Jaws (film)
Jaws | |
---|---|
Directed by | Steven Spielberg |
Screenplay by | |
Based on | Jaws by Peter Benchley |
Produced by | |
Starring | |
Cinematography | Bill Butler |
Edited by | Verna Fields |
Music by | John Williams |
Production companies |
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Distributed by | Universal Pictures |
Release date |
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Running time | 124 minutes[2] |
Country | United States |
Language | English |
Budget | $9 million |
Box office | $476.5 million |
Jaws is a 1975 American thriller film directed by Steven Spielberg, based on the 1974 novel by Peter Benchley. It stars Roy Scheider as police chief Martin Brody, who, with the help of a marine biologist (Richard Dreyfuss) and a professional shark hunter (Robert Shaw), hunts a man-eating great white shark that attacks beachgoers at a summer resort town. Murray Hamilton plays the mayor, and Lorraine Gary portrays Brody's wife. The screenplay is credited to Benchley, who wrote the first drafts, and actor-writer Carl Gottlieb, who rewrote the script during principal photography.
Shot mostly on location at
Regarded as a watershed moment in motion picture history, Jaws was the prototypical summer blockbuster and won several awards for its music and editing. It was the highest-grossing film of all time until the release of Star Wars two years later; both films were pivotal in establishing the modern Hollywood business model, which pursues high box-office returns from action and adventure films with simple high-concept premises, released during the summer in thousands of theaters and advertised heavily. Jaws was followed by three sequels (none of which involved Spielberg or Benchley) and many imitative thrillers. In 2001, the Library of Congress selected it for preservation in the United States National Film Registry.
Plot
In the New England beach town of Amity Island, a young woman goes for a late-night ocean swim during a beach party. An unseen force attacks and pulls her underwater. Her remains are found washed up on the beach the next morning. After the medical examiner concludes it was a shark attack, newly hired police chief Martin Brody closes the beaches; Mayor Larry Vaughn persuades him to reconsider, fearing the town's summer economy will suffer. The coroner, apparently under pressure, now concurs with the mayor's theory that it was a boating accident. Brody reluctantly accepts their conclusion until a young boy, Alex Kintner, is killed at a crowded beach. A bounty is placed on the shark, causing an amateur shark-hunting frenzy. Quint, an eccentric and roughened local shark hunter, offers his services for $10,000. Consulting oceanographer Matt Hooper examines the girl's remains, confirming that an abnormally large shark killed her.
When local fishermen catch a tiger shark, the mayor declares the beaches safe. Mrs. Kintner confronts Brody and blames him for her son's death. A skeptical Hooper dissects the tiger shark and, finding no human remains inside its stomach, determines a larger shark killed the victims. While searching the night waters in Hooper's boat, Hooper and Brody find the half-sunken vessel of Ben Gardner, a local fisherman. Underwater, Hooper removes a sizable shark tooth from the boat's hull, but accidentally drops it after discovering Gardner's severed head. Vaughn dismisses Brody and Hooper's assertions that a huge great white shark caused the deaths, and refuses to close the beaches, allowing only increased safety precautions. On the Fourth of July weekend, tourists pack the beaches. The shark enters a nearby lagoon, killing a boater and coming close to killing Brody's son. Brody then convinces a guilt-ridden Vaughn to hire Quint.
Despite tension between Quint and Hooper, they and Brody head to sea on Quint's boat to hunt the shark. As Brody lays down a chum line, the shark suddenly appears behind the boat. Quint, estimating it is 25 feet (7.6 m) long and weighs 3 tonnes (3.0 long tons; 3.3 short tons), harpoons it with a line attached to a flotation barrel, but the shark pulls the barrel underwater and disappears.
At nightfall, Quint and Hooper drunkenly exchange stories about their assorted body scars. One of Quint's is a removed tattoo, and he reveals that he survived the attack on the USS Indianapolis, during which many US sailors were killed by sharks. The shark returns, ramming the boat's hull and disabling the power. The men work through the night, repairing the engine. In the morning, Brody attempts to call the Coast Guard, but Quint, obsessed with killing the shark without outside assistance, smashes the radio. After a long chase, Quint harpoons the shark with another barrel. The line is tied to the stern cleats, but the shark drags the boat backward, swamping the deck and flooding the engine compartment. As Quint is about to sever the line to save the boat's transom, the cleats break off. The barrels stay attached to the shark. To Brody's relief, Quint heads toward shore to draw the shark into shallower waters, but the overtaxed engine fails.
As the boat takes on water, the trio attempts a riskier approach. Hooper suits up and enters a
Production
Development
To direct, Zanuck and Brown first considered veteran filmmaker John Sturges—whose résumé included another maritime adventure, The Old Man and the Sea—before offering the job to Dick Richards, whose directorial debut, The Culpepper Cattle Co., had come out the previous year.[8] They soon grew irritated by Richards's habit of describing the shark as a whale and dropped him from the project.[8] Meanwhile, Steven Spielberg 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, Spielberg noticed their copy of the still-unpublished Benchley novel, and after reading it was immediately captivated.[6] He later observed that it was similar to his 1971 television film Duel in that both deal with "these leviathans targeting everymen".[5] He also revealed in "The Making of Jaws" documentary on the 2012 DVD release that he directly referenced Duel by repurposing the sound of the truck being destroyed as the death roar of the shark. After Richards's departure, the producers signed Spielberg to direct in June 1973, before the release of The Sugarland Express.[8]
Before production began, Spielberg grew reluctant to continue with Jaws, in fear of becoming typecast as the "truck and shark director".
Writing
For the screen adaptation, Spielberg wanted to stay with the novel's basic plot, but discarded many of Benchley's
Spielberg, who felt that the characters in Benchley's script were still unlikable, invited the young screenwriter
Spielberg wanted "some levity" in Jaws, humor that would avoid making it "a dark sea hunt", so he turned to his friend Carl Gottlieb, a comedy writer-actor then working on the sitcom The Odd Couple.[14] Spielberg sent Gottlieb a script, asking what the writer would change and if there was a role he would be interested in performing.[18] Gottlieb sent Spielberg three pages of notes, and picked the part of Meadows, the politically connected editor of the local paper. He passed the audition one week before Spielberg took him to meet the producers regarding a writing job.[19]
While the deal was initially for a "one-week dialogue polish", Gottlieb eventually became the primary screenwriter, rewriting nearly the entire script during a nine-week period of principal photography.[19] 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 just prior to filming. John Milius contributed other dialogue polishes,[20] and Sugarland Express writers Matthew Robbins and Hal Barwood also made uncredited contributions.[21] Spielberg has claimed that he prepared his own draft, although it is unclear to what degree the other screenwriters drew on his material.[20] One specific alteration he called for in the story was to change 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".[22] The director estimated the final script had a total of 27 scenes that were not in the book.[15]
Benchley had written Jaws after reading about sport fisherman Frank Mundus's capture of an enormous shark in 1964. According to Gottlieb, Quint was loosely based on Mundus, whose book Sportfishing for Sharks he read for research.[23] Sackler came up with the backstory of Quint as a survivor of the World War II USS Indianapolis disaster.[24] The question of who deserves the most credit for writing Quint's monologue about the Indianapolis has caused substantial controversy. Spielberg described it as a collaboration between Sackler, Milius, and actor Robert Shaw, who was also a playwright.[20] According to the director, Milius turned Sackler's "three-quarters of a page" speech into a monologue, and that was then partially rewritten by Shaw.[24] Gottlieb gives primary credit to Shaw, downplaying Milius's contribution.[25][26]
Casting
Actor | Role |
---|---|
Roy Scheider | Chief Martin Brody |
Robert Shaw | Quint |
Richard Dreyfuss | Matt Hooper |
Lorraine Gary | Ellen Brody |
Murray Hamilton | Mayor Larry Vaughn |
Carl Gottlieb | Meadows |
Jeffrey Kramer | Deputy Hendricks |
Susan Backlinie | Chrissie Watkins |
Lee Fierro | Mrs. Kintner |
Peter Benchley | Interviewer |
Though Spielberg complied with a request from Zanuck and Brown to cast known actors,[16] he wanted to avoid hiring any 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."[21] The director added that in his plans "the superstar was gonna be the shark".[14] The first actors cast were Lorraine Gary, the wife of president of Universal Sidney Sheinberg, as Ellen Brody,[16] and Murray Hamilton as the mayor of Amity Island.[27] Stuntwoman-turned-actress Susan Backlinie was cast as Chrissie (the first victim) as she knew how to swim and was willing to perform nude.[14] Most minor roles were played by residents of Martha's Vineyard, where the film was shot. One example was Deputy Hendricks, played by future television producer Jeffrey Kramer.[28] Lee Fierro plays Mrs. Kintner, the mother of the shark's second victim Alex Kintner (played by Jeffrey Voorhees).[29]
The role of Brody was offered to Robert Duvall, but the actor was interested only in portraying Quint.[30] 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.[31] 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.[16] Spielberg was initially apprehensive about hiring Scheider, fearing he would portray a "tough guy", similar to his role in The French Connection.[30]
Nine days before the start of production, neither Quint nor Hooper had been cast.[32] The role of Quint was originally offered to actors Lee Marvin and Sterling Hayden, both of whom passed.[16][30] Zanuck and Brown had just finished working with Robert Shaw on The Sting, and suggested him to Spielberg.[33] 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".[34] Shaw based his performance on fellow cast member Craig Kingsbury, a local fisherman, farmer and legendary eccentric, who was cast in the small role of fisherman Ben Gardner.[35] 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 both Gardner and Quint.[36] Another source for some of Quint's dialogue and mannerisms, especially in the third act at sea, was Vineyard mechanic and boat-owner Lynn Murphy.[37][38]
For the role of Hooper, Spielberg initially wanted Jon Voight.[33] Timothy Bottoms, Jan-Michael Vincent, Joel Grey, and Jeff Bridges were also considered for the part.[39][40][41] Spielberg's friend George Lucas suggested Richard Dreyfuss, whom he had directed in American Graffiti.[16] The actor initially passed but changed his decision 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.[42] As a result of the casting, Hooper was rewritten to better suit the actor,[32] as well as to be more representative of Spielberg, who came to view Dreyfuss as his "alter ego".[41]
Filming
We started the film without a script, without a cast and without a shark.
—Actor Richard Dreyfuss on the film's troubled production[43]
Principal photography began May 2, 1974,[44] on the island of Martha's Vineyard, Massachusetts, selected after consideration was given to eastern Long Island. Brown explained later 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."[45] 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, which allowed the mechanical sharks to operate while also beyond sight of land.[46] 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.[47] 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.[36]
Initially the film's producers wanted to train a great white shark
Jaws was the first major motion picture to be shot on the ocean,[54] resulting in a troubled shoot, and went far over budget. David Brown said that the budget "was $4 million and the picture wound up costing $9 million";[55] the effects outlays alone grew to $3 million due to the problems with the mechanical sharks.[56] Disgruntled crew members gave the film the nickname "Flaws".[42][50] 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," he said.[34] 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."[24] Gottlieb said that "there was nothing to do except make the movie", so everyone kept overworking, and while as a writer he did not have to attend the ocean set every day, once the crewmen returned they arrived "ravaged and sunburnt, windblown and covered with salt water".[13]
Shooting at sea led to many delays: unwanted sailboats drifted into frame, cameras got soaked,
The delays proved beneficial in some regards. 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.[62] The opening had the shark devouring Chrissie,[14] but it was rewritten so that it would be shot with Backlinie being dragged and yanked by cables to simulate an attack.[36] Spielberg also included multiple shots of just the dorsal fin. This forced restraint is widely thought to have added to the film's suspense.[62] 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."[42] 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."[24]
Footage of real sharks was shot by Ron and Valerie Taylor in the waters off Dangerous Reef in South Australia, with a short actor in a miniature shark cage to create the illusion that the sharks were enormous.[63] 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 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.[64][65] As production executive Bill Gilmore put it, "The shark down in Australia rewrote the script and saved Dreyfuss's character."[66]
Although principal photography was scheduled to take 55 days, it did not wrap until October 6, 1974, after 159 days.
Two scenes were altered following test screenings. 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.[71][72] Spielberg also decided that he was greedy for "one more scream", and reshot the scene in which Hooper discovers Ben Gardner's body, using $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,[73] using a lifecast latex model of Craig Kingsbury's head attached to a fake body, which was placed in the wrecked boat's hull.[36] To simulate the murky waters of Martha's Vineyard, powdered milk was poured into the pool, which was then covered with a tarpaulin.[13]
Music
John Williams composed the film's score, which earned him an Academy Award and was later ranked the sixth-greatest score by the American Film Institute.[75][76] The main "shark" theme, a simple alternating pattern of two notes—variously identified as "E and F"[77] or "F and F sharp"[78]—became a classic piece of suspense music, synonymous with approaching danger[79] (see leading-tone). Williams described the theme as "grinding away at you, just as a shark would do, instinctual, relentless, unstoppable."[80] The 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".[81] 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. As Williams saw similarities between Jaws and pirate movies, at other points in the score he evoked "pirate music", which he called "primal, but fun and entertaining".[74] Calling for rapid, percussive string playing, the score contains echoes of Claude Debussy's La mer and of Igor Stravinsky's The Rite of Spring.[78][82]
There are various interpretations of the meaning and effectiveness of the primary music theme, which is widely described as one of the most recognizable cinematic themes of all time.[83] Music scholar Joseph Cancellaro proposes that the two-note expression mimics the shark's heartbeat.[84] According to Alexandre Tylski, like themes Bernard Herrmann wrote for Taxi Driver, North by Northwest, and particularly Mysterious Island, it suggests human respiration. He further argues that the score's strongest motif is actually "the split, the rupture"—when it dramatically cuts off, as after Chrissie's death.[78] The relationship between sound and silence is also taken advantage of in the way the audience is conditioned to associate the shark with its theme,[80] which is exploited toward the film's climax when the shark suddenly appears with no musical introduction.[83]
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.
Themes
Influences
The underwater scenes shot from the shark's point of view have been compared with passages in two 1950s horror films,
Critics such as Neil Sinyard have described similarities to Henrik Ibsen's play An Enemy of the People.[97] Gottlieb himself said he and Spielberg referred to Jaws as "Moby-Dick meets Enemy of the People".[98] 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".[97]
Scholarly criticism
Jaws has received 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".[99] 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)".[100]
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.[101] In his view, Brody serves to demonstrate that "individual action by the one just man is still a viable source for social change".[102] 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.[103]
Whereas Britton states that the film avoids the novel's theme of social class conflicts on Amity Island,[102] 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.[104] Britton sees the film more as concerned with the "vulnerability of children and the need to protect and guard them", 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".[105]
Fredric Jameson's analysis highlights the polysemy of the shark and the multiple ways in which it can be and has been read—from representing alien menaces such as communism or the Third World to more intimate dreads concerning the unreality of contemporary American life and the vain efforts to sanitize and suppress the knowledge of death. He asserts that its symbolic function is to be found in this very "polysemousness which is profoundly ideological, insofar as it allows essentially social and historical anxieties to be folded back into apparently 'natural' ones ... to be recontained in what looks like a conflict with other forms of biological existence."[106] He views Quint's demise as the symbolic overthrow of an old, populist, New Deal America and Brody and Hooper's partnership as an "allegory of an alliance between the forces of law-and-order and the new technocracy of the multinational corporations ... in which the viewer rejoices without understanding that he or she is excluded from it."[107]
Neal Gabler analyzed the film as showing three different approaches to solving an obstacle: science (represented by Hooper), spiritualism (represented by Quint), and the common man (represented by Brody). The last of the three is the one which succeeds and is in that way endorsed by the film.[108]
Audience emotional response
While in theaters, the film was said to have caused a single case of cinematic neurosis in a 17-year-old, female viewer.[109] Cinematic neurosis is a condition in which viewers exhibit mental health disturbances, or a worsening of existing mental health disturbances, after viewing a film.[110] The symptoms first presented as sleep disturbances and anxiety, but one day later the patient was screaming "Sharks! Sharks!" and experiencing convulsions.[111]
This case study caused the film to become notable in the medical community alongside
Release
Marketing
Universal spent $1.8 million marketing Jaws, including an unprecedented $700,000 on national television spot advertising.[43][114] The media blitz included about two dozen 30-second advertisements airing each night on prime-time network TV between June 18, 1975, and the film's opening two days later.[115] Beyond that, in the description of film industry scholar Searle Kochberg, Universal "devised and co-ordinated a highly innovative plan" for the picture's marketing.[115] As early as October 1974, Zanuck, Brown, and Benchley hit the television and radio talk show circuit to promote the paperback edition of the novel and the forthcoming film.[116] The studio and publisher Bantam agreed on a title logo that would appear on both the paperback and in all of the advertising for the film.[115] The centerpieces of the joint marketing strategy were John Williams's theme and the poster image featuring the shark approaching a lone female swimmer.[56] The poster was based on the paperback's cover, and had the same artist, Bantam employee Roger Kastel.[117] The Seiniger Advertising agency spent six months designing the poster; principal Tony Seiniger explained that "no matter what we did, it didn't look scary enough". Seiniger ultimately decided that "you had to actually go underneath the shark so you could see his teeth."[118]
More merchandise was created to take advantage of the film's release. In 1999, Graeme Turner wrote that Jaws was accompanied by what was "probably the most elaborate array of tie-ins" including "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-on transfers, games, posters, shark's tooth necklaces, sleepwear, water pistols, and more."[119] 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.[120]
Theatrical run
The glowing audience response to a rough cut of the film at two test screenings in Dallas on March 26, 1975, and one in
On June 20, Jaws opened across North America on 464 screens—409 in the United States, the remainder in Canada.[128] The coupling of this broad distribution pattern with the movie's then even rarer national television marketing campaign yielded a release method virtually unheard-of at the time.[129] (A month earlier, Columbia Pictures had done something similar with a Charles Bronson thriller, Breakout, though that film's prospects for an extended run were much slimmer.)[130][131] Universal president Sid Sheinberg reasoned that nationwide marketing costs would be amortized at a more favorable rate per print relative to a slow, scaled release.[129][132][133] Building on the film's success, the release was subsequently expanded on July 25 to nearly 700 theaters, and on August 15 to more than 950.[134] Overseas distribution followed the same pattern, with intensive television campaigns and wide releases—in Great Britain, for instance, Jaws opened in December at more than 100 theaters.[135]
For its 40th anniversary, the film was released in selected theaters (across approximately 500 theaters) in the United States on Sunday, June 21, and Wednesday, June 24, 2015.[136][137]
Another theatrical reissue was released on September 2, 2022, with the film debuting in both IMAX and RealD 3D formats, as part of the 40th anniversary celebration of another Spielberg film E.T. the Extra-Terrestrial. On the announcement, Travis Reed of RealD 3D remarked: "Jaws redefined what it means to be a summer-event blockbuster and now for the first time ever audiences can experience Steven Spielberg's motion picture classic in 3D ... allowing fans a completely new opportunity to immerse themselves in one of the greatest summer suspense thrillers of all time."[138]
Reception
Box office
Jaws opened in 409 theaters with a
The film entered overseas release in December 1975,[146] and its international business mirrored its domestic performance. It broke records in Singapore,[147] New Zealand, Japan,[148] Spain,[149] and Mexico.[150] On January 11, 1976, Jaws became the highest-grossing film worldwide with rentals of $132 million, surpassing the $131 million earned by The Godfather.[151] By the time of the third film in 1983, Variety reported that it had earned worldwide rentals of $270 million.[152] Jaws was the highest-grossing film of all time until Star Wars, which debuted two years later. Star Wars surpassed Jaws for the U.S. record six months after its release and set a new global record in 1978.[153][154]
Across all of its releases Jaws has grossed $476.5 million worldwide;
On television,
Critical reception
Jaws received mostly positive reviews upon release.
Accolades
Jaws won three Academy Awards, those being for Best Film Editing, Best Original Dramatic Score, and Best Sound (Robert Hoyt, Roger Heman, Earl Madery, and John Carter).[75][180] It was also nominated for Best Picture, losing to One Flew Over the Cuckoo's Nest.[181] Spielberg greatly resented the fact that he was not nominated for Best Director.[172]
Along with the Oscar, John Williams's score won the
It was also nominated for Best Film, Director, Actor (Richard Dreyfuss), Screenplay, Editing and Sound at the
Legacy
In the years since its release, Jaws has frequently been cited by film critics and industry professionals as one of
In 2001, the United States Library of Congress selected it for preservation in the National Film Registry, recognizing it as a landmark horror film and the first "summer movie".[207] In 2006, its screenplay was ranked the 63rd-best of all time by the Writers Guild of America.[208] In 2012, the Motion Picture Editors Guild listed the film as the eighth best-edited film of all time based on a survey of its membership.[209]
Jaws was key in establishing the benefits of a wide national release backed by heavy television advertising, rather than the traditional progressive release in which a film slowly entered new markets and built support over time.
Jaws also played a major part in establishing summer as the prime season for the release of studios' biggest box-office contenders, their intended
The film had broader cultural repercussions, as well. Similar to the way the pivotal scene in 1960's Psycho made showers a new source of anxiety, Jaws led many viewers to fear going into the ocean.[215][216] Reduced beach attendance in 1975 was attributed to it,[217] as well as more reported shark sightings.[218] It is still seen as responsible for perpetuating negative stereotypes about sharks and their behavior,[219] and for producing 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."[220] Benchley would later campaign to stop the depopulation of sharks, saying that "Jaws was entirely a fiction".[221] Spielberg later echoed this sentiment, saying that he regretted "the decimation of the shark population because of the book and the film".[222][221] Conservation groups have bemoaned the fact that the film has made it considerably harder to convince the public that sharks should be protected.[223]
Jaws set the template for many subsequent 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".[224][225] Many films based on man-eating animals, usually aquatic, were released through the 1970s and 1980s, such as Orca, Grizzly, Mako: The Jaws of Death, Barracuda, Alligator, Day of the Animals, Tintorera, and Eaten Alive. Spielberg declared Piranha, directed by Joe Dante and written by John Sayles, "the best of the Jaws ripoffs".[181] Among the various foreign mockbusters based on Jaws, three came from Italy: Great White,[226] which inspired a plagiarism lawsuit by Universal and was even marketed in some countries as a part of the Jaws franchise;[227] Monster Shark,[226] featured in Mystery Science Theater 3000 under the title Devil Fish;[228] and Deep Blood, which blends in a supernatural element.[229] The 1976 Brazilian film Bacalhau parodies Jaws, featuring a killer cod in place of a shark.[230][231] The 2009 Japanese horror film Psycho Shark was released in the United States as Jaws in Japan.[232] Filmmaker Takashi Yamazaki cited Jaws and Spielberg as an influence for his 2023 Japanese kaiju film Godzilla Minus One.[233]
Richard Dreyfuss made a cameo appearance in the 2010 film Piranha 3D, a loose remake of the 1978 film. Dreyfuss plays Matt Boyd, a fisherman who is the first victim of the title creatures. Dreyfuss later stated that his character was a parody and a near-reincarnation of Matt Hooper, his character in Jaws.[234] During his appearance, Dreyfuss's character listens to the song "Show Me the Way to Go Home" on the radio, which Hooper, Quint and Brody sing together aboard the Orca.
Martha's Vineyard celebrated the film's 30th anniversary in 2005 with a "JawsFest" festival,[235] which had a second edition in 2012.[236] An independent group of fans produced the feature-length documentary The Shark Is Still Working, featuring interviews with the film's cast and crew. Narrated by Roy Scheider and dedicated to Peter Benchley, who died in 2006, it debuted at the 2009 Los Angeles United Film Festival.[237][238]
Shaw's son, Ian Shaw, co-wrote and starred as his father in the play The Shark Is Broken about the making of Jaws, which premiered at the Edinburgh Fringe in 2019 and transferred to the West End in October 2021.[239][240]
On March 24, 2020, it was announced that Donna Feore will direct and choreograph Bruce, the musical retelling of the behind-the-scenes story of Jaws, with Richard Oberacker writing the musical book and lyrics and Robert Taylor working on the music. It was originally set to premiere in June 2021, but was pushed back to June 2022 at the Seattle Repertory Theatre.[241][242]
On November 20, 2020, a replica of the shark, also called "Bruce", was lifted into place at the Academy Museum of Motion Pictures in preparation for the museum's April 2021 opening. It was expected to be a major attraction. Greg Nicotero spent seven months restoring Bruce, which had been created after the original three sharks were destroyed and was on display for 15 years at Universal Studios Hollywood. Bruce then spent 25 years in a junkyard, until the owner donated the shark to the museum in 2016.[243]
Home media
The first ever LaserDisc title marketed in North America was the MCA DiscoVision release of Jaws in 1978.[244] A second LaserDisc was released in 1992,[245] before a third and final version came out under MCA/Universal Home Video's Signature Collection imprint in 1995. This release was an elaborate box-set 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 the soundtrack by John Williams.[246]
MCA Home Video first released Jaws on VHS in 1980.[247][248] For the film's 20th anniversary in 1995, MCA Universal Home Video issued a new Collector's Edition tape featuring a making-of retrospective.[249] This release sold 800,000 units in North America.[250] 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.[251]
Jaws was first released on DVD in 2000 for the film's 25th anniversary, accompanied by a massive publicity campaign.[250] It featured a 50-minute documentary on the making of the film (an edited version of that 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.[252] The DVD shipped one million copies in just one month.[253] In June 2005, a 30th anniversary edition was released at the JawsFest festival on Martha's Vineyard.[235] 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.[254] On the second JawsFest in August 2012, the Blu-ray Disc of Jaws was released,[236] with over four hours of extras, including The Shark Is Still Working.[255] The Blu-ray release was part of the celebrations of Universal's 100th anniversary, and debuted at fourth place in the charts, with over 362,000 units sold.[256] The film was released on 4K Ultra HD Blu-ray on 1 June 2020.[257]
Other media
Adaptations and merchandise
The film has inspired two
In 2017, video game developer Zen Studios developed and released a virtual pinball adaptation of the film as part of the Universal Classics add-on pack for the virtual pinball game Pinball FX 3.[268] This table features 3-D figures of Quint and Jaws, with the opportunity to play missions from either character's perspective.
The musical Bruce, based on
Sequels
Jaws spawned three sequels to declining critical favor and commercial performance. Their combined domestic grosses amount to barely half of the first film's.[270] In October 1975, Spielberg declared to a film festival audience that "making a sequel to anything is just a cheap carny trick".[181] 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.[271] Jaws 2 (1978) was eventually directed by Jeannot Szwarc, with Scheider, Gary, Hamilton, and Jeffrey Kramer reprising their roles. It is generally regarded as the best of the sequels.[272]
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 largely dissatisfied with the films.[276]
See also
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External links
- Jaws at Filmsite.org
- Jaws at IMDb
- Jaws at the TCM Movie Database
- Jaws at AllMovie
- Jaws at Box Office Mojo
- Jaws at Metacritic
- Jaws at Rotten Tomatoes