Jaws: A Cultural Review

Jaws, released in 1975, was directed by, at the time, new found film maker Steven Spielberg. Based on the bestselling book of the same name, the writer of that book, Peter Benchley, also wrote the screenplay for the film before his death at 65. Although the cast is completely made up of relative nobodys, the acting is still pretty good, most likely due to Spielberg’s handling of the matter. As one can imagine the directing in the film was about as close to perfect as possible, albeit a rather long list of continuity goofs present in the end result. The writer is also very good at his job, all of this coming together to make, in the end, a great film.
The film actually begins in a fashion relatively new for the genre at the time of its release, for a girl is actually eaten in the first five minutes of the movie. This, as I mentioned above, was in direct contrast with most other horror films made in the past, which normally wait and focus on plot exposition, before focusing on the monster itself. The movie truly begins with the discovery of the young girl lying half eaten on the beach. It is here that our first main character is introduced. Police chief Martin Brody, played by Roy Scheider, is of the opinion to make the beaches off limits to swimmers, so as to prevent further shark attacks. He is confronted, however, by the “accidental antagonist”, Mayor Vaughn. He is not a true antagonist like Jaws, due to the fact that he really does not want to hurt anyone and truly wants what is best for the people of he is in charge of. But, he is an antagonist in the fact that he is constantly in the way of the heroes.
The movie moves on with the death of a little boy at the hands, or teeth rather, of Jaws. A town meeting of sorts is called in which Brody attempts to close the beaches once again, only to be shot down by both the local citizens and the mayor. Our next main is subsequently introduced as a shark hunter, Quint, played by Robert Shaw. Quint, having heard of the problems the little town was facing, has come to make an offer: the shark’s head, for 10,000 dollars. Naturally they decline, choosing to take matters into their own hands. Mrs. Kitner, mother of the little boy that was killed, has put out an ad claiming whosoever catches the shark will be paid 3,000 dollars.
The story moves on with some interesting, yet really unnecessary scenes, before finally arriving upon some actual plot propulsion. The town is rife with wannabe shark hunters, foolishly going after Jaws in the hope of a quick fortune. Chief Brody, trying his best to protect the people in his charge, is seen overwhelmed amidst the chaotic mess of stupid people. Arriving into this chaos is our third and final main, Matt Hooper, an oceanographer with a shark specialty, played by Richard Dreyfuss. Introducing himself to Brody the two go off in hopes of solving the mass of problems presented before them.
Later on a shark is caught, purportedly the fish responsible for the deaths of so many. Elated the townsfolk rejoice and life seems to go back to normal. Hooper, however is unconvinced that the shark found is not Jaws, merely another shark that just happened to be in the wrong place at the wrong time. After convincing Brody of the same, the two sail out into the ocean, trying to find the real Jaws. What the find, however, is simply a chewed up boat filled to the brim with the dead men that took it out. Finding a tooth, Hoper classifies the shark as a Great White, one of epic proportions. The two go back to the island and once again try and convince the mayor to close the beaches. Once again the mayor refuses. It is not until Jaws strikes again, this time with a beach full of tourists that the distraught mayor finally agrees to close the beaches and hire Quint.
The last hour of the film is a sequence of action and exposition similar to a roller coaster ride in the fact that the tension rises and slows and a continually heart stopping fashion. As the three mains attempt to kill Jaws and Jaws attempts to kill the mains, the intensity of the given scenes vary dramatically. The crew continually injures jaws, which just retaliates by increasing the ferocity of its attacks on the boat. As the end of the movie draws near both sides slowly become more desperate. Finally, all enter a final battle to the death resulting in the complete destruction of Quint’s boat and Quint himself. But, as a result, Jaws also meets its end at the hands of Chief Brody. As the two remaining heroes paddle off to shore, the tide comes in, and the credits roll.
This film is certainly a creation of the post modern mind set in the fact that it differs so drastically from the counterculture movement at its most basic levels. Truly the styles and messages evident throughout the film are near completely foreign to those held up during the rebellious movement, of which ended only a couple years before the film’s release. While there are certainly some elements of the film that would not have been possible without the barriers broken during the counter culture movement, one can certainly see the similarities between this film and those squeaky clean films made in the forties or fifties. One of the most prominent evidences of this lies in the return of the wholesome family structure. Additionally, the return of more traditional protagonists can be argued as another post modern element. For example, one would never have seen a hunter or member of law enforcement as the hero in a film made in the late sixties.
It is also interesting to note how influential the time period was in the making of the film. This is seen most prominently in the realm of economics. One of the primary issues during the seventies was the dreary economic situation. The seventies held sway to one of the worst depressions since the thirties. In the film, one of the most problematic issues the main characters have in protecting the people of Amnity Island and destroying Jaws, lies in the fact of the locals unwillingness to put their economic situation at risk. Closing the beaches, even though it would keep the people safer, would mean losing many of the tourists that bolstered the town’s economy. It is easy to see why a filmmaker might decide to make this issue such a prominent one in the film, for many of those going to see it would feel a heightened sense of sympathy for the situation, after all, they were most likely going through dilemmas springing from the same sort of issue.
Additionally, this film has an awful lot to do with nature. The environment was another issue prominent in the seventies, most likely a byproduct of the same concern shown in the counter culture movement. This film also presents this fascination, for this is one of the first films of its genre to have to do more with natural monsters, rather than ones bred of scientific or supernatural means. Plus, one of the main characters is an environmentalist of sorts, once again reflective of the focus shown for nature in the seventies. But, for a film made in the seventies it does seemingly lack in one thing: feminism. Jaws, simply does not exemplify the issue in the way that films such as the Taxi Driver or Carrie do. In those films women are given prominent roles in the film itself, belying the fact of a rising feminist movement. It could be, however, that it is simply too early in the era, for in Spielberg’s later films, such as Raider’s of the Lost Ark, such female prominence can indeed be seen.
As for the actual film itself, as I said before the excellent combination of talent makes for an awesome movie. Spielberg creates a beautiful scene, many of which have been copied and parodied throughout American culture. Spielberg masterfully combines both suspense and shock elements of the horror genre that truly deep you at the edge of your seat, or behind it, as the case may be. The soundtrack of the film should also be commended, although the credit for that cannot be given to Mr. Spielberg. John Williams, whose talents are used continuously by many of the film school generation created a genuine masterpiece, utterly unforgettable, and ultimately an epoch of musical suspense.
The acting is, as I mentioned earlier, rather mediocre, but not so bad as to ruin the film. The writing to, while sufficient, does bring the film down a bit. As Benchley tries to fit every piece of his book onto the screen, the audience is dulled at times by lengthy and ultimately unnecessary scenes. These could have been prominent pieces of the book, but really should have been edited out in the final cut. Overall, however, the film truly is a classic addition to film history, most certainly deserving its place as the first of the summer blockbusters.