'Jaws'- Film Review (2-6)
'Jaws'- Film Review (2-6)
[1132 words]
1975 blockbuster Jaws has been subject to many interpretations- and while the main story sees the coastal, fishing town of ‘Amity Island’ as it’s terrorised by a great white shark- the real threat seems to come from ‘Amity’s’ aftermath response, and whatever issues (around parental fear, masculinity, the cold war and general morality) Bruce stands as a symbol for.
For the most part, the film explores the workings of the town in light of a hidden threat. Despite what the poster may suggest, the physical presence of the shark in question has surprisingly limited screen time. Instead, this fear of an uncontrollable higher power or dominating metropolis (one that values the greater good to that of the individual, by holding back vital information and controlling the actions of the larger populace), is something that’s explored by ‘Jaws’ with the presence of the Mayor, and his reluctance to accept said threat, in fear of moral panic effecting the economic/tourist industry.
What few sequences of the shark there are, also works with this idea, as an entity that –similarly- is hidden from sight, blind to its victim’s individuality, and unbiased in its choice of food. Physically it’s a greater size than any other great whites the town has seen, and is a threatening presence in the forefront of much of the local’s minds.
The film shows the problems of mass publicity, advertising and politics, as the truth is hidden at the expense of the viewer, (seen in Fig. 1).
For the most part, the film explores the workings of the town in light of a hidden threat. Despite what the poster may suggest, the physical presence of the shark in question has surprisingly limited screen time. Instead, this fear of an uncontrollable higher power or dominating metropolis (one that values the greater good to that of the individual, by holding back vital information and controlling the actions of the larger populace), is something that’s explored by ‘Jaws’ with the presence of the Mayor, and his reluctance to accept said threat, in fear of moral panic effecting the economic/tourist industry.
What few sequences of the shark there are, also works with this idea, as an entity that –similarly- is hidden from sight, blind to its victim’s individuality, and unbiased in its choice of food. Physically it’s a greater size than any other great whites the town has seen, and is a threatening presence in the forefront of much of the local’s minds.
The film shows the problems of mass publicity, advertising and politics, as the truth is hidden at the expense of the viewer, (seen in Fig. 1).
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| Fig. 1 ‘Amity Island’ mistakenly catches the wrong shark. It’s publicity inadvertently puts more people in danger. Alternatively, the mayor not publicising the news would’ve breached tourist safety regulations, who’ve no power or say in the matter. |
Such fears could possibly stem from the Watergate Scandal, in United States during the 1970’s, a couple years prior to ‘Jaws’ release. The scandal saw a breakdown in human trust, after multiple people connected to Nixon’s re-election campaign were found responsible for stealing top-secret documents, and bugging DNC headquarters. The steps taken by Richard Nixon afterwards to conceal the scandal using 'illegal espionage’, and evidence confirming his knowledge of these activities eventually forced him to resign as president of the United States. However, the years after uncovering the truth was a definite knock of confidence, as Nixon was impeached in the Supreme Court by the House of Representatives, for “obstruction of justice, abuse of power” and “criminal cover-up”.
Each stage of concealment mirrors the fearful “drop in tourism” and the Mayors decision to hide the truth, which in turn caused more deaths. ‘Radio Times’ draws links between the “scenes of Brody and the town officials hounded by the press” to how “Nixon felt hounded by Woodward and Bernstein and the rest” (2015).
Other links of real-world power play include the shark, as a representation of the ‘atomic’ bomb, and the public’s fear of an “unrelenting and dehumanised killing machine” (Dowell, 2015), as powerful groups during ‘The Cold War’ decided the actions of the larger populace, creating a stand-off that “brought the world to the brink of destruction” (BBC, 2014).
The film soon makes its view on higher power play obvious, as the plot sees public service (i.e. the ‘bigger picture’) escape Bruce’s wrath, while private enterprise (i.e. the ‘individual’) fall victim.
Examples include 1- the Mayor and politicians who view ‘tourism’ as the bigger picture. In reality, however, the bigger picture is the community that inspires tourism. Therefore, they actually believe in private enterprise, before eventually conforming to Brody’s way.
2- Quint, who believes in private enterprise, as he’s “undone by his proclivity to see himself as joined in some private dual with the shark” (Baker, 2010), and dies.
3- Brody, who as a police chief works in the interest of the public service, and lives.
4- Matt Hooper, who acts as the voice of reason. His work as an oceanographer can be seen as ‘private enterprise’, which works with his death in the novel. But having the public’s interest at heart in the film keeps him alive- as he continues to search for the hidden, higher power even after ‘Amity Island’ incorrectly thinks they’ve captured the shark, at the expense of his career.
Cinematically, there’s also a definite sense of power play. Camera shots and sound both cooperate, as the fear of a hidden threat is alluded to. The diegetic sound of the fishing hook, as the wire creaks suggestively, works well against the previously laid back nature of Quint, and the vast blue expanse of the sky- a place of ‘safety’ away from the sea, where danger is often unseen (see below, Fig. 3).
Non-diegetic sounds such as the iconic tune and rolling drums that builds in pace and helps create tension are few and far between. This gives an element of realism to the film.
The binary opposites of safety and danger, represented in sea and sky, are explored with low and high angle shots- a typical device used to make characters appear ‘strong’ and ‘powerful’, vice versa. Characters in ‘Jaws’ who feel ‘right’ in their self-fulfilled intentions or take the higher ground in an argument are seen physically higher up. That coupled with the sea as a lurking predator, that’ll drag people below in the depths, makes us unsure as to what party of power is the more threatening of the two.
Camera shots are often restricted above water level, as the danger of sea-biding shark is an unseen, but present threat. Above water seems to indicate a ‘safe place’ for our protagonists. When we do see below the water it’s often from the shark’s perspective… signifying the vulnerability of the swimmers, with flailing legs and bare skins- blind to the coming onslaught of fin and teeth, under the rippling water.
When we do see characters face on, it’s often an attempt of empathy/understanding between those in higher power and the populace it affects. As seen below (fig. 6), the victim’s mother appeals to Brody’s decision to keep the beaches open, in an attempt to bridge the gap between the two.
What separates ‘Jaws’ from other horrors of the time, (namely the ‘Exorcist’ etc.), would be Spielberg’s splash of trademark humour/grounded fun- with a wide array of characters with potential for interest. The dynamics between policeman, Martin Brody, informed yet practically naïve oceanographer Matt Hooper, and older fisherman ‘Quint’; weathered and armoured with years of experience, sets the pace for a fulfilling plot, wherein good seems to inevitably triumph over evil. Evil in this scenario being private enterprise, while public service is encouraged.
Whether this be through plot (where whoever’s ‘worthy’, survives), and the fear of higher power using i- camera shots and ii- sound, at hinting to greater powerplay beyond the viewer’s own comprehension, works with the tourists own ignorance, which put them in danger.
Each stage of concealment mirrors the fearful “drop in tourism” and the Mayors decision to hide the truth, which in turn caused more deaths. ‘Radio Times’ draws links between the “scenes of Brody and the town officials hounded by the press” to how “Nixon felt hounded by Woodward and Bernstein and the rest” (2015).
Other links of real-world power play include the shark, as a representation of the ‘atomic’ bomb, and the public’s fear of an “unrelenting and dehumanised killing machine” (Dowell, 2015), as powerful groups during ‘The Cold War’ decided the actions of the larger populace, creating a stand-off that “brought the world to the brink of destruction” (BBC, 2014).
The film soon makes its view on higher power play obvious, as the plot sees public service (i.e. the ‘bigger picture’) escape Bruce’s wrath, while private enterprise (i.e. the ‘individual’) fall victim.
Examples include 1- the Mayor and politicians who view ‘tourism’ as the bigger picture. In reality, however, the bigger picture is the community that inspires tourism. Therefore, they actually believe in private enterprise, before eventually conforming to Brody’s way.
2- Quint, who believes in private enterprise, as he’s “undone by his proclivity to see himself as joined in some private dual with the shark” (Baker, 2010), and dies.
3- Brody, who as a police chief works in the interest of the public service, and lives.
4- Matt Hooper, who acts as the voice of reason. His work as an oceanographer can be seen as ‘private enterprise’, which works with his death in the novel. But having the public’s interest at heart in the film keeps him alive- as he continues to search for the hidden, higher power even after ‘Amity Island’ incorrectly thinks they’ve captured the shark, at the expense of his career.
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| Fig. 2 |
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| Fig. 3 |
The binary opposites of safety and danger, represented in sea and sky, are explored with low and high angle shots- a typical device used to make characters appear ‘strong’ and ‘powerful’, vice versa. Characters in ‘Jaws’ who feel ‘right’ in their self-fulfilled intentions or take the higher ground in an argument are seen physically higher up. That coupled with the sea as a lurking predator, that’ll drag people below in the depths, makes us unsure as to what party of power is the more threatening of the two.
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| Fig. 4 |
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| Fig. 5 |
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| Fig. 6 |
Whether this be through plot (where whoever’s ‘worthy’, survives), and the fear of higher power using i- camera shots and ii- sound, at hinting to greater powerplay beyond the viewer’s own comprehension, works with the tourists own ignorance, which put them in danger.
References
Websites
Alexander, Adam (2006), ‘‘Jaws’ fear on tourist beaches’, [Online]. Available at: https://www.theguardian.com/world/2006/sep/17/southafrica.theobserver [Accessed Date: 31/08/2017) Baggs, Martin (2010), ‘Jaws – Fear and Greed in a Peaceful Community’, [Online]. Available at: http://mosaicmovieconnectgroup.blogspot.co.uk/2010/08/jaws-fear-and-greed-in-peaceful.html [Accessed Date: 31/08/2017)
Baker, Stephen (2010), ‘What Jaws can teach us about our present economic crisis’, [Online]. Available at: https://mediastudiesisshit.wordpress.com/2010/05/11/what-jaws-can-teach-us-about-our-present-economic-crisis/ [Accessed Date: 31/08/2017)
‘BBC’, (2014), ‘Cold War’, [Online]. Available at: http://www.bbc.co.uk/history/worldwars/coldwar/ [Accessed Date: 31/08/2017)
Dowell, Ben (2015), ‘Is Jaws just a film about a shark… or something else?’, [Online]. Available at: http://www.radiotimes.com/news/2015-06-21/is-jaws-just-a-film-about-a-shark-or-something-else/ [Accessed Date: 31/08/2017)
‘History.com’, (2009), ‘Watergate Scandal’, [Online]. Available at: http://www.history.com/topics/watergate [Accessed Date: 31/08/2017)
King, Rosie (2012), ‘Jaws Sound Clip Analysis;’, [Online]. Available at: http://rkmediab.blogspot.co.uk/2012/10/jaws-sound-clip-analysis.html [Accessed Date: 31/08/2017)
‘Pew Research Center’, (2015), ‘Beyond Distrust: How Americans View Their Government’, [Online]. Available at: http://www.people-press.org/2015/11/23/1-trust-in-government-1958-2015/ [Accessed Date: 31/08/2017)
Robinson, John P. (1974), ‘Public Opinion During the Watergate Crisis’, [Online]. Available at; https://deepblue.lib.umich.edu/bitstream/handle/2027.42/67551/10.1177_009365027400100404.pdf?sequence=2 [Accessed Date: 31/08/2017)
Fig.1 ‘Jaws’ (1975), [Film Still]. Available at: https://images.realclear.com/304085_5_.png [Accessed Date: 31/08/2017]
Fig.2 ‘Jaws’ (1975), [Film Still, 0:20]. Available at: https://www.youtube.com/watch?v=o5sgk18JQkA [Accessed Date: 31/08/2017]
Fig. 3 ‘Jaws’ (1975), [Film Still]. Available at: https://wetalkaboutmovies.files.wordpress.com/2012/05/beach-shot.png [Accessed Date: 31/08/2017]
Fig. 4 ‘Jaws’ (1975), [Film Still, 0:16, \]. Available at: https://www.youtube.com/watch?v=2I91DJZKRxs [Accessed Date: 31/08/2017]
Fig. 5 ‘Jaws’ (1975), [Film Still]. Available at: https://www.youtube.com/watch?v=rW23RsUTb2Y [Accessed Date: 31/08/2017]
Fig. 6 ‘Jaws’ (1975), [Film Still, 1:30]. Available at: https://www.youtube.com/watch?v=u4PI-z1eeIo [Accessed Date: 31/08/2017]
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