaws, major studio films have almost universally been distributed and marketed on a national scale. In addition, when summer was usually a season to dump films likely to be poor performers, the success of Jaws caused studios to shift their action and thriller films out of winter releases.

Reception

Box office performance

When Jaws was released on June 20, 1975, it opened at 464 theaters. During its first weekend, it grossed more than $7 million, and it was the top grosser for the following five weeks. The release was subsequently expanded on July 25 to a total of 695 theaters, and in August 15 to 975 screens. In just 78 days it overcame The Godfather (1972) as the highest-grossing film to date. Jaws became the first film to reach more than $100 million in U.S. box office receipts, and it finished its original theatrical run with $129 million.

Jaws was the highest-grossing box office film until Star Wars, which debuted two years later. It is currently the 94th highest-grossing film of all time with $470.7 million worldwide, and the 57th highest domestically with a total North American gross of $260 million. Adjusted for inflation, it is the seventh highest-grossing movie of all time in North America, with a total of $1.017 billion based on an estimated 128,078,800 tickets sold.

Critical response

The film received mostly positive reviews upon release. In his original review, Roger Ebert called it "a sensationally effective action picture, a scary thriller that works all the better because it's populated with characters that have been developed into human beings". Variety's A.D. Murphy praised Spielberg's directorial skills, and called Robert Shaw's performance "absolutely magnificent". Pauline Kael called it "the most cheerfully perverse scare movie ever made… [with] more zest than an early Woody Allen picture, a lot more electricity, [and] it's funny in a Woody Allen sort of way". For New Times magazine, Frank Rich wrote, "Spielberg is blessed with a talent that is absurdly absent from most American filmmakers these days: this man actually knows how to tell a story on screen. ... It speaks well of this director's gifts that some of the most frightening sequences in Jaws are those where we don't even see the shark." Writing for New York magazine, Judith Crist described the film as "an exhilarating adventure entertainment of the highest order", with compliments to the acting and the "extraordinary technical achievements". Rex Reed praised the "nerve-frying" action scenes and concluded that "for the most part, Jaws is a gripping horror film that works beautifully in every department".

The film was not without its detractors. Vincent Canby of The New York Times wrote, "It's a measure of how the film operates that not once do we feel particular sympathy for any of the shark's victims…In the best films, characters are revealed in terms of the action. In movies like Jaws, characters are simply functions of the action. They're at its service. Characters are like stage hands who move props around and deliver information when it's necessary", but also noted that "It's the sort of nonsense that can be a good deal of fun". Los Angeles Times critic Charles Champlin disagreed with the film's PG rating, saying that "Jaws is too gruesome for children, and likely to turn the stomach of the impressionable at any age." He goes on to say: "It is a coarse-grained and exploitative work which depends on excess for its impact. Ashore it is a bore, awkwardly staged and lumpily written." Marcia Magill of Films in Review said that while Jaws "is eminently worth seeing for its second half", she felt that before the protagonists' pursuit of the shark the film was "often flawed by its busyness". William S. Pechter of Commentary described Jaws as "a mind-numbing repast for sense-sated gluttons" and "filmmaking of this essentially manipulative sort", and Molly Haskell of The Village Voice also considered manipulative the film's "scare machine that works with computer-like precision. ... You feel like a rat, being given shock therapy". The most widespread criticism of the film is the artificiality of the mechanical shark: Magill declared that "the programmed shark has one truly phony close-up", and in 2002, online reviewer James Berardinelli said that if not for Spielberg's deftly suspenseful direction "we would be doubled over with laughter at the cheesiness of the animatronic creature."

Accolades

Jaws won three Academy Awards for Best Film Editing, Best Original Dramatic Score, and Best Sound (Robert Hoyt, Roger Heman, Earl Madery and John Carter). It was also nominated for Best Picture, losing to One Flew Over the Cuckoo's Nest. Spielberg greatly resented the fact that he was not nominated for Best Director. Along with the Oscar, John Williams's score won the Grammy Award, the BAFTA Award for Best Film Music, and the Golden Globe Award. To her Academy Award, Verna Fields added the American Cinema Editors' Eddie Award for Best Edited Feature Film.

Jaws was chosen Favorite Movie at the People's Choice Awards. It was also nominated for best Film, Director, Actor (Richard Dreyfuss), Editing, and Sound at the 29th British Academy Film Awards, and Best Film—Drama, Director, and Screenplay at the 33rd Golden Globe Awards. Spielberg was nominated by the Directors Guild of America for a DGA Award, and the Writers Guild of America nominated Peter Benchley and Carl Gottlieb's script for Best Adapted Drama.

In 2008, Jaws was selected by Empire magazine as the fifth greatest film ever made. The magazine also placed Quint at #50 on their list of The 100 Greatest Movie Characters of All Time. In 2003, The New York Times included the film on its list of the best 1000 movies ever made. In 2010, Total Film selected the film as one of The 100 Greatest Movies of All Time. Jaws was number 48 on American Film Institute's 100 Years... 100 Movies, a list of the greatest American films of all time, dropping down to number 56 on the 10 Year Anniversary list. AFI also ranked the shark at number 18 on its list of the 50 Best Villains, Roy Scheider's line "You're gonna need a bigger boat" 35th on a list of top 100 movie quotes, John Williams's score at sixth on a list of 100 Years of Film Scores, and the film as second on a list of 100 most thrilling films, behind only Psycho. Jaws was number one in the Bravo network's five-hour miniseries The 100 Scariest Movie Moments (2004). Similarly, the Chicago Film Critics Association named it the 6th scariest film ever made. The film was also featured in lists by Leonard Maltin, Entertainment Weekly, Film4, TV Guide, Rolling Stone, and Vanity Fair.

In 2001, the United States Library of Congress deemed the film "culturally significant" and selected it for preservation in the National Film Registry. In 2006, the screenplay of Jaws was selected by the Writers Guild of America as the 63rd best screenplay of all time.

Legacy

The entrance of the now closed Jaws ride at Universal Studios Florida

Jaws was a key film in establishing the benefits of a wide national release backed by heavy media advertising, rather than a progressive release that let a film slowly enter new markets and build support over a period of time. It also helped establish summer as the prime season for the release of studios' high-profile productions. Jaws and Star Wars are retrospectively considered to have marked the beginning of the new business model in American filmmaking centered around "high concept" films—with premises that can be easily described and marketed—as well as the beginning of the end of the New Hollywood period.

Similar to the fear of showers created by the pivotal scene in the 1960 film Psycho, Jaws led many viewers to be afraid to enter the ocean. The film was credited with reduced beach attendance in 1975, as well as an increased number of reported shark sightings. It is still seen as responsible for perpetuating negative stereotypes about sharks and their behavior. Conservationists credit the film with the so-called "Jaws effect", which allegedly inspired "legions of fishermen [who] piled into boats and killed thousands of the ocean predators in shark-fishing tournaments." Author Peter Benchley stated that he would not have written the original novel had he known what sharks are really like in the wild. Benchley later wrote Shark Trouble, a nonfiction book about shark behavior, and Shark Life, also nonfiction, which describes his dives with sharks. Conservation groups have bemoaned the fact that the film has made it considerably harder to convince the public that sharks should be protected.

Jaws set the template for many future horror films, to the extent that the script for Ridley Scott's 1979 science fiction film Alien was pitched to studio executives as "Jaws in space." Many films based on man-eating animals, usually aquatic, were released through the 1970s and 1980s, such as Orca, Grizzly, Alligator, Day of the Animals, and Eaten Alive. Spielberg declared Piranha, directed by Joe Dante and written by John Sayles, "the best of the Jaws ripoffs". Italy produced three mockbusters based on Jaws: Great White, which inspired a plagiarism lawsuit by Universal; Monster Shark, featured in Mystery Science Theater 3000 under the title Devil Fish; and Cruel Jaws, which features footage from Jaws and Jaws 2, and is also known as Jaws 5: Cruel Jaws.

Martha's Vineyard celebrated the film's 30th anniversary in 2005 with a "JawsFest" festival, which is scheduled to have its second edition in 2012. In the 2000s, an independent group of fans produced a feature-length documentary featuring interviews with cast and crew from the film, The Shark is Still Working. Narrated by Roy Scheider and dedicated to Peter Benchley, who died in 2006, it debuted at the 2009 Los Angeles United Film Festival.

Home video releases

The first LaserDisc title marketed in North America was the MCA DiscoVision release of Jaws in 1978. A second LaserDisc was released in 1992, before a third and final version came out under MCA/Universal Home Video's Signature Collection imprint in 1995. This release was an elaborate boxset that included deleted scenes and outtakes, a new two-hour documentary on the making of the film directed and produced by Laurent Bouzereau, a copy of the novel Jaws, and a CD of John Williams's soundtrack.

MCA Home Video first released Jaws on VHS in 1980. For the film's 20th anniversary in 1995, MCA Universal Home Video issued a new Collector's Edition tape featuring a making-of retrospective. This release sold 800,000 units in North America. Another, final VHS release, marking the film's 25th anniversary in 2000, came with a companion tape containing a documentary, deleted scenes, outtakes, and a trailer.

Jaws was first released on DVD in 2000 for the film's 25th anniversary, accompanied by a massive publicity campaign. It featured a 50-minute documentary on the making of the film (an edited version of the one featured on the 1995 LaserDisc release), with interviews with Spielberg, Scheider, Dreyfuss, Benchley, and other cast and crew members. Other extras included deleted scenes, outtakes, trailers, production photos, and storyboards. The DVD shipped one million copies in just one month. In June 2005, a 30th-anniversary edition was released at the JawsFest festival in Martha's Vineyard. The new DVD had many extras seen in previous home video releases, including the full two-hour Bouzereau documentary, and a previously unavailable interview with Spielberg conducted on the set of Jaws in 1974. In mid-2011, Spielberg stated that a Blu-ray release was in the works.

Sequels

Jaws spawned three sequels, none of which came close to matching the success of the original. Indeed, their combined domestic grosses cover barely half of the first film's. In October 1975, Spielberg declared to a film festival audience that "making a sequel to anything is just a cheap carny trick". Nonetheless, he did consider taking on the first sequel when its original director, John D. Hancock, was fired a few days into the shoot; ultimately, his obligations to Close Encounters of the Third Kind, which he was working on with Dreyfuss, made it impossible. Jaws 2 (1978) was eventually directed by Jeannot Szwarc; Scheider, Gary, Hamilton, and Jeffrey Kramer (who portrayed Deputy Leonard "Lenny" Hendricks) reprised their roles. It is generally regarded as the best of the sequels. The next film, Jaws 3-D (1983), was directed by Joe Alves, who had served as art director and production designer, respectively, on the two preceding films. Starring Dennis Quaid and Louis Gossett, Jr., it was released in the 3-D format, although the effect did not transfer to television or home video, where it was renamed Jaws 3. Jaws: The Revenge (1987), directed by Joseph Sargent, starring Michael Caine, and featuring the return of Gary, is considered one of the worst movies ever made. While all three sequels made a profit at the box office (Jaws 2 and Jaws 3-D were among the top 20 highest-grossing films of their respective years), critics and audiences alike were generally dissatisfied with the films.

Adaptations and merchandise

The film has inspired two theme park rides: one at Universal Studios Florida, which closed in January 2012, and one at Universal Studios Japan. There have been at least two musical adaptations: JAWS The Musical!, which premiered in 2004 at the Minnesota Fringe Festival, and Giant Killer Shark: The Musical, which premiered in 2006 at the Toronto Fringe Festival. Three video games based on the film were released: 1987's Jaws, developed by LJN for the Nintendo Entertainment System; 2006's Jaws Unleashed by Majesco Entertainment for the Xbox, PlayStation 2, and PC; and 2011's Jaws: Ultimate Predator, also by Majesco, for the Nintendo 3DS and Wii. A mobile game by Bytemark was released in 2010 for the iPhone. Aristocrat made an officially licensed slot machine based on the movie.

See also

• List of killer shark films

Bibliography

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External links

• Template:Dmoz
• Jaws at Filmsite.org
• Jaws at IMDb
• Jaws at AllMovie
• Jaws at Box Office Mojo
• Jaws at Metacritic
• Jaws at Rotten Tomatoes