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Jaws (film)

October 24, 2023

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.

Jaws
Theatrical release poster by Roger Kastel
Directed bySteven Spielberg
Screenplay by
Based onJaws
by Peter Benchley
Produced by
Starring
CinematographyBill Butler
Edited byVerna Fields
Music byJohn Williams
Production
companies
Distributed byUniversal Pictures
Release date
  • June 20, 1975 (1975-06-20)
Running time
124 minutes[2]
CountryUnited States
LanguageEnglish
Budget$9 million
Box office$476.5 million

Shot mostly on location at Martha's Vineyard in Massachusetts, Jaws was the first major motion picture to be shot on the ocean and consequently had a troubled production, going over budget and schedule. As the art department's mechanical sharks often malfunctioned, Spielberg decided mostly to suggest the shark's presence, employing an ominous and minimalist theme created by composer John Williams to indicate its impending appearances. Spielberg and others have compared this suggestive approach to that of director Alfred Hitchcock. Universal Pictures' release of the film to over 450 screens was an exceptionally wide release for a major studio picture at the time, and it was accompanied by an extensive marketing campaign that heavily emphasized television spots and tie-in merchandise.

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, and 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. 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. 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 shark-proof cage, intending to lethally inject the shark with strychnine via a hypodermic spear. The shark viciously attacks the cage, causing Hooper to drop the spear. While the shark trashes the cage, Hooper escapes to the seabed. The shark leaps onto the boat's stern, subsequently devouring Quint. Trapped on the sinking vessel, Brody shoves a scuba tank into the shark's mouth and, climbing onto the crow's nest, shoots the tank with a rifle. The resulting explosion kills the shark. Hooper resurfaces and he and Brody paddle back to Amity Island, clinging to the remaining barrels.

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 literature section of lifestyle magazine Cosmopolitan, 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".[3][4] 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 they wanted to produce a film version, although they were unsure how it would be accomplished.[5] They purchased the film rights in 1973, before the book's publication, for approximately $175,000 (equivalent to $1,150,000 in 2022).[6] 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.[7]

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".[9] 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.[10] Brown helped convince Spielberg to stick with the project, saying that "after [Jaws], you can make all the films you want".[9] 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.[11]

Writing

For the screen adaptation, Spielberg wanted to stay with the novel's basic plot, but discarded many of Benchley's subplots.[6] He 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."[12] When the producers purchased the rights to his novel, they promised Benchley that he could write the first draft of the screenplay.[6] The intent was to make sure a script could be done despite an impending threat of a Writer's Guild strike, given Benchley was not unionized.[13] Overall, he wrote three drafts before the script was turned over to other writers;[6] delivering his final version to Spielberg, he declared, "I'm written out on this, and that's the best I can do."[14] Benchley later described his contribution to the finished film as "the storyline and the ocean stuff—basically, the mechanics", given he "didn't know how to put the character texture into a screenplay."[13] One of his 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.[15] During the film's production, Benchley agreed to return and play a small onscreen role as a reporter.[16]

Spielberg, who felt that the characters in Benchley's script were still unlikable, invited the young screenwriter John Byrum to do a rewrite, but he declined the offer.[9] Columbo creators William Link and Richard Levinson also declined Spielberg's invitation.[17] Tony and Pulitzer Prize-winning playwright Howard Sackler was 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.[5] At the suggestion of Spielberg, Brody's characterization made him afraid of water, "coming from an urban jungle to find something more terrifying off this placid island near Massachusetts."[13]

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 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. John Milius contributed 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 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 playing 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 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, Kevin Kline, 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]

 
The fishing village of Menemsha, Martha's Vineyard, was the primary location.[48]

Initially the film's producers wanted to train a great white shark[49] but quickly realized this was not possible, so three full-size pneumatically powered prop sharks—which the film crew nicknamed "Bruce" after Spielberg's lawyer, Bruce Ramer—were made for the production:[50] a "sea-sled shark", a full-body prop with its belly missing that was towed with a 300-foot (91 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.[6] The sharks were designed by art director and production designer 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 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.[51] In early July, the platform used to tow the two side-view sharks capsized as it was being lowered to the ocean floor, forcing a team of divers to retrieve it.[52] The model required 14 operators to control all of the moving parts.[42] For Quint's boat, the Orca, Alves and his team constructed two identical 42-foot models for the film. The second boat, dubbed Orca II, had no motor and was designed to sink on command.[53]

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,[36] and the Orca once began to sink with the actors on board.[57] The prop sharks frequently malfunctioned owing to a series of problems 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 soaked up liquid, causing the sharks to balloon, and the sea-sled model frequently got entangled among forests of seaweed.[34][52] Spielberg later calculated that during the 12-hour daily work schedule, on average only four hours were actually spent filming.[58] Gottlieb was nearly decapitated by the boat's propellers, and Dreyfuss was almost imprisoned in the steel cage.[34] The actors were frequently seasick. Shaw also fled to Canada whenever he could due to tax problems,[59] engaged in binge drinking, and developed a grudge against Dreyfuss, who was getting rave reviews for his performance in Duddy Kravitz.[14][60] 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."[61]

 
The mechanical shark, attached to the tower

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.[42][44] 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."[42] 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.[22] It has since become a tradition for Spielberg to be absent when the final scene of one of his films is being shot.[67] 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,[68] 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."[69] The boat 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.[70]

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

Main article: Jaws (soundtrack)
 
"Main Title and First Victim"
The main theme for Jaws, revolving around an ostinato of bass notes, which composer John Williams said were meant to represent the shark as an "unstoppable force" of "mindless and instinctive attacks"[74]
Problems playing this file? See media help.

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 La mer by Claude Debussy as well 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.[74] 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.[80] The original soundtrack for Jaws was released by MCA Records on LP in 1975, and as a CD in 1992, including roughly a half hour of music that Williams redid for the album.[85][86] 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,[85][86] and Varèse Sarabande put out a rerecording of the score performed by the Royal Scottish National Orchestra, conducted by Joel McNeely.[87]

Themes

Influences

Herman Melville's Moby-Dick is the most notable artistic antecedent to Jaws. 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 the death of Ahab in Melville's novel.[88] A direct reference to these similarities may be found in Spielberg's draft of the 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. However, the scene from Moby-Dick could not be licensed from the film's star, Gregory Peck, its copyright holder.[5] 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."[23]

The underwater scenes shot from the shark's point of view have been compared with passages in two 1950s horror films, Creature from the Black Lagoon and The Monster That Challenged the World.[89][90] 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";[91] and It Came From Outer Space, where "the suspense was built up because the creature was always off-camera". Those precedents helped Spielberg and Gottlieb to "concentrate on showing the 'effects' of the shark rather than the shark itself".[92] Scholars such as Thomas Schatz have described how Jaws melds various genres while essentially being an action film and a thriller. Most is taken from horror, with the core of a nature-based monster movie while adding elements of a slasher film. The second half is both a buddy film in the interaction between the crew of the Orca, and a supernatural horror based on the shark's depiction of a nearly Satanic menace.[93] Ian Freer describes Jaws as an aquatic monster movie, citing the influence of earlier monster films such as King Kong and Godzilla.[94] Charles Derry, in 1977, also compared Jaws to Godzilla;[95] and Spielberg cited Godzilla, King of the Monsters! (1956) as a formative influence growing up, due to the "masterful" way in which "it made you believe it was really happening."[96]

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 The Exorcist for causing stress reactions in its viewers, and was later used in a study by Brian R. Johnson to test how susceptible audiences were to cinematic stress inducers.[112] His study found that stress could be induced by cinema in segments of the general population, and Jaws specifically caused stress reactions in its viewers. While Johnson could not find an exact cause for the stress response in viewers, whether it be the suspense, the gore or the music production, a 1986 study by G. Sparks found that particularly violent films, including Jaws, tended to cause the most intense reactions in viewers.[113]

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 Long Beach, on March 28, along with the success of Benchley's novel and the early stages of Universal's marketing campaign, generated great interest among theater owners, facilitating the studio's plan to debut Jaws at hundreds of cinemas simultaneously.[121][122] A third and final preview screening, of a cut incorporating changes inspired by the previous presentations, was held in Hollywood on April 24.[123] After Universal chairman Lew Wasserman attended one of the screenings, he ordered the film's initial release—planned for a massive total of as many as 900 theaters—to be cut down, declaring, "I want this picture to run all summer long. I don't want people in Palm Springs to see the picture in Palm Springs. I want them to have to get in their cars and drive to see it in Hollywood."[124] Nonetheless, the several hundred theaters that were still booked for the opening represented what was then an unusually wide release. At the time, wide openings were associated with movies of doubtful quality; not uncommon on the grindhouse and exploitation side of the industry, they were customarily employed to diminish the effect of negative reviews and word of mouth. There had been some recent exceptions, including the rerelease of Billy Jack and the original release of its sequel The Trial of Billy Jack, the Dirty Harry sequel Magnum Force, and the latest installments in the James Bond series.[125][126] Still, the typical major studio film release at the time involved opening at a few big-city theaters, which allowed for a series of premieres. Distributors would then slowly forward prints to additional locales across the country, capitalizing on any positive critical or audience response. The outsized success of The Godfather in 1972 had sparked a trend toward wider releases, but even that film had debuted in just five theaters, before going wide in its second weekend.[127]

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 record $7 million weekend[139] and grossed a record $21,116,354 in its first 10 days[140] recouping its production costs.[141] It grossed $100 million in its first 59 days from 954 playdates.[142] In just 78 days, it overtook The Godfather as the highest-grossing film at the North American box office,[127] sailing past that picture's earnings of $86 million,[143] and became the first film to earn $100 million in US theatrical rentals.[144] It spent 14 consecutive weeks as the number-one film in the United States.[145] Its initial release ultimately brought in $123.1 million in rentals.[141] Theatrical re-releases in 1976 and Summer 1979 brought its total rentals to $133.4 million.[143]

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;[155] adjusted for inflation, it has earned almost $2 billion at 2011 prices and is the second-most successful franchise film after Star Wars.[156] Including its 2022 reissue, it has grossed $265.8 million in the United States and Canada,[155] equivalent to $1.2 billion at 2020 prices (based on an estimated 128,078,800 tickets sold),[157] making it the seventh-highest-grossing movie of all time adjusted for ticket price inflation.[158] In the United Kingdom, it is the seventh-highest-grossing film to be released since 1975, earning the equivalent of over £70 million in 2009/10 currency,[159] with admissions estimated at 16.2 million.[160] Jaws has also sold 13 million tickets in Brazil, the second-highest attendance ever in the country behind Titanic.[161]

On television, ABC aired it for the first time on November 4, 1979, right after its theatrical re-release.[162] The first U.S. broadcast received a Nielsen rating of 39.1 and attracted 57 percent of the total audience, the second-highest televised movie audience at the time behind Gone with the Wind and the fourth-highest rated.[163][164] In the United Kingdom, 23 million people watched its inaugural broadcast in October 1981, the second-biggest TV audience ever for a feature film behind Live and Let Die.[165]

Critical reception

Jaws received mostly positive reviews upon release.[166][167] Roger Ebert of the Chicago Sun-Times gave the film four stars, calling 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".[168] Variety's A. D. Murphy praised Spielberg's directorial skills, and called Robert Shaw's performance "absolutely magnificent".[169] According to The New Yorker's Pauline Kael, it was "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".[170] 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."[171] Writing for New York magazine, Judith Crist described the film as "an exhilarating adventure entertainment of the highest order" and complimented its acting and "extraordinary technical achievements".[172] 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".[173]

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 ... like stage hands who move props around and deliver information when it's necessary". He did describe it as "the sort of nonsense that can be a good deal of fun".[174] 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. ... 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."[175] 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".[176] William S. Pechter of Commentary described Jaws as "a mind-numbing repast for sense-sated gluttons" and "filmmaking of this essentially manipulative sort"; Molly Haskell of The Village Voice similarly characterized it as a "scare machine that works with computer-like precision. ... You feel like a rat, being given shock therapy".[171] The most frequently criticized aspect of the film has been the artificiality of its mechanical antagonist: Magill declared that "the programmed shark has one truly phony close-up",[176] 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."[83] Halliwell's Film Guide stated that "despite genuinely suspenseful and frightening sequences, it is a slackly narrated and sometimes flatly handled thriller with an over-abundance of dialogue and, when it finally appears, a pretty unconvincing monster."[177]

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][178] It was also nominated for Best Picture, losing to One Flew Over the Cuckoo's Nest.[179] Spielberg greatly resented the fact that he was not nominated for Best Director.[171] Along with the Oscar, John Williams's score won the Grammy Award,[180] the BAFTA Award for Best Film Music,[181] and the Golden Globe Award.[182] To her Academy Award, Verna Fields added the American Cinema Editors' Eddie Award for Best Edited Feature Film.[183]

Jaws was chosen Favorite Movie at the People's Choice Awards.[184] It was also nominated for Best Film, Director, Actor (Richard Dreyfuss), Screenplay, Editing and Sound at the 29th British Academy Film Awards,[181] and Best Motion Picture–Drama, Director and Screenplay at the 33rd Golden Globe Awards.[182] Spielberg was nominated by the Directors Guild of America for the DGA Award,[185] and the Writers Guild of America nominated Peter Benchley and Carl Gottlieb's script for Best Adapted Drama.[186]

Legacy

In the years since its release, Jaws has frequently been cited by film critics and industry professionals as one of the greatest movies of all time.[187] It was number 48 on American Film Institute's 100 Years ... 100 Movies, a list of the greatest American films of all time compiled in 1998; it dropped to number 56 on the 10th Anniversary list.[188][189] AFI also ranked the shark at number 18 on its list of the 50 Best Villains,[190] Roy Scheider's line "You're gonna need a bigger boat" 35th on a list of top 100 movie quotes,[191] Williams's score at sixth on a list of 100 Years of Film Scores,[76] and the film as second on a list of 100 most thrilling films, behind only Psycho.[192] In 2003, The New York Times included the film on its list of the best 1,000 movies ever made.[193] The following year, Jaws placed at the top of the Bravo network's five-hour miniseries The 100 Scariest Movie Moments.[194] The Chicago Film Critics Association named it the sixth-scariest film ever made in 2006.[195] In 2008, Jaws was ranked the fifth-greatest film in history by Empire magazine,[196] which also placed Quint at number 50 on its list of the 100 Greatest Movie Characters of All Time.[197] The film has been cited in many other lists of 50 and 100 greatest films, including ones compiled by Leonard Maltin,[198] Entertainment Weekly,[199] Film4,[200] Rolling Stone,[201] Total Film,[202] TV Guide,[203] and Vanity Fair.[204]

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".[205] In 2006, its screenplay was ranked the 63rd-best of all time by the Writers Guild of America.[206] 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.[207]

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.[115][127] Saturation booking, in which a film opens simultaneously at thousands of theaters, and massive media buys are now commonplace for the major Hollywood studios.[208] According to Peter Biskind, Jaws "diminished the importance of print reviews, making it virtually impossible for a film to build slowly, finding its audience by dint of mere quality. ... Moreover, Jaws whet corporate appetites for big profits quickly, which is to say, studios wanted every film to be Jaws."[209] Scholar Thomas Schatz writes that it "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."[210]

Jaws also played a major part in establishing summer as the prime season for the release of studios' biggest box-office contenders, their intended blockbusters;[127][211] winter had long been the time when most hoped-for hits were distributed, while summer was largely reserved for dumping films thought likely to be poor performers.[210] Jaws and Star Wars are regarded as marking the beginning of the new U.S. film industry business model dominated by "high-concept" pictures—with premises that can be easily described and marketed—as well as the beginning of the end of the New Hollywood period, which saw auteur films increasingly disregarded in favor of profitable big-budget pictures.[127][212] The New Hollywood era was defined by the relative autonomy filmmakers were able to attain within the major studio system; in Biskind's description, "Spielberg was the Trojan horse through which the studios began to reassert their power."[209]

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.[213][214] Reduced beach attendance in 1975 was attributed to it,[215] as well as more reported shark sightings.[216] It is still seen as responsible for perpetuating negative stereotypes about sharks and their behavior,[217] 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."[218] Benchley would later campaign to stop the depopulation of sharks, saying that "Jaws was entirely a fiction".[219] Spielberg later echoed this sentiment, saying that he regretted "the decimation of the shark population because of the book and the film".[220][219] Conservation groups have bemoaned the fact that the film has made it considerably harder to convince the public that sharks should be protected.[221]

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".[222][223] 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".[179] Among the various foreign mockbusters based on Jaws, three came from Italy: Great White,[224] which inspired a plagiarism lawsuit by Universal and was even marketed in some countries as a part of the Jaws franchise;[225] Monster Shark,[224] featured in Mystery Science Theater 3000 under the title Devil Fish;[226] and Deep Blood, which blends in a supernatural element.[227] The 1976 Brazilian film Bacalhau parodies Jaws, featuring a killer cod in place of a shark.[228][229] The 2009 Japanese horror film Psycho Shark was released in the United States as Jaws in Japan.[230]

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.[231] 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,[232] which had a second edition in 2012.[233] 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.[234][235]

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.[236][237]

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.[238][239]

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.[240]

Home media

The first ever LaserDisc title marketed in North America was the MCA DiscoVision release of Jaws in 1978.[241] A second LaserDisc was released in 1992,[242] 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.[243]

MCA Home Video first released Jaws on VHS in 1980.[244][245] For the film's 20th anniversary in 1995, MCA Universal Home Video issued a new Collector's Edition tape featuring a making-of retrospective.[246] This release sold 800,000 units in North America.[247] 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.[248]

Jaws was first released on DVD in 2000 for the film's 25th anniversary, accompanied by a massive publicity campaign.[247] 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.[249] The DVD shipped one million copies in just one month.[250] In June 2005, a 30th anniversary edition was released at the JawsFest festival on Martha's Vineyard.[232] 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.[251] On the second JawsFest in August 2012, the Blu-ray Disc of Jaws was released,[233] with over four hours of extras, including The Shark Is Still Working.[252] 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.[253] The film was released on 4K Ultra HD Blu-ray on 1 June 2020.[254]

Other media

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

Adaptations and merchandise

The film has inspired two theme park rides: one at Universal Studios Florida,[255] which closed in January 2012,[256] and one at Universal Studios Japan.[257] There is also an animatronic version of a scene from the film on the Studio Tour at Universal Studios Hollywood.[258] 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.[259] Three video games based on the film were released: 1987's Jaws, developed by LJN for the Nintendo Entertainment System;[260] 2006's Jaws Unleashed by Majesco Entertainment for the Xbox, PlayStation 2, and PC;[261] and 2011's Jaws: Ultimate Predator, also by Majesco, for the Nintendo 3DS and Wii.[262] A mobile game was released in 2010 for the iPhone.[263] Aristocrat made an officially licensed slot machine based on the movie.[264]

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.[265] 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 Carl Gottlieb's book The Jaws Log, had its world premiere at the Seattle Rep theatre from May 27 to July 3, 2022.[266] The musical covers the difficulties Spielberg encountered making the movie, including the ongoing issues with the titular mechanical shark.

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.[267] In October 1975, Spielberg declared to a film festival audience that "making a sequel to anything is just a cheap carny trick".[179] 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.[268] 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.[269] Jaws 3-D (1983) does not feature any of the original actors, although it was directed by Joe Alves, who had served as art director and production designer, respectively, on the two preceding films.[270] Starring Dennis Quaid and Louis Gossett Jr., it was released to heavily negative reviews in 3D format. The effect did not transfer to television or home video, where it was renamed Jaws 3.[271] Jaws: The Revenge (1987) was directed by Joseph Sargent and featured the return of Lorraine Gary as Ellen Brody. Co-starring Michael Caine, it is considered one of the worst movies ever made.[272][273] 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.[274]

See also

References

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  2. ^ "JAWS (A)". British Board of Film Classification. June 12, 1975. from the original on January 30, 2016. Retrieved June 22, 2021.
  3. ^ Priggé 2004, p. 6
  4. ^ Scanlon 2009, p. 197
  5. ^ a b c d Bouzereau, Laurent (1995). A Look Inside Jaws ["From Novel to Script"] (Jaws: 30th Anniversary Edition DVD (2005)). Universal Home Video.
  6. ^ a b c d e f Brode 1995, p. 50
  7. ^ McBride 1999, p. 231
  8. ^ a b c McBride 1999, p. 232
  9. ^ a b c Biskind 1998, p. 264
  10. ^ McBride 1999, p. 240
  11. ^ Gottlieb 2005, p. 52
  12. ^ Friedman & Notbohm 2000, p. 8.
  13. ^ a b c d e Mark Salisbury; Ian Nathan. "Jaws: The Oral History". Empire. from the original on May 25, 2015. Retrieved March 23, 2015.
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  15. ^ a b Friedman & Notbohm 2000, pp. 11–12
  16. ^ a b c d e f Bouzereau, Laurent (1995). A Look Inside Jaws ["Casting "] (Jaws: 30th Anniversary Edition DVD (2005)). Universal Home Video.
  17. ^ McBride 1999, p. 238
  18. ^ Fischbach, Bob (May 20, 2010). . Omaha World-Herald. Archived from the original on May 23, 2013. Retrieved March 6, 2012.
  19. ^ a b Baer 2008, p. 198
  20. ^ a b c Friedman 2006, p. 167
  21. ^ a b Biskind 1998, p. 265
  22. ^ a b Bouzereau, Laurent (1995). A Look Inside Jaws ["Climax"] (Jaws: 30th Anniversary Edition DVD (2005)). Universal Home Video.
  23. ^ a b Baer 2008, p. 209
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  25. ^ Gottlieb 2005, p. 208
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  27. ^ Gottlieb 2005, p. 56
  28. ^ Nadler 2006, p. 35.
  29. ^ Moreau, Jordan (April 5, 2020). "Lee Fierro, 'Jaws' Actor, Dies of Coronavirus at 91". Variety. from the original on April 6, 2020. Retrieved April 12, 2020.
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  34. ^ a b c d . Time. June 23, 1975. Archived from the original on November 30, 2009. Retrieved November 9, 2011.
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October 24, 2023
jaws, film, jaws, 1975, american, thriller, film, directed, steven, spielberg, based, 1974, novel, peter, benchley, stars, scheider, police, chief, martin, brody, with, help, marine, biologist, richard, dreyfuss, professional, shark, hunter, robert, shaw, hunt. 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 JawsTheatrical release poster by Roger KastelDirected bySteven SpielbergScreenplay byPeter Benchley Carl GottliebBased onJawsby Peter BenchleyProduced byRichard D Zanuck David BrownStarringRoy Scheider Robert Shaw Richard Dreyfuss Lorraine Gary Murray HamiltonCinematographyBill ButlerEdited byVerna FieldsMusic byJohn WilliamsProductioncompaniesZanuck Brown Company 1 Universal Pictures 1 Distributed byUniversal PicturesRelease dateJune 20 1975 1975 06 20 Running time124 minutes 2 CountryUnited StatesLanguageEnglishBudget 9 millionBox office 476 5 millionShot mostly on location at Martha s Vineyard in Massachusetts Jaws was the first major motion picture to be shot on the ocean and consequently had a troubled production going over budget and schedule As the art department s mechanical sharks often malfunctioned Spielberg decided mostly to suggest the shark s presence employing an ominous and minimalist theme created by composer John Williams to indicate its impending appearances Spielberg and others have compared this suggestive approach to that of director Alfred Hitchcock Universal Pictures release of the film to over 450 screens was an exceptionally wide release for a major studio picture at the time and it was accompanied by an extensive marketing campaign that heavily emphasized television spots and tie in merchandise 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 and in 2001 the Library of Congress selected it for preservation in the United States National Film Registry Contents 1 Plot 2 Production 2 1 Development 2 2 Writing 2 3 Casting 2 4 Filming 3 Music 4 Themes 4 1 Influences 4 2 Scholarly criticism 4 3 Audience emotional response 5 Release 5 1 Marketing 5 2 Theatrical run 6 Reception 6 1 Box office 6 2 Critical reception 6 3 Accolades 7 Legacy 8 Home media 9 Other media 9 1 Adaptations and merchandise 10 Sequels 11 See also 12 References 13 Bibliography 14 External linksPlotIn 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 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 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 shark proof cage intending to lethally inject the shark with strychnine via a hypodermic spear The shark viciously attacks the cage causing Hooper to drop the spear While the shark trashes the cage Hooper escapes to the seabed The shark leaps onto the boat s stern subsequently devouring Quint Trapped on the sinking vessel Brody shoves a scuba tank into the shark s mouth and climbing onto the crow s nest shoots the tank with a rifle The resulting explosion kills the shark Hooper resurfaces and he and Brody paddle back to Amity Island clinging to the remaining barrels ProductionDevelopment Richard D Zanuck and David Brown producers at Universal Pictures independently heard about Peter Benchley s novel Jaws Brown came across it in the literature section of lifestyle magazine Cosmopolitan 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 3 4 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 they wanted to produce a film version although they were unsure how it would be accomplished 5 They purchased the film rights in 1973 before the book s publication for approximately 175 000 equivalent to 1 150 000 in 2022 6 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 7 To direct Zanuck and Brown first considered veteran filmmaker John Sturges whose resume 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 9 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 10 Brown helped convince Spielberg to stick with the project saying that after Jaws you can make all the films you want 9 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 11 Writing For the screen adaptation Spielberg wanted to stay with the novel s basic plot but discarded many of Benchley s subplots 6 He 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 12 When the producers purchased the rights to his novel they promised Benchley that he could write the first draft of the screenplay 6 The intent was to make sure a script could be done despite an impending threat of a Writer s Guild strike given Benchley was not unionized 13 Overall he wrote three drafts before the script was turned over to other writers 6 delivering his final version to Spielberg he declared I m written out on this and that s the best I can do 14 Benchley later described his contribution to the finished film as the storyline and the ocean stuff basically the mechanics given he didn t know how to put the character texture into a screenplay 13 One of his 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 15 During the film s production Benchley agreed to return and play a small onscreen role as a reporter 16 Spielberg who felt that the characters in Benchley s script were still unlikable invited the young screenwriter John Byrum to do a rewrite but he declined the offer 9 Columbo creators William Link and Richard Levinson also declined Spielberg s invitation 17 Tony and Pulitzer Prize winning playwright Howard Sackler was 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 5 At the suggestion of Spielberg Brody s characterization made him afraid of water coming from an urban jungle to find something more terrifying off this placid island near Massachusetts 13 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 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 John Milius contributed 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 rewritten by Shaw 24 Gottlieb gives primary credit to Shaw downplaying Milius s contribution 25 26 Casting Actor RoleRoy Scheider Chief Martin BrodyRobert Shaw QuintRichard Dreyfuss Matt HooperLorraine Gary Ellen BrodyMurray Hamilton Mayor Larry VaughnCarl Gottlieb MeadowsJeffrey Kramer Deputy HendricksSusan Backlinie Chrissie WatkinsLee Fierro Mrs KintnerPeter Benchley InterviewerThough 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 playing 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 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 Kevin Kline 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 nbsp The fishing village of Menemsha Martha s Vineyard was the primary location 48 Initially the film s producers wanted to train a great white shark 49 but quickly realized this was not possible so three full size pneumatically powered prop sharks which the film crew nicknamed Bruce after Spielberg s lawyer Bruce Ramer were made for the production 50 a sea sled shark a full body prop with its belly missing that was towed with a 300 foot 91 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 6 The sharks were designed by art director and production designer Joe Alves during the third quarter of 1973 Between November 1973 and April 1974 the sharks were fabricated at Rolly Harper s Motion Picture amp Equipment Rental in Sun Valley California Their construction involved a team of as many as 40 effects technicians supervised by 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 51 In early July the platform used to tow the two side view sharks capsized as it was being lowered to the ocean floor forcing a team of divers to retrieve it 52 The model required 14 operators to control all of the moving parts 42 For Quint s boat the Orca Alves and his team constructed two identical 42 foot models for the film The second boat dubbed Orca II had no motor and was designed to sink on command 53 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 36 and the Orca once began to sink with the actors on board 57 The prop sharks frequently malfunctioned owing to a series of problems 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 soaked up liquid causing the sharks to balloon and the sea sled model frequently got entangled among forests of seaweed 34 52 Spielberg later calculated that during the 12 hour daily work schedule on average only four hours were actually spent filming 58 Gottlieb was nearly decapitated by the boat s propellers and Dreyfuss was almost imprisoned in the steel cage 34 The actors were frequently seasick Shaw also fled to Canada whenever he could due to tax problems 59 engaged in binge drinking and developed a grudge against Dreyfuss who was getting rave reviews for his performance in Duddy Kravitz 14 60 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 61 nbsp The mechanical shark attached to the towerThe 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 42 44 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 42 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 22 It has since become a tradition for Spielberg to be absent when the final scene of one of his films is being shot 67 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 68 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 69 The boat 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 70 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 MusicMain article Jaws soundtrack nbsp Main Title and First Victim source source The main theme for Jaws revolving around an ostinato of bass notes which composer John Williams said were meant to represent the shark as an unstoppable force of mindless and instinctive attacks 74 Problems playing this file See media help 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 La mer by Claude Debussy as well 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 74 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 80 The original soundtrack for Jaws was released by MCA Records on LP in 1975 and as a CD in 1992 including roughly a half hour of music that Williams redid for the album 85 86 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 85 86 and Varese Sarabande put out a rerecording of the score performed by the Royal Scottish National Orchestra conducted by Joel McNeely 87 ThemesInfluences Herman Melville s Moby Dick is the most notable artistic antecedent to Jaws 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 the death of Ahab in Melville s novel 88 A direct reference to these similarities may be found in Spielberg s draft of the 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 However the scene from Moby Dick could not be licensed from the film s star Gregory Peck its copyright holder 5 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 23 The underwater scenes shot from the shark s point of view have been compared with passages in two 1950s horror films Creature from the Black Lagoon and The Monster That Challenged the World 89 90 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 91 and It Came From Outer Space where the suspense was built up because the creature was always off camera Those precedents helped Spielberg and Gottlieb to concentrate on showing the effects of the shark rather than the shark itself 92 Scholars such as Thomas Schatz have described how Jaws melds various genres while essentially being an action film and a thriller Most is taken from horror with the core of a nature based monster movie while adding elements of a slasher film The second half is both a buddy film in the interaction between the crew of the Orca and a supernatural horror based on the shark s depiction of a nearly Satanic menace 93 Ian Freer describes Jaws as an aquatic monster movie citing the influence of earlier monster films such as King Kong and Godzilla 94 Charles Derry in 1977 also compared Jaws to Godzilla 95 and Spielberg cited Godzilla King of the Monsters 1956 as a formative influence growing up due to the masterful way in which it made you believe it was really happening 96 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 The Exorcist for causing stress reactions in its viewers and was later used in a study by Brian R Johnson to test how susceptible audiences were to cinematic stress inducers 112 His study found that stress could be induced by cinema in segments of the general population and Jaws specifically caused stress reactions in its viewers While Johnson could not find an exact cause for the stress response in viewers whether it be the suspense the gore or the music production a 1986 study by G Sparks found that particularly violent films including Jaws tended to cause the most intense reactions in viewers 113 ReleaseMarketing 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 Long Beach on March 28 along with the success of Benchley s novel and the early stages of Universal s marketing campaign generated great interest among theater owners facilitating the studio s plan to debut Jaws at hundreds of cinemas simultaneously 121 122 A third and final preview screening of a cut incorporating changes inspired by the previous presentations was held in Hollywood on April 24 123 After Universal chairman Lew Wasserman attended one of the screenings he ordered the film s initial release planned for a massive total of as many as 900 theaters to be cut down declaring I want this picture to run all summer long I don t want people in Palm Springs to see the picture in Palm Springs I want them to have to get in their cars and drive to see it in Hollywood 124 Nonetheless the several hundred theaters that were still booked for the opening represented what was then an unusually wide release At the time wide openings were associated with movies of doubtful quality not uncommon on the grindhouse and exploitation side of the industry they were customarily employed to diminish the effect of negative reviews and word of mouth There had been some recent exceptions including the rerelease of Billy Jack and the original release of its sequel The Trial of Billy Jack the Dirty Harry sequel Magnum Force and the latest installments in the James Bond series 125 126 Still the typical major studio film release at the time involved opening at a few big city theaters which allowed for a series of premieres Distributors would then slowly forward prints to additional locales across the country capitalizing on any positive critical or audience response The outsized success of The Godfather in 1972 had sparked a trend toward wider releases but even that film had debuted in just five theaters before going wide in its second weekend 127 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 ReceptionBox office Jaws opened in 409 theaters with a record 7 million weekend 139 and grossed a record 21 116 354 in its first 10 days 140 recouping its production costs 141 It grossed 100 million in its first 59 days from 954 playdates 142 In just 78 days it overtook The Godfather as the highest grossing film at the North American box office 127 sailing past that picture s earnings of 86 million 143 and became the first film to earn 100 million in US theatrical rentals 144 It spent 14 consecutive weeks as the number one film in the United States 145 Its initial release ultimately brought in 123 1 million in rentals 141 Theatrical re releases in 1976 and Summer 1979 brought its total rentals to 133 4 million 143 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 155 adjusted for inflation it has earned almost 2 billion at 2011 prices and is the second most successful franchise film after Star Wars 156 Including its 2022 reissue it has grossed 265 8 million in the United States and Canada 155 equivalent to 1 2 billion at 2020 prices based on an estimated 128 078 800 tickets sold 157 making it the seventh highest grossing movie of all time adjusted for ticket price inflation 158 In the United Kingdom it is the seventh highest grossing film to be released since 1975 earning the equivalent of over 70 million in 2009 10 currency 159 with admissions estimated at 16 2 million 160 Jaws has also sold 13 million tickets in Brazil the second highest attendance ever in the country behind Titanic 161 On television ABC aired it for the first time on November 4 1979 right after its theatrical re release 162 The first U S broadcast received a Nielsen rating of 39 1 and attracted 57 percent of the total audience the second highest televised movie audience at the time behind Gone with the Wind and the fourth highest rated 163 164 In the United Kingdom 23 million people watched its inaugural broadcast in October 1981 the second biggest TV audience ever for a feature film behind Live and Let Die 165 Critical reception Jaws received mostly positive reviews upon release 166 167 Roger Ebert of the Chicago Sun Times gave the film four stars calling 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 168 Variety s A D Murphy praised Spielberg s directorial skills and called Robert Shaw s performance absolutely magnificent 169 According to The New Yorker s Pauline Kael it was 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 170 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 171 Writing for New York magazine Judith Crist described the film as an exhilarating adventure entertainment of the highest order and complimented its acting and extraordinary technical achievements 172 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 173 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 like stage hands who move props around and deliver information when it s necessary He did describe it as the sort of nonsense that can be a good deal of fun 174 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 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 175 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 176 William S Pechter of Commentary described Jaws as a mind numbing repast for sense sated gluttons and filmmaking of this essentially manipulative sort Molly Haskell of The Village Voice similarly characterized it as a scare machine that works with computer like precision You feel like a rat being given shock therapy 171 The most frequently criticized aspect of the film has been the artificiality of its mechanical antagonist Magill declared that the programmed shark has one truly phony close up 176 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 83 Halliwell s Film Guide stated that despite genuinely suspenseful and frightening sequences it is a slackly narrated and sometimes flatly handled thriller with an over abundance of dialogue and when it finally appears a pretty unconvincing monster 177 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 75 178 It was also nominated for Best Picture losing to One Flew Over the Cuckoo s Nest 179 Spielberg greatly resented the fact that he was not nominated for Best Director 171 Along with the Oscar John Williams s score won the Grammy Award 180 the BAFTA Award for Best Film Music 181 and the Golden Globe Award 182 To her Academy Award Verna Fields added the American Cinema Editors Eddie Award for Best Edited Feature Film 183 Jaws was chosen Favorite Movie at the People s Choice Awards 184 It was also nominated for Best Film Director Actor Richard Dreyfuss Screenplay Editing and Sound at the 29th British Academy Film Awards 181 and Best Motion Picture Drama Director and Screenplay at the 33rd Golden Globe Awards 182 Spielberg was nominated by the Directors Guild of America for the DGA Award 185 and the Writers Guild of America nominated Peter Benchley and Carl Gottlieb s script for Best Adapted Drama 186 LegacyIn the years since its release Jaws has frequently been cited by film critics and industry professionals as one of the greatest movies of all time 187 It was number 48 on American Film Institute s 100 Years 100 Movies a list of the greatest American films of all time compiled in 1998 it dropped to number 56 on the 10th Anniversary list 188 189 AFI also ranked the shark at number 18 on its list of the 50 Best Villains 190 Roy Scheider s line You re gonna need a bigger boat 35th on a list of top 100 movie quotes 191 Williams s score at sixth on a list of 100 Years of Film Scores 76 and the film as second on a list of 100 most thrilling films behind only Psycho 192 In 2003 The New York Times included the film on its list of the best 1 000 movies ever made 193 The following year Jaws placed at the top of the Bravo network s five hour miniseries The 100 Scariest Movie Moments 194 The Chicago Film Critics Association named it the sixth scariest film ever made in 2006 195 In 2008 Jaws was ranked the fifth greatest film in history by Empire magazine 196 which also placed Quint at number 50 on its list of the 100 Greatest Movie Characters of All Time 197 The film has been cited in many other lists of 50 and 100 greatest films including ones compiled by Leonard Maltin 198 Entertainment Weekly 199 Film4 200 Rolling Stone 201 Total Film 202 TV Guide 203 and Vanity Fair 204 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 205 In 2006 its screenplay was ranked the 63rd best of all time by the Writers Guild of America 206 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 207 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 115 127 Saturation booking in which a film opens simultaneously at thousands of theaters and massive media buys are now commonplace for the major Hollywood studios 208 According to Peter Biskind Jaws diminished the importance of print reviews making it virtually impossible for a film to build slowly finding its audience by dint of mere quality Moreover Jaws whet corporate appetites for big profits quickly which is to say studios wanted every film to be Jaws 209 Scholar Thomas Schatz writes that it 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 210 Jaws also played a major part in establishing summer as the prime season for the release of studios biggest box office contenders their intended blockbusters 127 211 winter had long been the time when most hoped for hits were distributed while summer was largely reserved for dumping films thought likely to be poor performers 210 Jaws and Star Wars are regarded as marking the beginning of the new U S film industry business model dominated by high concept pictures with premises that can be easily described and marketed as well as the beginning of the end of the New Hollywood period which saw auteur films increasingly disregarded in favor of profitable big budget pictures 127 212 The New Hollywood era was defined by the relative autonomy filmmakers were able to attain within the major studio system in Biskind s description Spielberg was the Trojan horse through which the studios began to reassert their power 209 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 213 214 Reduced beach attendance in 1975 was attributed to it 215 as well as more reported shark sightings 216 It is still seen as responsible for perpetuating negative stereotypes about sharks and their behavior 217 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 218 Benchley would later campaign to stop the depopulation of sharks saying that Jaws was entirely a fiction 219 Spielberg later echoed this sentiment saying that he regretted the decimation of the shark population because of the book and the film 220 219 Conservation groups have bemoaned the fact that the film has made it considerably harder to convince the public that sharks should be protected 221 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 222 223 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 179 Among the various foreign mockbusters based on Jaws three came from Italy Great White 224 which inspired a plagiarism lawsuit by Universal and was even marketed in some countries as a part of the Jaws franchise 225 Monster Shark 224 featured in Mystery Science Theater 3000 under the title Devil Fish 226 and Deep Blood which blends in a supernatural element 227 The 1976 Brazilian film Bacalhau parodies Jaws featuring a killer cod in place of a shark 228 229 The 2009 Japanese horror film Psycho Shark was released in the United States as Jaws in Japan 230 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 231 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 232 which had a second edition in 2012 233 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 234 235 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 236 237 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 238 239 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 240 Home mediaThe first ever LaserDisc title marketed in North America was the MCA DiscoVision release of Jaws in 1978 241 A second LaserDisc was released in 1992 242 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 243 MCA Home Video first released Jaws on VHS in 1980 244 245 For the film s 20th anniversary in 1995 MCA Universal Home Video issued a new Collector s Edition tape featuring a making of retrospective 246 This release sold 800 000 units in North America 247 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 248 Jaws was first released on DVD in 2000 for the film s 25th anniversary accompanied by a massive publicity campaign 247 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 249 The DVD shipped one million copies in just one month 250 In June 2005 a 30th anniversary edition was released at the JawsFest festival on Martha s Vineyard 232 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 251 On the second JawsFest in August 2012 the Blu ray Disc of Jaws was released 233 with over four hours of extras including The Shark Is Still Working 252 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 253 The film was released on 4K Ultra HD Blu ray on 1 June 2020 254 Other media nbsp The entrance of the now closed Jaws ride at Universal Studios FloridaAdaptations and merchandise The film has inspired two theme park rides one at Universal Studios Florida 255 which closed in January 2012 256 and one at Universal Studios Japan 257 There is also an animatronic version of a scene from the film on the Studio Tour at Universal Studios Hollywood 258 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 259 Three video games based on the film were released 1987 s Jaws developed by LJN for the Nintendo Entertainment System 260 2006 s Jaws Unleashed by Majesco Entertainment for the Xbox PlayStation 2 and PC 261 and 2011 s Jaws Ultimate Predator also by Majesco for the Nintendo 3DS and Wii 262 A mobile game was released in 2010 for the iPhone 263 Aristocrat made an officially licensed slot machine based on the movie 264 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 3 265 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 Carl Gottlieb s book The Jaws Log had its world premiere at the Seattle Rep theatre from May 27 to July 3 2022 266 The musical covers the difficulties Spielberg encountered making the movie including the ongoing issues with the titular mechanical shark SequelsJaws spawned three sequels to declining critical favor and commercial performance Their combined domestic grosses amount to barely half of the first film s 267 In October 1975 Spielberg declared to a film festival audience that making a sequel to anything is just a cheap carny trick 179 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 268 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 269 Jaws 3 D 1983 does not feature any of the original actors although it was directed by Joe Alves who had served as art director and production designer respectively on the two preceding films 270 Starring Dennis Quaid and Louis Gossett Jr it was released to heavily negative reviews in 3D format The effect did not transfer to television or home video where it was renamed Jaws 3 271 Jaws The Revenge 1987 was directed by Joseph Sargent and featured the return of Lorraine Gary as Ellen Brody Co starring Michael Caine it is considered one of the worst movies ever made 272 273 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 274 See alsoList of American films of 1975 List of natural horror films Survival filmReferences a b Jaws 1975 AFI Catalog of Feature Films Archived from the original on March 26 2019 Retrieved August 12 2018 JAWS A British Board of Film Classification June 12 1975 Archived from the original on January 30 2016 Retrieved June 22 2021 Prigge 2004 p 6 Scanlon 2009 p 197 a b c d Bouzereau Laurent 1995 A Look Inside Jaws From Novel to Script Jaws 30th Anniversary Edition DVD 2005 Universal Home Video a b c d e f Brode 1995 p 50 McBride 1999 p 231 a b c McBride 1999 p 232 a b c Biskind 1998 p 264 McBride 1999 p 240 Gottlieb 2005 p 52 Friedman amp Notbohm 2000 p 8 a b c d e Mark Salisbury Ian Nathan Jaws The Oral History Empire Archived from the original on May 25 2015 Retrieved March 23 2015 a b c d e f Pangolin Pictures June 16 2010 Jaws The Inside Story Television documentary The Biography Channel a b Friedman amp Notbohm 2000 pp 11 12 a b c d e f Bouzereau Laurent 1995 A Look Inside Jaws Casting Jaws 30th Anniversary Edition DVD 2005 Universal Home Video McBride 1999 p 238 Fischbach Bob May 20 2010 Bob s Take Jaws script doctor ruthless to character played by him Omaha World Herald Archived from the original on May 23 2013 Retrieved March 6 2012 a b Baer 2008 p 198 a b c Friedman 2006 p 167 a b Biskind 1998 p 265 a b Bouzereau Laurent 1995 A Look Inside Jaws Climax Jaws 30th Anniversary Edition DVD 2005 Universal Home Video a b Baer 2008 p 209 a b c d Vespe Eric Quint June 6 2011 Steven Spielberg and Quint have an epic chat all about JAWS as it approaches its 36th Anniversary Ain t It Cool News Archived from the original on December 11 2011 Retrieved January 2 2012 Gottlieb 2005 p 208 Jankiewicz Patrick 2009 Just When You Thought It Was Safe A Jaws Companion Duncan OK BearManor Media Retrieved June 29 2018 Gottlieb 2005 p 56 Nadler 2006 p 35 Moreau Jordan April 5 2020 Lee Fierro Jaws Actor Dies of Coronavirus at 91 Variety Archived from the original on April 6 2020 Retrieved April 12 2020 a b c McBride 1999 p 237 McBride 1999 pp 236 237 a b Baer 2008 p 206 a b Jackson 2007 p 20 a b c d Summer of the Shark Time June 23 1975 Archived from the original 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2007 BibliographyAdamson John E Morrison Amanda 2011 Law for Business and Personal Use Stamford Connecticut Cengage Learning ISBN 978 0 538 49690 2 Andrews Nigel 1999 Nigel Andrews on Jaws London Bloomsbury Publishing ISBN 978 0 7475 3975 9 Baer William 2008 Classic American Films Conversations with the Screenwriters Westport Connecticut Greenwood ISBN 978 0 313 34898 3 Biskind Peter 1998 Easy Riders Raging Bulls New York Simon amp Schuster ISBN 978 0 684 85708 4 Blake Edith 1975 The Making of the MovieJaws New York Ballantine Books ISBN 978 0 345 24882 4 Bowker s Complete Video Directory 1994 New York R R Bowker 1994 ISBN 978 0 8352 3391 0 Britton Andrew 2009 1979 Jaws In Grant Barry Keith ed Britton on Film The Complete Film Criticism of Andrew Britton Detroit Wayne State University Press ISBN 978 0 8143 3363 1 Brode Douglas 1995 The Films of Steven Spielberg New York Carol Publishing ISBN 978 0 8065 1951 7 Brosnan John 1978 Future Tense The Cinema of Science Fiction London Macdonald and Jane s ISBN 978 0 354 04222 2 Burr Ty 1999 The 100 Greatest Movies of All Time New York Entertainment Weekly Books ISBN 978 1 883013 68 4 Cancellaro Joseph 2006 Exploring Sound Design for Interactive Media Florence Kentucky Delmar Learning ISBN 978 1 4018 8102 3 Collins Jim Radner Hilary 1993 Film Theory Goes to the Movies London Routledge ISBN 978 0 415 90576 3 Friedman Lester D 2006 Citizen Spielberg Champaign University of Illinois Press ISBN 978 0 252 07358 8 Friedman Lester D Notbohm Brent 2000 Steven Spielberg Interviews Jackson University Press of Mississippi ISBN 978 1 57806 113 6 Gordon Andrew 2008 Empire of Dreams The Science Fiction and Fantasy Films of Steven Spielberg Lanham Maryland Rowman amp Littlefield ISBN 978 0 7425 5578 5 Gottlieb Carl 2005 The Jaws Log New York Newmarket Press ISBN 978 0 571 20949 1 Hall Sheldon Neale Stephen 2010 Epics Spectacles and Blockbusters A Hollywood History Detroit Wayne State University Press ISBN 978 0 8143 3008 1 Heath Stephen 1985 Jaws Ideology and Film Theory In Nichols Bill ed Movies and Methods An Anthology Volume II Berkeley University of California Press ISBN 0 520 05409 1 Jackson Kathi 2007 Steven Spielberg A Biography Westport Connecticut Greenwood ISBN 978 0 313 33796 3 Jameson Fredric 1979 Reification and Utopia in Mass Culture Signatures of the Visible pp 130 148 doi 10 2307 466409 ISBN 978 0 415 90012 6 JSTOR 466409 S2CID 2800844 Archived from the original on February 6 2021 Retrieved February 6 2021 a href Template Cite book html title Template Cite book cite book a journal ignored help Kael Pauline 1980 1975 Notes on Evolving Heroes Morals Audiences When the Lights Go Down Beverly Massachusetts Wadsworth ISBN 978 0 03 056842 8 Kochberg Searle 1996 Institutions Audiences and Technology In Nelmes Jill ed An Introduction to Film Studies London Routledge ISBN 978 0 415 10860 7 Lemkin Jonathan 1984 Archetypal Landscapes and Jaws In Grant Barry Keith ed Planks of Reason Essays on the Horror Film Lanham Maryland Scarecrow Press ISBN 978 0 8108 2156 9 Maltin Leonard 1999 100 Must See Films of the 20th Century Leonard Maltin s Movie amp Video Guide 2000 New York Penguin Group ISBN 978 0 452 28123 3 Marich Robert 2005 Marketing to Moviegoers A Handbook of Strategies Used by Major Studios and Independents Cambridge Massachusetts Focal Press ISBN 978 0 240 80687 7 Mast Gerald Kawin Bruce F 2003 A Short History of the Movies Harlow Essex Longman ISBN 978 0 321 10603 2 McBride Joseph 1999 Steven Spielberg A Biography Cambridge Massachusetts Da Capo Press ISBN 978 0 306 80900 2 Moritz Charles 1978 Current Biography Yearbook 1978 New York H W Wilson ISBN 978 99973 770 2 9 Morris Nigel 2007 The Cinema of Steven Spielberg Empire of Light New York Wallflower Press ISBN 978 1 904764 88 5 Muir John Kenneth 2007 Horror Films of the 1970s Volume 2 Jefferson North Carolina McFarland ISBN 978 0 7864 3104 5 Nadler Holly 2006 Vineyard Confidential 350 Years of Scandals Eccentrics and Strange Occurrences Rockport Maine Down East Enterprise Inc ISBN 978 0 89272 687 5 Ochoa George 2011 Deformed and Destructive Beings The Purpose of Horror Films McFarland ISBN 978 0 7864 6307 7 Paszylk Bartlomiej 2009 The Pleasure and Pain of Cult Horror Films An Historical Survey Jefferson North Carolina McFarland ISBN 978 0 7864 3695 8 Petersen Clarence 1975 The Bantam Story Thirty Years of Paperback Publishing Bantam Books OCLC 1937339 Prigge Steven 2004 Movie Moguls Speak Interviews with Top Film Producers Jefferson North Carolina McFarland ISBN 978 0 7864 1929 6 Scanlon Jennifer 2009 Bad Girls Go Everywhere The Life of Helen Gurley Brown Oxford Oxford University Press ISBN 978 0 19 534205 5 Shone Tom 2004 Blockbuster How Hollywood Learned to Stop Worrying and Love the Summer New York Simon amp Schuster ISBN 978 0 7432 3568 6 Sinyard Neil 1989 The Films of Steven Spielberg London Hamlyn Bison ISBN 978 0 600 55226 0 Siska William Charles 1980 Toward a Semiotic Theory of Visual Communication in the Cinema Manchester New Hampshire Ayer Publishing ISBN 978 0 405 12900 1 Stanley John 1988 Revenge of the Creature Features Movie Guide An A to Z Encyclopedia to the Cinema of the Fantastic or Is There a Mad Doctor in the House Pacifica California Creatures at Large Press ISBN 978 0 940064 08 9 Stringer Julian 2003 Movie Blockbusters Routledge ISBN 978 0 415 25608 7 Taylor Matt 2012 Jaws Memories from Martha s Vineyard London Titan Books ISBN 978 1 78116 302 3 Turner Graeme 1999 Film as Social Practice London Routledge ISBN 978 0 415 21595 4 Wyatt Justin 1994 High Concept Movies and Marketing in Hollywood Austin University of Texas Press ISBN 978 0 292 79091 9 Wyatt Justin 1998 From Roadshowing to Saturation Release Majors Independents and Marketing Distribution Innovations In Lewis Jon ed The New American Cinema Durham North Carolina Duke University Press ISBN 978 0 8223 2115 6 Yewdall David Lewis 2011 Practical Art of Motion Picture Sound Waltham Massachusetts Focal Press ISBN 978 0 240 81240 3 External links nbsp Wikiquote has quotations related to Jaws Jaws at Filmsite org Jaws at IMDb Jaws at the TCM Movie Database Jaws at AllMovie Jaws at Box Office Mojo Jaws at Metacritic nbsp Jaws at Rotten Tomatoes Portals nbsp Film nbsp United States nbsp Speculative fiction Horror nbsp Sharks Retrieved from https en wikipedia org w index php title Jaws film amp oldid 1181411439, wikipedia, wiki, book, books, library,

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