Jaws

This past June marked the 35th anniversary of the release of Steven Spielberg’s Jaws (1975).  After watching it in my film class this past week — marking probably the third or fourth time I’ve seen it — I was struck by how horrifying and suspenseful it is, and how well it holds up as an entertaining blockbuster after all these years.  Maybe it’s my new film education, my age, or the fact that this time I saw it on a fairly large screen.

I was particularly struck during this viewing by how effective Jaws is as a horror and suspense film, as well as its deft blending of classical Hollywood conventions with continuously interesting visuals.  Typically Hollywood films like this tend to rely on continuity editing, and Jaws does that, but the Hollywood concept that the visuals should not detract from the comprehension of the plot does not always apply.  There were various moments when I paid more attention to shot composition and camera movement than to what was occurring in the story – although, like with any great blockbuster, I was never confused by the plot.  The characters and story were also very successful and compelling.

Spielberg made smart choices in deciding how to depict the shark and its attacks.  Because the creature is not entirely seen for much of the film, suspense builds in the audience.  As in many horror films, it’s what isn’t seen that is most frightening, in that one’s imagination often creates more horrifying images than the film could portray.  The fact that we only see the results of the shark’s actions – the bloody water, the frantic screams of the victims – creates a terrifying concept in the audience’s mind of what this animal is like, so that we wait on the edges of our seats to lay eyes on the creature that is capable of such violence.  It is also more effective because when the shark is finally seen, it is not particularly realistic or believable.

In addition to being effective at telling a compelling and suspenseful story, the film utilizes very appealing shot compositions, camera movements, and editing techniques that drew my attention to the film’s visuals.  Deep focus is used prevalently in the film.  There are numerous shots in which Brody, Hooper, and Quint are arranged in deep space.  Similarly, there are numerous low-angle shots which seem unconventional for such a mainstream Hollywood narrative.  I was also particularly struck by the scene in which Spielberg uses a dolly zoom to convey Brody’s stunned reaction to a shark attack.  Prior to this scene’s climax, Spielberg uses interesting editing when showing Brody’s nervous surveillance of the beach.  As people pass Brody and block him from our view, the shot size becomes closer and closer with each subsequent shot.  This draws attention to the visuals without detracting from comprehension of the plot, which makes this film such a special example of a great Hollywood blockbuster.  I also think this is part of the reason that Jaws seems to hold up so well as an enjoyable, effective film over time.

I also was particularly impressed by the character development throughout the film.  Brody is an excellent protagonist; he’s likable and relatable, occasionally bumbling but not ineffectual.  He’s an everyman hero whose emotions are realistic and believable.  He’s played skillfully by Roy Scheider.  Similarly, Hooper and Quint are the ideal blend between conceited and emotionally fragile.  The film is certain not to develop any real villains except the shark; the mayor comes close, but his guilt later in the film is redeeming.  All of the audience’s hatred is focused on the shark.  It’s a continually enjoyable and well-constructed film.