Jaws (film)

Jaws is a 1975 American film directed by Steven Spiel-berg and based on Peter Benchley's 1974 novel of thesame name. The prototypical summer blockbuster, itsrelease is regarded as a watershed moment in motion pic-ture history. In the story, a giant man-eating great whiteshark attacks beachgoers on Amity Island, a fictional NewEngland summer resort town, prompting the local policechief to hunt it with the help of a marine biologist and aprofessional shark hunter. The film stars Roy Scheider aspolice chief Martin Brody, Richard Dreyfuss as oceanog-rapher Matt Hooper, Robert Shaw as shark hunter Quint,Murray Hamilton as Larry Vaughn, the mayor of AmityIsland, and Lorraine Gary as Brody’s wife, Ellen. Thescreenplay is credited to both Benchley, who wrote thefirst drafts, and actor-writer Carl Gottlieb, who rewrotethe script during principal photography.Shot mostly on location on Martha’s Vineyard inMassachusetts, the film had a troubled production, go-ing over budget and past schedule. As the art depart-ment’s mechanical sharks suffered many malfunctions,Spielberg decided to mostly suggest the animal’s pres-ence, employing an ominous, minimalistic theme createdby composer John Williams to indicate the shark’s im-pending appearances. Spielberg and others have com-pared this suggestive approach to that of classic thrillerdirector Alfred Hitchcock. Universal Pictures gave thefilm what was then an exceptionally wide release for amajor studio picture, over 450 screens, accompanied byan extensive marketing campaign with a heavy emphasison television spots and tie-in merchandise.Now considered one of the greatest films ever made,[2]

Jaws became the highest-grossing film of all time untilStar Wars. It won several awards for its soundtrack andediting. Along with Star Wars, Jaws was pivotal in es-tablishing the modern Hollywood business model, whichrevolves around high box-office returns from action andadventure pictures with simple "high-concept" premisesthat are released during the summer in thousands of the-aters and supported by heavy advertising. It was followedby three sequels, none with the participation of Spielbergor Benchley, and many imitative thrillers. In 2001, Jawswas selected by the Library of Congress for preserva-tion in the United States National Film Registry, beingdeemed “culturally, historically, or aesthetically signifi-cant”.

1 Plot

A group of teenagers are having an evening beach partyon Amity Island and Chrissie Watkins (Susan Backlinie)decides to swim in the ocean. While treading, she ispulled underwater. The next morning, Deputy Hendricks(Jeffrey Kramer) finds her remains on the beach. Uponhearing from the medical examiner that the cause of deathwas a possible shark attack, Police Chief Martin Brody(Roy Scheider) proceeds to close the beaches, but MayorLarry Vaughn (Murray Hamilton) overrules him, fearingnews of a shark attack will ruin the summer tourist sea-son, the town’s primary revenue source. He rationalizesthat there have been no prior shark problems in the area,and theorizes the girl was killed in a boating accident.The coroner concurs and Brody reluctantly accepts theirconclusion.When another fatal shark attack occurs shortly after-wards, several actions are taken to handle the situation.Amid an amateur shark-hunting frenzy, local professionalshark hunter Quint (Robert Shaw) offers his services for$10,000. Matt Hooper (Richard Dreyfuss), a consultingoceanographer, arrives and examines Chrissie’s remains.He concludes that the cause of death was definitely ashark attack.The local fishermen catch a large tiger shark, but Hooperisn't so sure it is the same predator, confirming this af-ter finding no human remains inside its stomach. WhileHooper and Brody search the local waters at night, theydiscover local fisherman Ben Gardner’s half-sunken boat.Hooper examines the vessel underwater and retrieves asizable great white shark's tooth embedded in the hull.Startled by finding Gardner’s partial remains, Hooperdrops the tooth. Brody and Hooper tell Vaughn that ahumongous great white shark is the real culprit, but hediscounts their warnings and refuses to close the beaches,allowing only added safety precautions. On the Fourth ofJuly weekend, the beaches are packed with tourists. Fol-lowing a practical joke, the shark enters a nearby estuary,hitting Brody’s kids and killing a boater. Brody pushesa devastated Vaughn, whose kids were also there, to hireQuint.Quint, Brody, and Hooper set out on Quint’s boat, theOrca, to hunt the shark. While Brody lays down a chumline, Quint waits for an opportunity to hook the shark.Without warning, it appears behind the boat. Quint, es-timating its length at 25', harpoons it with a line attachedto a flotation barrel, but the shark pulls the barrel under-water and disappears.

1

2 2 PRODUCTION

By nightfall, the men retire to the boat’s cabin whereQuint and Hooper compare scars and share how they re-ceived them. Quint recounts how he survived the sharkattacks that followed the sinking of the warship USS In-dianapolis during the War in the Pacific in 1945. Thegreat white returns, ramming the boat’s hull and killingthe power. The men work through the night repairing theengine. In the morning, Brody attempts to call the CoastGuard, but Quint smashes the radio, enraging Brody. Af-ter a long chase, Quint harpoons another barrel into theshark. The men tie the line to the stern, but the sharkdrags the boat backwards, swamping the deck and flood-ing the engine compartment with seawater and forcingQuint to cut the line to prevent the transom from beingpulled out. He then heads toward shore to draw his quarryinto shallow waters and suffocate it, but overtaxes andstalls the damaged engine.With the boat immobilized, the trio attempt a riskier ap-proach: Hooper dons scuba gear and enters the water ina shark-proof cage, intending to lethally inject the sharkwith strychnine using a hypodermic spear. The shark de-molishes the cage, causing Hooper to drop the spear be-fore escaping to the seabed. Seconds later, the shark at-tacks the boat directly, killing Quint. Brody, trapped onthe sinking vessel, shoves a pressurized scuba tank intothe shark’s mouth, and, climbing the mast, shoots thetank with Quint’s rifle. The resulting explosion obliteratesthe shark. Hooper surfaces, and he and Brody paddle toAmity Island on boat wreckage.

2 Production

2.1 Development

Richard D. Zanuck and David Brown, producers atUniversal Pictures, independently heard about PeterBenchley’s novel Jaws. Brown came across it in the lit-erature section of lifestyle magazine Cosmopolitan, thenedited by his wife, Helen Gurley Brown. A small cardwritten by the magazine’s book editor gave a detaileddescription of the plot, concluding with the comment“might make a good movie”.[3][4] The producers eachread the book over the course of a single night and agreedthe next morning that it was “the most exciting thing thatthey had ever read” and that they wanted to produce afilm version, although they were unsure how it wouldbe accomplished.[5] They purchased the movie rights in1973, before the book’s publication, for approximately$175,000.[6] Brown claimed that had they read the booktwice, they would never have made the film because theywould have realized how difficult it would be to executecertain sequences.[7]

To direct, Zanuck and Brown first considered veteranfilmmaker John Sturges—whose résumé included an-other maritime adventure, The Old Man and the Sea—before offering the job to Dick Richards, whose directo-

rial debut, The Culpepper Cattle Co. had come out the pre-vious year.[8] However, they grew irritated by Richards’shabit of describing the shark as a whale and soon droppedhim from the project.[8] Meanwhile, Steven Spielbergvery much wanted the job. The 26-year-old had just di-rected his first theatrical film, The Sugarland Express, forZanuck and Brown. At the end of a meeting in their of-fice, Spielberg noticed their copy of the still-unpublishedBenchley novel, and after reading it was immediatelycaptivated.[6] He later observed that it was similar to his1971 television film Duel in that both deal with “theseleviathans targeting everymen.”[5] After Richards’s de-parture, the producers signed Spielberg to direct in June1973, before the release of The Sugarland Express.[8]

Before production began, however, Spielberg grew reluc-tant to continue with Jaws, in fear of becoming typecastas the “truck and shark director”.[9] He wanted to moveover to 20th Century Fox's Lucky Lady instead, but Uni-versal exercised its right under its contract with the di-rector to veto his departure.[10] Brown helped convinceSpielberg to stick with the project, saying that “after[Jaws], you can make all the films you want”.[9] Thefilm was given an estimated budget of $3.5 million and ashooting schedule of 55 days. Principal photography wasset to begin in May 1974. Universal wanted the shoot tofinish by the end of June, when the major studios’ con-tract with the Screen Actors Guild was due to expire, toavoid any disruptions due to a potential strike.[11]

2.2 Writing

For the screen adaptation, Spielberg wanted to stay withthe novel’s basic plot, while omitting Benchley’s manysubplots.[6] He declared that his favorite part of the bookwas the shark hunt on the last 120 pages, and told Zanuckwhen he accepted the job, “I'd like to do the picture if Icould change the first two acts and base the first two actson original screenplay material, and then be very true tothe book for the last third.”[12] When the producers pur-chased the rights to his novel, they promised Benchleythat he could write the first draft of the screenplay.[6] Theintent was to make sure a script could be done despite animpending threat of a Writer’s Guild strike, given Bench-ley was not unionized.[13] Overall, he wrote three draftsbefore the script was turned over to other writers;[6] deliv-ering his final version to Spielberg, he declared, “I'm writ-ten out on this, and that’s the best I can do.”[14] Benchleywould later describe his contribution to the finished filmas “the storyline and the ocean stuff – basically, the me-chanics”, given he “didn't know how to put the charactertexture into a screenplay.”[13] One of his changes was toremove the novel’s adulterous affair between Ellen Brodyand Matt Hooper, at the suggestion of Spielberg, whofeared it would compromise the camaraderie between themen on the Orca.[15] During the film’s production, Bench-ley agreed to return and play a small onscreen role as areporter.[16]

2.3 Casting 3

Spielberg, who felt that the characters in Benchley’s scriptwere still unlikable, invited the young screenwriter JohnByrum to do a rewrite, but he declined the offer.[9]

Columbo creators William Link and Richard Levinsonalso declined Spielberg’s invitation.[17] Tony and PulitzerPrize–winning playwright Howard Sackler was in LosAngeles when the filmmakers began looking for anotherwriter and offered to do an uncredited rewrite; since theproducers and Spielberg were unhappy with Benchley’sdrafts, they quickly agreed.[5] At the suggestion of Spiel-berg, Brody’s characterization made him afraid of water,“coming from an urban jungle to find something moreterrifying off this placid island near Massachusetts.”[13]

Spielberg wanted “some levity” in Jaws, humor thatwould avoid making it “a dark sea hunt,” so he turnedto his friend Carl Gottlieb, a comedy writer-actor thenworking on the sitcom The Odd Couple.[14] Spielbergsent Gottlieb a script, asking what the writer wouldchange and if there was a role he would be interestedin performing.[18] Gottlieb sent Spielberg three pages ofnotes, and picked the part of Meadows, the politicallyconnected editor of the local paper. He passed the au-dition one week before Spielberg took him to meet theproducers regarding a writing job.[19]

While the deal was initially for a “one-week dialoguepolish”, Gottlieb eventually became the primary screen-writer, rewriting the entire script during a nine-week pe-riod of principal photography.[19] The script for eachscene was typically finished the night before it was shot,after Gottlieb had dinner with Spielberg and membersof the cast and crew to decide what would go into thefilm. Many pieces of dialogue originated from the ac-tors’ improvisations during these meals; a few were cre-ated on set, most notably Roy Scheider’s ad-lib of theline “You're gonna need a bigger boat.”[20] John Miliuscontributed dialogue polishes,[21] and Sugarland Expresswriters Matthew Robbins and Hal Barwood also made un-credited contributions.[22] Spielberg has claimed that heprepared his own draft, although it is unclear to what de-gree the other screenwriters drew on his material.[21] Onespecific alteration he called for in the story was to changethe cause of the shark’s death from extensive wounds toa scuba tank explosion, as he felt audiences would re-spond better to a “big rousing ending.”[23] The directorestimated the final script had a total of 27 scenes that werenot in the book.[15]

Benchley had written Jaws after reading about sport fish-erman Frank Mundus's capture of an enormous shark in1964. According to Gottlieb, Quint was loosely basedon Mundus, whose book Sportfishing for Sharks he readfor research.[24] Sackler came up with the backstory ofQuint as a survivor of the World War II USS Indianapolisdisaster.[25] The question of who deserves the most creditfor writing Quint’s monologue about the Indianapolis hascaused substantial controversy. Spielberg described it asa collaboration between Sackler, Milius, and actor RobertShaw, who was also a playwright.[21] According to the di-

rector, Milius turned Sackler’s “three-quarters of a page”speech into a monologue, and that was then rewritten byShaw.[25] Gottlieb gives primary credit to Shaw, down-playing Milius’s contribution.[26]

2.3 Casting

Though Spielberg complied with a request from Zanuckand Brown to cast known actors,[16] he wanted to avoidhiring any big stars. He felt that “somewhat anonymous”performers would help the audience “believe this washappening to people like you and me”, whereas “starsbring a lot of memories along with them, and those mem-ories can sometimes ... corrupt the story.”[22] The direc-tor added that in his plans “the superstar was gonna bethe shark”.[14] The first actors cast were Lorraine Gary,the wife of then-president of Universal Sid Sheinberg,as Ellen Brody,[16] and Murray Hamilton as the mayorof Amity Island.[27] Stuntwoman-turned-actress SusanBacklinie was cast as Chrissie as she knew how to swimand was willing to perform nude.[14] Most minor roleswere played by residents of Martha’s Vineyard, wherethe film was shot. One example was Deputy Hendricks,played by future television producer Jeffrey Kramer.[28]

The role of Brody was offered to Robert Duvall, but theactor was interested only in portraying Quint.[29] CharltonHeston expressed a desire for the role, but Spielberg feltthat Heston would bring a screen persona too grand forthe part of a police chief of a modest community.[30] RoyScheider became interested in the project after overhear-ing Spielberg at a party talk with a screenwriter abouthaving the shark jump up onto a boat.[16] Spielberg wasinitially apprehensive about hiring Scheider, fearing hewould portray a “tough guy”, similar to his role in TheFrench Connection.[29]

Nine days before the start of production, neither Quintnor Hooper had been cast.[31] The role of Quint was orig-inally offered to actors Lee Marvin and Sterling Hay-den, both of whom passed.[16][29] Zanuck and Brown hadjust finished working with Robert Shaw on The Sting,and suggested him to Spielberg.[32] Shaw was reluctantto take the role since he did not like the book, but de-cided to accept at the urging of both his wife, actressMary Ure, and his secretary—"The last time they werethat enthusiastic was From Russia with Love. And theywere right.”[33] Shaw based his performance on fellowcast member Craig Kingsbury, a local fisherman, farmer,and legendary eccentric, who was playing fisherman BenGardner.[34] Spielberg described Kingsbury as “the purestversion of who, in my mind, Quint was”, and some of hisoffscreen utterances were incorporated into the script aslines of Gardner and Quint.[35] Another source for someof Quint’s dialogue and mannerisms, especially in thethird act at sea, was Vineyard mechanic and boat-ownerLynn Murphy.[36][37]

For the role of Hooper, Spielberg initially wanted Jon

4 2 PRODUCTION

Voight.[32] Timothy Bottoms, Joel Grey, and Jeff Bridgeswere also considered for the part.[38] Spielberg’s friendGeorge Lucas suggested Richard Dreyfuss, whom hehad directed in American Graffiti.[16] The actor initiallypassed, 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 per-formance and fearing that no one would want to hire himonce Kravitz was released, he immediately called Spiel-berg and accepted the role in Jaws. Because the filmthe director envisioned was so dissimilar to Benchley’snovel, Spielberg asked Dreyfuss not to read it.[39] As aresult of the casting, Hooper was rewritten to better suitthe actor,[31] as well as to be more representative of Spiel-berg, who came to view Dreyfuss as “my alter ego”.[38]

2.4 Filming

“We started the film without a script, without a cast andwithout a shark.”—actor Richard Dreyfuss on the film’s troubledproduction[40]

Principal photography began May 2, 1974,[41] on the is-land of Martha’s Vineyard, Massachusetts, selected afterconsideration was given to eastern Long Island. Brownexplained later that the production “needed a vacationarea that was lower middle class enough so that an appear-ance of a shark would destroy the tourist business.”[42]

Martha’s Vineyard was also chosen because the surround-ing ocean had a sandy bottom that never dropped below35 feet (11 m) for 12 miles (19 km) out from shore, whichallowed the mechanical sharks to operate while also be-yond sight of land.[43] As Spielberg wanted to film theaquatic sequences relatively close-up to resemble whatpeople see while swimming, cinematographer Bill But-ler devised new equipment to facilitate marine and un-derwater shooting, including a rig to keep the camera sta-ble regardless of tide and a sealed submersible camerabox.[44] Spielberg asked the art department to avoid redin both scenery and wardrobe, so that the blood from theattacks would be the only red element and cause a biggershock.[35]

Three full-size pneumatically powered prop sharks—which the film crew nicknamed “Bruce” after Spielberg’slawyer, Bruce Ramer—were made for the production:[46]

a “sea-sled shark”, a full-body prop with its belly miss-ing that was towed with a 300-foot (roughly 100-m) line,and two “platform sharks”, one that moved from camera-left to -right (with its hidden left side exposing an arrayof pneumatic hoses), and an opposite model with its rightflank uncovered.[6] The sharks were designed by art di-rector Joe Alves during the third quarter of 1973. Be-tween November 1973 and April 1974, the sharks werefabricated at Rolly Harper’s Motion Picture & EquipmentRental in Sun Valley, California. Their construction in-

The fishing village of Menemsha, Martha’s Vineyard, was theprimary location.[45]

volved a team of as many as 40 effects technicians, super-vised by mechanical effects supervisor Bob Mattey, bestknown for creating the giant squid in 20,000 Leagues Un-der the Sea. After the sharks were completed, they weretrucked to the shooting location.[47] In early July, the plat-form used to tow the two side-view sharks capsized as itwas being lowered to the ocean floor, forcing a team ofdivers to retrieve it.[48] The model required 14 operatorsto control all of the moving parts.[39]

The film had a troubled shoot and went far over bud-get. David Brown said that the budget “was $4 millionand the picture wound up costing $9 million";[49] the ef-fects outlays alone grew to $3 million due to the problemswith the mechanical sharks.[50] Disgruntled crew mem-bers gave the film the nickname “Flaws”.[39][46] Spielbergattributed many problems to his perfectionism and his in-experience. The former was epitomized by his insistenceon shooting at sea with a life-sized shark; “I could haveshot the movie in the tank or even in a protected lakesomewhere, but it would not have looked the same,” hesaid.[33] As for his lack of experience: “I was naive aboutthe ocean, basically. I was pretty naive about mother na-ture and the hubris of a filmmaker who thinks he can con-quer the elements was foolhardy, but I was too young toknow I was being foolhardy when I demanded that weshoot the film in the Atlantic Ocean and not in a NorthHollywood tank.”[25] Gottlieb said that “there was noth-ing to do except make the movie”, so everyone kept over-working, and while as a writer he did not have to attendthe ocean set every day, once the crewmen returned theyarrived “ravaged and sunburnt, windblown and coveredwith salt water”.[13]

Shooting at sea led to many delays: unwanted sailboatsdrifted into frame, cameras got soaked,[35] and the Orcaonce began to sink with the actors on board.[51] Theprop sharks frequently malfunctioned owing to a series ofproblems including bad weather, pneumatic hoses takingon salt water, frames fracturing due to water resistance,corroding skin, and electrolysis. From the first water testonward, the “non-absorbent” neoprene foam that made

2.5 Music 5

up the sharks’ skin soaked up liquid, causing the sharksto balloon, and the sea-sled model frequently got entan-gled among forests of seaweed.[33][48] Spielberg later cal-culated that during the 12-hour daily work schedule, onaverage only four hours were actually spent filming.[52]

Gottlieb was nearly decapitated by the boat’s propellers,and Dreyfuss was almost imprisoned in the steel cage.[33]

The actors were frequently seasick. Shaw also fled toCanada whenever he could due to tax problems,[53] en-gaged in binge drinking, and developed a grudge againstDreyfuss, who was getting rave reviews for his perfor-mance in Duddy Kravitz.[14][54] Editor Verna Fields rarelyhad material to work with during principal photography,as according to Spielberg “we would shoot five scenes ina good day, three in an average day, and none in a badday.”[55]

The mechanical shark, attached to the tower

The delays proved serendipitous in some regards. Thescript was refined during production, and the unreli-able mechanical sharks forced Spielberg to shoot manyscenes so that the shark was only hinted at. For ex-ample, for much of the shark hunt, its location is indi-cated by the floating yellow barrels.[56] The opening hadthe shark devouring Chrissie,[14] but it was rewritten sothat it would be shot with Backlinie being dragged andyanked by cables to simulate an attack.[35] Spielberg alsoincluded multiple shots of just the dorsal fin. This forcedrestraint is widely thought to have added to the film’ssuspense.[56] As Spielberg put it years later, “The filmwent from a Japanese Saturday matinee horror flick tomore of a Hitchcock, the less-you-see-the-more-you-getthriller.”[39] In another interview, he similarly declared,“The shark not working was a godsend. It made mebecome more like Alfred Hitchcock than like Ray Har-ryhausen.” The acting became crucial for making audi-ences believe in such a big shark: “The more fake theshark looked in the water, the more my anxiety told meto heighten the naturalism of the performances.”[25]

Footage of real sharks was shot by Ron and Valerie Taylorin the waters off Australia, with a smaller-framed actor ina miniature shark cage to create the illusion that the sharkswere enormous. During the Taylors’ shoot, a great white

attacked the boat and cage. The footage of the cage attackwas so stunning that Spielberg was eager to incorporate itin the film. No one had been in the cage at the time, how-ever, and the script, following the novel, originally had theshark killing Hooper in it. The storyline was consequentlyaltered to have Hooper escape from the cage, which al-lowed the footage to be used.[57][58] As production exec-utive Bill Gilmore put it, “The shark down in Australiarewrote the script and saved Dreyfuss’s character.”[59]

Although principal photography was scheduled to take 55days, it did not wrap until October 6, 1974, after 159days.[39][41] Spielberg, reflecting on the protracted shoot,stated, “I thought my career as a filmmaker was over. Iheard rumors ... that I would never work again becauseno one had ever taken a film 100 days over schedule.”[39]

Spielberg himself was not present for the shooting of thefinal scene in which the shark explodes, as he believedthat the crew were planning to throw him in the waterwhen the scene was done.[23] It has since become a tra-dition for Spielberg to be absent when the final scene ofone of his films is being shot.[60] Afterward, underwa-ter scenes were shot at the Metro-Goldwyn-Mayer wa-ter tank in Culver City, with stuntmen Dick Warlock andFrank James Sparks as stand-ins for Dreyfuss in the scenewhere the shark attacks the cage,[61] as well as near SantaCatalina Island, California. Fields, who had completeda rough cut of the first two-thirds of the film, up untilthe shark hunt, finished the editing and reworked some ofthe material. According to Zanuck, “She actually camein and reconstructed some scenes that Steven had con-structed for comedy and made them terrifying, and somescenes he shot to be terrifying and made them comedyscenes.”[62] The ship used for the Orca was brought to LosAngeles so the sound effects team could record sounds forboth the ship and the underwater scenes.[63]

Two scenes were altered following test screenings. Asthe audience’s screams had covered up Scheider’s “biggerboat” one-liner, Brody’s reaction after the shark jumpsbehind him was extended, and the volume of the line wasraised.[64][65] Spielberg also decided that he was greedyfor “one more scream”, and reshot the scene in whichHooper discovers Ben Gardner’s body, using $3,000 ofhis own money after Universal refused to pay for thereshoot. The underwater scene was shot in Fields’s swim-ming pool in Encino, California,[66] using a lifecast latexmodel of Craig Kingsbury’s head attached to a fake body,which was placed in the wrecked boat’s hull.[35] To sim-ulate the murky waters of Martha’s Vineyard, powderedmilk was poured into the pool, which was then coveredwith tarpaulin.[13]

2.5 Music

Main article: Jaws (soundtrack)

6 3 INSPIRATIONS AND THEMES

John Williams composed the film’s score, which earnedhim an Academy Award and was later ranked the sixth-greatest score by the American Film Institute.[68][69] Themain “shark” theme, a simple alternating pattern of twonotes—variously identified as “E and F”[70] or “F andF sharp”[71]—became a classic piece of suspense mu-sic, synonymous with approaching danger (see leading-tone). Williams described the theme as “grinding awayat you, just as a shark would do, instinctual, relent-less, unstoppable.”[72] The piece was performed by tubaplayer Tommy Johnson. When asked by Johnson whythe melody was written in such a high register and notplayed by the more appropriate French horn, Williamsresponded that he wanted it to sound “a little morethreatening”.[73] When Williams first demonstrated hisidea to Spielberg, playing just the two notes on a pi-ano, Spielberg was said to have laughed, thinking thatit was a joke. As Williams saw similarities betweenJaws and pirate movies, at other points in the scorehe evoked “pirate music”, which he called “primal, butfun and entertaining”.[67] Calling for rapid, percussivestring playing, the score contains echoes of La mer byClaude Debussy as well of Igor Stravinsky's The Rite ofSpring.[71][74]

There are various interpretations of the meaning and ef-fectiveness of the primary music theme, which is widelydescribed as one of the most recognizable cinematicthemes of all time.[75] Music scholar Joseph Cancellaroproposes that the two-note expression mimics the shark’sheartbeat.[76] According to Alexandre Tylski, like themesBernard Herrmann wrote for Taxi Driver, North by North-west, and particularly Mysterious Island, it suggests hu-man respiration. He further argues that the score’sstrongest motif is actually “the split, the rupture”—whenit dramatically cuts off, as after Chrissie’s death.[71] Therelationship between sound and silence is also taken ad-vantage of in the way the audience is conditioned to as-sociate the shark with its theme,[72] which is exploited to-ward the film’s climax when the shark suddenly appearswith no musical introduction.[75]

Spielberg later said that without Williams’s score the filmwould have been only half as successful, and accordingto Williams it jumpstarted his career.[67] He had previ-ously scored Spielberg’s debut feature, The Sugarland Ex-press, and went on to collaborate with the director on al-most all of his films.[72] The original soundtrack for Jawswas released by MCA Records on LP in 1975, and as aCD in 1992, including roughly a half hour of music thatWilliams redid for the album.[77][78] In 2000, two versionsof the score were released: Decca/Universal reissued thesoundtrack album to coincide with the release of the25th-anniversary DVD, featuring the entire 51 minutes ofthe original score,[77][78] and Varèse Sarabande put out arerecording of the score performed by the Royal ScottishNational Orchestra, conducted by Joel McNeely.[79]

3 Inspirations and themes

Herman Melville's Moby-Dick is the most notable artis-tic antecedent to Jaws. The character of Quint stronglyresembles Captain Ahab, the obsessed captain of thePequod who devotes his life to hunting a sperm whale.Quint’s monologue reveals a similar obsession withsharks; even his boat, the Orca, is named after the onlynatural enemy of the white shark. In the novel and orig-inal screenplay, Quint dies after being dragged underthe ocean by a harpoon tied to his leg, similar to thedeath of Ahab in Melville’s novel.[80] A direct referenceto these similarities may be found in Spielberg’s draft ofthe screenplay, which introduces Quint watching the filmversion of Moby-Dick; his continuous laughter promptsother audience members to get up and leave the theater(Wesley Strick's screenplay for the 1991 remake of CapeFear features a similar scene). However, the scene fromMoby-Dick could not be licensed from the film’s star,Gregory Peck, its copyright holder.[5] Screenwriter CarlGottlieb also drew comparisons to Ernest Hemingway'sThe Old Man and the Sea: "Jaws is ... a titanic struggle,like Melville or Hemingway.”[24]

The underwater scenes shot from the shark’s point ofview have been compared with passages in two 1950shorror films, The Creature from the Black Lagoon andThe Monster That Challenged the World.[81][82] Gottliebnamed two science fiction productions from the same eraas influences on how the shark was depicted, or not: TheThing from Another World, which Gottlieb described as“a great horror film where you only see the monster inthe last reel";[83] and It Came From Outer Space, where“the suspense was built up because the creature was al-ways off-camera”. Those precedents helped Spielbergand Gottlieb to “concentrate on showing the 'effects’ ofthe shark rather than the shark itself”.[20] Scholars suchas Thomas Schatz noted how Jaws melds various gen-res 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 slasherfilm. The second half of the movie provides a buddy filmin the interaction between the crew of the Orca, and asupernatural horror based on the shark’s depiction of anearly Satanic menace.[84]

Critics such as Neil Sinyard have noticed similarities toHenrik Ibsen's play An Enemy of the People.[85] Gottliebhimself said he and Spielberg referred to Jaws as "Moby-Dick meets Enemy of the People.”[86] The Ibsen work fea-tures a doctor who discovers that a seaside town’s medic-inal hot springs, a major tourist attraction and revenuesource, are contaminated. When the doctor attemptsto convince the townspeople of the danger, he loses hisjob and is shunned. This plotline is paralleled in Jawsby Brody’s conflict with Mayor Vaughn, who refuses toacknowledge the presence of a shark that may dissuadesummer beachgoers from coming to Amity. Brody is vin-dicated when more shark attacks occur at the crowded

7

beach in broad daylight. Sinyard calls the film a “deftcombination of Watergate and Ibsen’s play”.[85]

3.1 Scholarly criticism

Jaws has received attention from academic critics.Stephen Heath relates the film’s ideological meanings tothe then-recent Watergate scandal. He argues that Brodyrepresents the “white male middle class—[there is] nota single black and, very quickly, not a single woman inthe film”, who restores public order “with an ordinary-guy kind of heroism born of fear-and-decency”.[87] YetHeath moves beyond ideological content analysis to ex-amine Jaws as a signal example of the film as “industrialproduct” that sells on the basis of “the pleasure of cinema,thus yielding the perpetuation of the industry (which iswhy part of the meaning of Jaws is to be the most prof-itable movie)".[88]

Andrew Britton contrasts the film to the novel’s post-Watergate cynicism, suggesting that its narrative alter-ations from the book (Hooper’s survival, the shark’s ex-plosive death) help make it “a communal exorcism, a cer-emony for the restoration of ideological confidence.” Hesuggests that the experience of the film is “inconceiv-able” without the mass audience’s jubilation when theshark is annihilated, signifying the obliteration of evilitself.[89] In his view, Brody serves to demonstrate that“individual action by the one just man is still a viablesource for social change”.[90] Peter Biskind argues thatthe film does maintain post-Watergate cynicism concern-ing politics and politicians insofar as the sole villain be-side the shark is the town’s venal mayor. Yet he observesthat, far from the narrative formulas so often employedby New Hollywood filmmakers of the era—involving Usvs. Them, hip counterculture figures vs. "The Man"—the overarching conflict in Jaws does not pit the heroesagainst authority figures, but against a menace that targetseveryone regardless of socioeconomic position.[91]

Whereas Britton states that the film avoids the novel’stheme of social class conflicts on Amity Island,[90]

Biskind detects class divisions in the screen version andargues for their significance. “Authority must be re-stored,” he writes, “but not by Quint”. The seaman’s“working class toughness and bourgeois independence isalien and frightening ... irrational and out of control”.Hooper, meanwhile, is “associated with technology ratherthan experience, inherited wealth rather than self-madesufficiency"; he is marginalized from the conclusive ac-tion, if less terminally than Quint.[92] Britton sees the filmmore as concerned with the “vulnerability of children andthe need to protect and guard them”, which in turn helpsgenerate a “pervasive sense of the supreme value of fam-ily life: a value clearly related to [ideological] stabilityand cultural continuity”.[93]

Fredric Jameson's Marxist analysis highlights thepolysemy of the shark and the multiple ways in which

it can be and has been read—from representing alienmenaces such as communism or the Third Worldto more intimate dreads concerning the unreality ofcontemporary American life and the vain efforts tosanitize and suppress the knowledge of death. Heasserts that its symbolic function is to be found in thisvery “polysemousness which is profoundly ideological,insofar as it allows essentially social and historicalanxieties to be folded back into apparently 'natural'ones ... to be recontained in what looks like a conflictwith other forms of biological existence.”[94] He viewsQuint’s demise as the symbolic overthrow of an old,populist, New Deal America and Brody and Hooper’spartnership as an “allegory of an alliance between theforces of law-and-order and the new technocracy ofthe multinational corporations ... in which the viewerrejoices without understanding that he or she is excludedfrom it.”[95]

Neal Gabler analyzed the film as showing three differentapproaches to solving an obstacle: science (representedby Hooper), spiritualism (represented by Quint), and thecommon man (represented by Brody). The last of thethree is the one which succeeds and is in that way en-dorsed by the film.[96]

4 Release

4.1 Promotion

Universal spent $1.8 million promoting Jaws, includ-ing an unprecedented $700,000 on national televisionspot advertising.[40][97] The media blitz included abouttwo dozen 30-second advertisements airing each nighton prime-time network TV between June 18, 1975, andthe film’s opening two days later.[98] Beyond that, inthe description of film industry scholar Searle Kochberg,Universal “devised and co-ordinated a highly innovativeplan” for the picture’s marketing.[98] As early as Octo-ber 1974, Zanuck, Brown, and Benchley hit the televi-sion and radio talk show circuit to promote the paper-back edition of the novel and the forthcoming film.[99]

The studio and publisher Bantam agreed on a title logothat would appear on both the paperback and in all ofthe advertising for the film.[98] The centerpieces of thejoint promotion strategy were John Williams’ theme andthe poster image featuring the shark approaching a lonefemale swimmer.[50] The poster was based on the paper-back’s cover, and had the same artist, Bantam employeeRoger Kastel.[100] The Seiniger Advertising agency spentsix months designing the poster; principal Tony Seinigerexplained that “no matter what we did, it didn't look scaryenough”. Seiniger ultimately decided that “you had toactually go underneath the shark so you could see histeeth.”[101]

More merchandise was created to take advantage of thefilm’s release. In 1999, Graeme Turner wrote that Jaws

8 5 RECEPTION

was accompanied by what was still “probably the mostelaborate array of tie-ins” of any film to date: “This in-cluded a sound-track album, T-shirts, plastic tumblers, abook about the making of the movie, the book the moviewas based on, beach towels, blankets, shark costumes, toysharks, hobby kits, iron-transfers, games, posters, shark’stooth necklaces, sleepwear, water pistols, and more.”[102]

The Ideal Toy Company, for instance, produced a gamein which the player had to use a hook to fish out itemsfrom the shark’s mouth before the jaws closed.[103]

4.2 Theatrical run

The glowing audience response to a rough cut of the filmat two test screenings in Dallas on March 26, 1975, andone in Long Beach, on March 28, along with the successof Benchley’s novel and the early stages of Universal’smarketing campaign, generated great interest among the-ater owners, facilitating the studio’s plan to debut Jaws athundreds of cinemas simultaneously.[104][105] A third andfinal preview screening, of a cut incorporating changesinspired by the previous presentations, was held in Hol-lywood on April 24.[106] After Universal chairman LewWasserman attended one of the screenings, he orderedthe film’s initial release—planned for a massive total ofas many as 900 theaters—to be cut down, declaring, “Iwant this picture to run all summer long. I don't wantpeople in Palm Springs to see the picture in Palm Springs.I want them to have to get in their cars and drive to see itin Hollywood.”[107] Nonetheless, the several hundred the-aters that were still booked for the opening representedwhat was then an unusually wide release. At the time,wide openings were associated with movies of doubtfulquality; not uncommon on the exploitation side of the in-dustry, they were customarily employed to diminish theeffect of negative reviews and word of mouth. There hadbeen some recent exceptions, precedents that includedthe rerelease of Billy Jack and the original release of itssequel The Trial of Billy Jack, the Dirty Harry sequelMagnum Force, and the latest installments in the JamesBond series.[108][109] Still, the typical major studio filmrelease at the time involved opening at a few big-city the-aters, which allowed for a series of premieres. Distribu-tors would then slowly forward prints to additional localesacross the country, capitalizing on any positive critical oraudience response. The outsized success of The Godfa-ther in 1972 had sparked a trend toward wider releases,but even that film had debuted in just five theaters, beforegoing wide in its second weekend.[110]

On June 20, Jaws opened across North America on464 screens—409 in the United States, the remainder inCanada.[111] The coupling of this broad distribution pat-tern with the movie’s then even rarer national televisionmarketing campaign yielded a release method virtuallyunheard-of at the time.[112] (A month earlier, ColumbiaPictures had done something similar with a Charles Bron-son thriller, Breakout, though that film’s prospects for

an extended run were much slimmer.)[113][114] Universalpresident Sid Sheinberg reasoned that nationwide market-ing costs would be amortized at a more favorable rate perprint relative to a slow, scaled release.[112][115][116] Build-ing on the film’s success, the release was subsequentlyexpanded on July 25 to nearly 700 theaters, and on Au-gust 15 to more than 950.[117] Overseas distribution fol-lowed the same pattern, with intensive television cam-paigns and wide releases—in Great Britain, for instance,Jaws opened in December at more than 100 theaters.[118]

For its fortieth anniversary, the film was released in se-lected theaters (across approximately 500 theaters) in theUnited States on Sunday, June 21 and Wednesday, June24, 2015.[119][120]

5 Reception

5.1 Box office performance

Jaws opened with a $7 million weekend[121] and recoupedits production costs in two weeks.[122] In just 78 days, itovertook The Godfather as the highest-grossing film atthe North American box office,[110] sailing past that pic-ture’s earnings of $86 million[123] to become the first filmto reach $100 million in rentals.[124] Its initial release ulti-mately brought in $123.1 million in rentals.[122] Theatri-cal re-releases in 1976 and 1979 brought its total rentalsto $133.4 million.[123]

The picture entered overseas release in December1975,[125] and its international business mirrored its do-mestic performance. It broke records in Singapore,[126]

New Zealand, Japan,[127] Spain,[128] and Mexico.[129] By1977, Jaws was the highest-grossing international releasewith worldwide rentals of $193 million, equating to about$400 million of gross revenue;[130] it supplantedTheGod-father, which had earned $145 million in rentals.[131]

Jaws was the highest-grossing film of all time until StarWars, which debuted two years later. Star Wars sur-passed Jaws for the U.S. record six months after its re-lease and set a new global record in 1978.[132][133] As ofJune 2013, it is the 127th-highest-grossing film of all timewith $470.7 million worldwide,[134] and the 66th highestdomestically with a total North American gross of $260million.[121] Adjusted for inflation, Jaws has earned al-most $2 billion worldwide at 2011 prices and is the sec-ond most successful franchise film after Star Wars.[135] InNorth America, it is the seventh-highest-grossing movieof all time, with a total of $1.017 billion at currentprices,[136] based on an estimated 128,078,800 ticketssold.[137] In the United Kingdom, it is the seventh-highest-grossing film to be released since 1975, earning the equiv-alent of over £70 million in 2009/10 currency,[138] withadmissions estimated at 16.2 million.[139] Jaws has alsosold 13 million tickets in Brazil, the second-highest at-tendance ever in the country behind Titanic.[140]

5.3 Accolades 9

On television, the American Broadcasting Companyaired it for the first time right after its 1979 re-release.[141]

The first U.S. broadcast attracted 57 percent of the totalaudience, the second highest televised movie share at thetime behind Gone with the Wind.[142] In the United King-dom, 23 million people watched its inaugural broadcastin October 1981, the second biggest TV audience ever fora feature film behind Live and Let Die.[143]

5.2 Critical response

Jaws received mostly positive reviews uponrelease.[144][145] Roger Ebert of the Chicago Sun-Times called it “a sensationally effective action picture,a scary thriller that works all the better because it’spopulated with characters that have been developedinto human beings”.[146] Variety's A.D. Murphy praisedSpielberg’s directorial skills, and called Robert Shaw’sperformance “absolutely magnificent”.[147] Accordingto The New Yorker ' s Pauline Kael, it was “the mostcheerfully perverse scare movie ever made ... [with]more zest than an early Woody Allen picture, a lotmore electricity, [and] it’s funny in a Woody Allen sortof way”.[148] For New Times magazine, Frank Richwrote, “Spielberg is blessed with a talent that is absurdlyabsent from most American filmmakers these days: thisman actually knows how to tell a story on screen. ...It speaks well of this director’s gifts that some of themost frightening sequences in Jaws are those where wedon't even see the shark.”[149] Writing for New Yorkmagazine, Judith Crist described the film as “an exhila-rating adventure entertainment of the highest order” andcomplimented its acting and “extraordinary technicalachievements”.[150] Rex Reed praised the “nerve-frying”action scenes and concluded that “for the most part, Jawsis a gripping horror film that works beautifully in everydepartment”.[151]

The film was not without its detractors. Vincent Canbyof The New York Times wrote, “It’s a measure of how thefilm operates that not once do we feel particular sympa-thy for any of the shark’s victims. ... In the best films,characters are revealed in terms of the action. In movieslike Jaws, characters are simply functions of the action... like stage hands who move props around and deliverinformation when it’s necessary”. He did, however, de-scribe it as “the sort of nonsense that can be a good dealof fun”.[152] Los Angeles Times critic Charles Champlindisagreed with the film’s PG rating, saying that "Jaws istoo gruesome for children, and likely to turn the stomachof the impressionable at any age. ... It is a coarse-grainedand exploitative work which depends on excess for its im-pact. Ashore it is a bore, awkwardly staged and lumpilywritten.”[153] Marcia Magill of Films in Review said thatwhile Jaws “is eminently worth seeing for its second half”,she felt that before the protagonists’ pursuit of the sharkthe film was “often flawed by its busyness”.[154] WilliamS. Pechter of Commentary described Jaws as “a mind-

numbing repast for sense-sated gluttons” and “filmmak-ing of this essentially manipulative sort"; Molly Haskellof The Village Voice similarly characterized it as a “scaremachine that works with computer-like precision. ... Youfeel like a rat, being given shock therapy”.[149] The mostfrequently criticized aspect of the film has been the ar-tificiality of its mechanical antagonist: Magill declaredthat “the programmed shark has one truly phony close-up”,[154] and in 2002, online reviewer James Berardinellisaid that if not for Spielberg’s deftly suspenseful direc-tion, “we would be doubled over with laughter at thecheesiness of the animatronic creature.”[75] Halliwell’sFilm Guide claimed “despite genuinely suspenseful andfrightening sequences, it is a slackly narrated and some-times flatly handled thriller with an over-abundance of di-alogue and, when it finally appears, a pretty unconvincingmonster.”[155]

5.3 Accolades

Jaws won three Academy Awards for Best Film Edit-ing, Best Original Dramatic Score, and Best Sound(Robert Hoyt, Roger Heman, Earl Madery and JohnCarter).[68][156] It was also nominated for Best Picture,losing to One Flew Over the Cuckoo’s Nest.[157] Spiel-berg greatly resented the fact that he was not nom-inated for Best Director.[149] Along with the Oscar,John Williams’s score won the Grammy Award,[158] theBAFTA Award for Best Film Music,[159] and the GoldenGlobe Award.[160] To her Academy Award, Verna Fieldsadded the American Cinema Editors' Eddie Award forBest Edited Feature Film.[161]

Jaws was chosen Favorite Movie at the People’s ChoiceAwards.[162] It was also nominated for best Film, Di-rector, Actor (Richard Dreyfuss), Editing, and Sound atthe 29th British Academy Film Awards,[159] and BestFilm—Drama, Director, and Screenplay at the 33rdGolden Globe Awards.[160] Spielberg was nominated bythe Directors Guild of America for a DGA Award,[163]

and the Writers Guild of America nominated PeterBenchley and Carl Gottlieb’s script for Best AdaptedDrama.[164]

In the years since its release, Jaws has frequently beencited by film critics and industry professionals as one ofthe greatest movies of all time. It was number 48 onAmerican Film Institute’s 100 Years... 100 Movies, a listof the greatest American films of all time compiled in1998; it dropped to number 56 on the 10 Year Anniver-sary list.[165][166] AFI also ranked the shark at number 18on its list of the 50 Best Villains,[167] Roy Scheider’s line“You're gonna need a bigger boat” 35th on a list of top100 movie quotes,[168] Williams’s score at sixth on a listof 100 Years of Film Scores,[69] and the film as second ona list of 100 most thrilling films, behind only Psycho.[169]

In 2003, The New York Times included the film on its listof the best 1,000 movies ever made.[170] The followingyear, Jaws placed at the top of the Bravo network’s five-

10 6 LEGACY

hour miniseriesThe 100 Scariest MovieMoments.[171] TheChicago Film Critics Association named it the sixth scari-est film ever made in 2006.[172] In 2008, Jaws was rankedthe fifth greatest film in history by Empire magazine,[173]

which also placed Quint at number 50 on its list of the100 Greatest Movie Characters of All Time.[174] The filmhas been cited in many other lists of 50 and 100 greatestfilms, including ones compiled by Leonard Maltin,[175]

Entertainment Weekly,[176] Film4,[177] Rolling Stone,[178]

Total Film,[179] TV Guide,[180] and Vanity Fair.[181]

In 2001, the United States Library of Congress selectedit for preservation in the National Film Registry as a“culturally significant” motion picture.[182] In 2006, itsscreenplay was ranked the 63rd best of all time by theWriters Guild of America.[183]

6 Legacy

The entrance of the now closed Jaws ride at Universal StudiosFlorida

Jaws was key in establishing the benefits of a wide na-tional release backed by heavy television advertising,rather than the traditional progressive release in which afilm slowly entered new markets and built support overtime.[98][110] Saturation booking, in which a film opens si-multaneously at thousands of cinemas, and massive mediabuys are now commonplace for the major Hollywood stu-dios.[184] According to Peter Biskind, Jaws “diminish[ed]the importance of print reviews, making it virtually im-possible for a film to build slowly, finding its audienceby dint of mere quality. ... Moreover, Jaws whet corpo-

rate appetites for big profits quickly, which is to say, stu-dios wanted every film to be Jaws.”[185] Scholar ThomasSchatz writes that it “recalibrated the profit potential ofthe Hollywood hit, and redefined its status as a marketablecommodity and cultural phenomenon as well. The filmbrought an emphatic end to Hollywood’s five-year reces-sion, while ushering in an era of high-cost, high-tech,high-speed thrillers.”[186]

Jaws also played a major part in establishing summer asthe prime season for the release of studios’ biggest box-office contenders, their intended blockbusters;[110][187]

winter had long been the time when most hoped-for hitswere distributed, while summer was largely reserved fordumping films thought likely to be poor performers.[186]

Jaws and Star Wars are regarded as marking the begin-ning of the new U.S. film industry business model dom-inated by "high-concept" pictures—with premises thatcan be easily described and marketed—as well as thebeginning of the end of the New Hollywood period,which saw auteur films increasingly disregarded in favorof profitable big-budget pictures.[110][188] The New Hol-lywood era was defined by the relative autonomy film-makers were able to attain within the major studio sys-tem; in Biskind’s description, “Spielberg was the Trojanhorse through which the studios began to reassert theirpower.”[185]

The film had broader cultural repercussions, as well. Sim-ilar to the way the pivotal scene in 1960’s Psycho madeshowers a new source of anxiety, Jaws led many viewersto fear going into the ocean.[189][190] Reduced beach at-tendance in 1975 was attributed to it,[191] as well as an in-creased number of reported shark sightings.[192] It is stillseen as responsible for perpetuating negative stereotypesabout sharks and their behavior,[193] and for producing theso-called "Jaws effect”, which allegedly inspired “legionsof fishermen [who] piled into boats and killed thousandsof the ocean predators in shark-fishing tournaments.”[194]

Benchley stated that he would not have written the origi-nal novel had he known what sharks are really like in thewild.[195] Conservation groups have bemoaned the factthat the film has made it considerably harder to convincethe public that sharks should be protected.[196]

Jaws set the template for many subsequent horror films,to the extent that the script for Ridley Scott's 1979 sci-ence fiction film Alien was pitched to studio executivesas "Jaws in space.”[197][198] Many films based on man-eating animals, usually aquatic, were released throughthe 1970s and 1980s, such as Orca, Grizzly, Mako: TheJaws of Death, Barracuda, Alligator, Day of the Ani-mals, Aatank, Tintorera and Eaten Alive. Spielberg de-clared Piranha, directed by Joe Dante and written by JohnSayles, “the best of the Jaws ripoffs”.[157] Among the var-ious mockbusters based on Jaws American or foreign,three came from Italy: Great White,[199] which inspireda plagiarism lawsuit by Universal and was even marketedin some countries as a part of the Jaws franchise;[200]

Monster Shark,[199] featured in Mystery Science Theater

6.2 Sequels 11

3000 under the title Devil Fish;[201] and Deep Blood, thatblends in a supernatural element.[202] The 1995 thrillerfilm Cruel Jaws even has the alternate title Jaws 5: CruelJaws,[203] and the 2009 Japanese horror film Psycho Sharkwas released in the United States as Jaws in Japan.[204]

Martha’s Vineyard celebrated the film’s 30th anniversaryin 2005 with a “JawsFest” festival,[205] which had a sec-ond edition in 2012.[206] An independent group of fansproduced the feature-length documentary The Shark isStill Working, featuring interviews with the film’s cast andcrew. Narrated by Roy Scheider and dedicated to PeterBenchley, who died in 2006, it debuted at the 2009 LosAngeles United Film Festival.[207][208]

6.1 Home video releases

The first ever LaserDisc title marketed in North Americawas the MCA DiscoVision release of Jaws in 1978.[209] Asecond LaserDisc was released in 1992,[210] before a thirdand final version came out under MCA/Universal HomeVideo’s Signature Collection imprint in 1995. This re-lease was an elaborate boxset that included deleted scenesand outtakes, a new two-hour documentary on the makingof the film directed and produced by Laurent Bouzereau,a copy of the novel Jaws, and a CD of John Williams’ssoundtrack.[211]

MCA Home Video first released Jaws on VHS in1980.[212][213] For the film’s 20th anniversary in 1995,MCA Universal Home Video issued a new Collector’sEdition tape featuring a making-of retrospective.[214]

This release sold 800,000 units in North America.[215]

Another, final VHS release, marking the film’s 25th an-niversary in 2000, came with a companion tape con-taining a documentary, deleted scenes, outtakes, and atrailer.[216]

Jaws was first released on DVD in 2000 for the film’s25th anniversary, accompanied by a massive publicitycampaign.[215] It featured a 50-minute documentary onthe making of the film (an edited version of the onefeatured on the 1995 LaserDisc release), with inter-views with Spielberg, Scheider, Dreyfuss, Benchley, andother cast and crew members. Other extras includeddeleted scenes, outtakes, trailers, production photos, andstoryboards.[217] The DVD shipped one million copiesin just one month.[218] In June 2005, a 30th-anniversaryedition was released at the JawsFest festival in Martha’sVineyard.[205] The new DVD had many extras seen inprevious home video releases, including the full two-hourBouzereau documentary, and a previously unavailable in-terview with Spielberg conducted on the set of Jaws in1974.[219] On the second JawsFest in August 2012, theBlu-ray Disc of Jaws was released,[206] with over fourhours of extras, including The Shark Is Still Working.[220]

The Blu-ray release was part of the celebrations of Uni-versal’s 100th anniversary, and debuted at fourth place inthe charts, with over 362,000 units sold.[221]

6.2 Sequels

Jaws spawned three sequels, none of which approachedthe success of the original. Their combined domesticgrosses amount to barely half of the first film’s.[222] InOctober 1975, Spielberg declared to a film festival au-dience that “making a sequel to anything is just a cheapcarny trick”.[157] Nonetheless, he did consider taking onthe first sequel when its original director, John D. Han-cock, was fired a few days into the shoot; ultimately, hisobligations to Close Encounters of the Third Kind, whichhe was working on with Dreyfuss, made it impossible.[223]

Jaws 2 (1978) was eventually directed by Jeannot Szwarc;Scheider, Gary, Hamilton, and Jeffrey Kramer (who por-trayed Deputy Hendricks) reprised their roles. It is gener-ally regarded as the best of the sequels.[224] The next film,Jaws 3-D (1983), was directed by Joe Alves, who hadserved as art director and production designer, respec-tively, on the two preceding films.[225] Starring DennisQuaid and Louis Gossett, Jr., it was released in the 3-Dformat, although the effect did not transfer to televisionor home video, where it was renamed Jaws 3.[226] Jaws:The Revenge (1987), directed by Joseph Sargent, starringMichael Caine, and featuring the return of Gary, is con-sidered one of the worst sequels ever made.[227][228] Whileall three sequels made a profit at the box office (Jaws 2and Jaws 3-D were among the top 20 highest-grossingfilms of their respective years), critics and audiences alikewere generally dissatisfied with the films.[229]

6.3 Adaptations and merchandise

The film has inspired two theme park rides: one atUniversal Studios Florida,[230] which closed in January2012,[231] and one at Universal Studios Japan.[232] Thereis also an animatronic version of a scene from the filmon the Studio Tour at Universal Studios Hollywood.[233]

There have been at least two musical adaptations: JAWSThe Musical!, which premiered in 2004 at the MinnesotaFringe Festival, and Giant Killer Shark: The Musical,which premiered in 2006 at the Toronto Fringe Festi-val.[234] Three video games based on the film were re-leased: 1987’s Jaws, developed by LJN for the NintendoEntertainment System;[235] 2006’s Jaws Unleashed byMajesco Entertainment for the Xbox, PlayStation 2, andPC;[236] and 2011’s Jaws: Ultimate Predator, also byMajesco, for the Nintendo 3DS and Wii.[237] A mobilegame was released in 2010 for the iPhone.[238] Aristo-crat made an officially licensed slot machine based on themovie.[239]

7 See also

• List of American films of 1975

• List of killer shark films

12 8 REFERENCES

8 References[1] "JAWS (A)". British Board of Film Classification. June

12, 1975. Retrieved June 7, 2015.

[2] http://www.empireonline.com/movies/features/500-greatest-movies/

[3] Priggé 2004, p. 6

[4] Scanlon 2009, p. 197

[5] Bouzereau, Laurent (1995). A Look Inside Jaws [“FromNovel to Script”]. Jaws: 30th Anniversary Edition DVD(2005): Universal Home Video.

[6] Brode 1995, p. 50

[7] McBride 1999, p. 231

[8] McBride 1999, p. 232

[9] Biskind 1998, p. 264

[10] McBride 1999, p. 240

[11] Gottlieb 2005, p. 52

[12] Friedman & Notbohm 2000, p. 8.

[13] Mark Salisbury and Ian Nathan. “Jaws: The Oral His-tory”. Empire. Retrieved March 23, 2015.

[14] Pangolin Pictures (June 16, 2010). Jaws: The Inside Story(Television documentary). The Biography Channel.

[15] Friedman & Notbohm 2000, pp. 11–12

[16] Bouzereau, Laurent (1995). A Look Inside Jaws [“Casting"]. Jaws: 30th Anniversary Edition DVD (2005): Univer-sal Home Video.

[17] McBride 1999, p. 238

[18] Fischbach, Bob (May 20, 2010). “Bob’s Take: 'Jaws’script doctor ruthless to character played by him”. OmahaWorld-Herald. Retrieved March 6, 2012.

[19] Baer 2008, p. 198

[20] Baer 2008, pp. 201–202

[21] Friedman 2006, p. 167

[22] Biskind 1998, p. 265

[23] Bouzereau, Laurent (1995). A Look Inside Jaws [“Cli-max”]. Jaws: 30th Anniversary Edition DVD (2005):Universal Home Video.

[24] Baer 2008, p. 209

[25] Vespe, Eric (Quint) (June 6, 2011). “Steven Spielberg andQuint have an epic chat all about JAWS as it approachesits 36th Anniversary!". Ain't It Cool News. RetrievedJanuary 2, 2012.

[26] Gottlieb 2005, p. 208

[27] Gottlieb 2005, p. 56

[28] Nadler 2006, p. 35.

[29] McBride 1999, p. 237

[30] McBride 1999, pp. 236–237

[31] Baer 2008, p. 206

[32] Jackson 2007, p. 20

[33] “Summer of the Shark”. Time. June 23, 1975. Archivedfrom the original on November 30, 2009. RetrievedNovember 9, 2011.

[34] Nadler 2006, p. 36.

[35] Bouzereau, Laurent (1995). A Look Inside Jaws [“Pro-duction Stories”]. Jaws: 30th Anniversary Edition DVD(2005): Universal Home Video.

[36] Brannen, Peter (May 26, 2011). “Once Bitten: IslandersReveal More Jaws". Vineyard Gazette. Retrieved July 7,2015.

[37] Taylor 2012, pp. 250–251

[38] McBride 1999, p. 236

[39] Harvey, Neil (June 13, 2005). “30 years of 'Jaws’". TheRoanoke Times. Retrieved March 12, 2010.

[40] Smith, Neil (June 3, 2005). “Shark tale that changed Hol-lywood”. BBC News. Retrieved March 12, 2010.

[41] McBride 1999, p. 233

[42] Priggé 2004, p. 7

[43] Bouzereau, Laurent (1995). A Look Inside Jaws [“Lo-cation”]. Jaws: 30th Anniversary Edition DVD (2005):Universal Home Video.

[44] Bouzereau, Laurent (1995). A Look Inside Jaws [“Pho-tographing Jaws”]. Jaws: 30th Anniversary Edition DVD(2005): Universal Home Video.

[45] Gottlieb 2005, p. 92

[46] McBride 1999, p. 241

[47] Bouzereau, Laurent (1995). A Look Inside Jaws [“TheShark”]. Jaws: 30th Anniversary Edition DVD (2005):Universal Home Video.

[48] Bouzereau, Laurent (1995). A Look Inside Jaws [“TheShark Is Not Working”]. Jaws: 30th Anniversary EditionDVD (2005): Universal Home Video.

[49] Priggé 2004, p. 8

[50] Collins & Radner 1993, p. 18

[51] Bouzereau, Laurent (1995). A Look Inside Jaws [“TheOrca"]. Jaws: 30th Anniversary Edition DVD (2005):Universal Home Video.

[52] Sinyard 1989, p. 31

[53] Nadler 2006, p. 36-37.

13

[54] Dreyfuss, Richard (December 6, 2012). Tension BetweenRichard Dreyfuss and Robert Shaw in “JAWS” . Interviewwith Steven Bratter. University of Copenhagen. RetrievedJune 6, 2015.

[55] Bouzereau, Laurent (1995). A Look Inside Jaws [“VernaField 'Mother Cutter'"]. Jaws: 30th Anniversary EditionDVD (2005): Universal Home Video.

[56] Sinyard 1989, p. 36

[57] Bouzereau, Laurent (1995). A Look Inside Jaws [“TheLive Shark Footage”]. Jaws: 30th Anniversary EditionDVD (2005): Universal Home Video.

[58] McBride 1999, pp. 234–235

[59] McBride 1999, p. 235

[60] “Interview with Richard Dreyfuss”. The Shark Is StillWorking official website. Archived from the original onMarch 7, 2008. Retrieved March 11, 2010.

[61] Bouzereau, Laurent (1995). A Look Inside Jaws [“Fin-ishing the Film”]. Jaws: 30th Anniversary Edition DVD(2005): Universal Home Video.

[62] McBride 1999, pp. 251–252

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9 Bibliography

• Adamson, John E.; Morrison, Amanda (2011). Lawfor Business and Personal Use. Stamford, Connecti-cut: Cengage Learning. ISBN 0-538-49690-8.

• Andrews, Nigel (1999). Nigel Andrews on Jaws.London: Bloomsbury Publishing. ISBN 0-7475-3975-8.

• Baer, William (2008). Classic American Films:Conversations with the Screenwriters. Westport,Connecticut: Greenwood. ISBN 0-313-34898-7.

• Biskind, Peter (1998). Easy Riders, Raging Bulls.New York: Simon and Schuster. ISBN 0-684-85708-1.

• Blake, Edith (1975). The Making of the Movie Jaws.New York: Ballantine Books. ISBN 978-0-345-24882-4.

• Bowker’s Complete Video Directory 1994. NewYork: R.R. Bowker. 1994. ISBN 978-0-8352-3391-0.

• Britton, Andrew (1979). "Jaws". In Grant, BarryKeith. Britton on Film: The Complete Film Criticismof Andrew Britton. (2009). Detroit: Wayne StateUniversity Press. ISBN 0-8143-3363-X.

• Brode, Douglas (1995). The Films of Steven Spiel-berg. New York: Carol Publishing. ISBN 0-8065-1951-7.

• Brosnan, John (1978). Future Tense: The Cinemaof Science Fiction. London: Macdonald and Jane’s.ISBN 0-354-04222-X.

• Burr, Ty (1999). The 100 Greatest Movies of AllTime. New York: Entertainment Weekly Books.ISBN 1-883013-68-2.

• Cancellaro, Joseph (2006). Exploring Sound Designfor Interactive Media. Florence, Kentucky: DelmarLearning. ISBN 1-4018-8102-5.

• Collins, Jim; Radner, Hilary (1993). Film TheoryGoes to the Movies. London: Routledge. ISBN 0-415-90576-1.

• Friedman, Lester D. (2006). Citizen Spielberg.Champaign: University of Illinois Press. ISBN 0-252-07358-4.

• Friedman, Lester D.; Notbohm, Brent (2000).Steven Spielberg: Interviews. Jackson: UniversityPress of Mississippi. ISBN 1-57806-113-X.

• Gordon, Andrew (2008). Empire of Dreams: TheScience Fiction and Fantasy Films of Steven Spiel-berg. Lanham, Maryland: Rowman & Littlefield.ISBN 0-7425-5578-X.

• Gottlieb, Carl (2005). The Jaws Log. New York:Newmarket Press. ISBN 0-571-20949-1.

• Hall, Sheldon; Neale, Stephen (2010). Epics, Spec-tacles, and Blockbusters: A Hollywood History. De-troit: Wayne State University Press. ISBN 978-0-8143-3008-1.

• Heath, Stephen (1976). "Jaws, Ideology, and FilmTheory”. In Nichols, Bill. Movies and Methods: AnAnthology, Volume II. (1985). Berkeley: Universityof California Press. ISBN 0-520-05408-3.

• Jackson, Kathi (2007). Steven Spielberg: A Biog-raphy. Westport, Connecticut: Greenwood. ISBN0-313-33796-9.

• Jameson, Fredric (1979). “Reification and Utopia inMass Culture”. Signatures of the Visible. New Yorkand London: Routledge. ISBN 978-0-415-90012-6. JSTOR 466409.

• Kael, Pauline (1976). “Notes on Evolving Heroes,Morals, Audiences”. When the Lights Go Down.(1980). Beverly, Massachusetts: Wadsworth. ISBN0-03-056842-0.

• Kochberg, Searle (1996). “Institutions, Audiencesand Technology”. In Nelmes, Jill. An Introductionto Film Studies. London: Routledge. ISBN 0-415-10860-8.

• Lemkin, Jonathan (1984). “Archetypal Landscapesand Jaws". In Grant, Barry Keith. Planks of Rea-son: Essays on the Horror Film. Lanham, Maryland:Scarecrow Press. ISBN 0-8108-2156-7.

• Maltin, Leonard (1999). “100 Must-See Films ofthe 20th Century”. Leonard Maltin’s Movie & VideoGuide 2000. New York: Penguin Group. ISBN 0-452-28123-7.

• Marich, Robert (2005). Marketing to Moviegoers: AHandbook of Strategies Used by Major Studios andIndependents. Cambridge, Massachusetts: FocalPress. ISBN 0-240-80687-5.

18 10 EXTERNAL LINKS

• Mast, Gerald; Kawin, Bruce F. (2003). A Short His-tory of the Movies. Harlow, Essex: Longman. ISBN0-321-10603-2.

• McBride, Joseph (1999). Steven Spielberg: A Biog-raphy. Cambridge, Massachusetts: Da Capo Press.ISBN 0-306-80900-1.

• Moritz, Charles (1978). Current Biography Year-book 1978. New York: H. W. Wilson. ISBN99973-770-2-8.

• Morris, Nigel (2007). The Cinema of Steven Spiel-berg: Empire of Light. New York: Wallflower Press.ISBN 1-904764-88-6.

• Muir, John Kenneth (2007). Horror Films ofthe 1970s, Volume 2. Jefferson, North Carolina:McFarland. ISBN 0-7864-3104-0.

• Nadler, Holly (2006). Vineyard Confidential: 350Years of Scandals, Eccentrics, and Strange Occur-rences. Rockport, Maine: Down East EnterpriseInc. ISBN 0-89272-687-3.

• Ochoa, George (2011). Deformed and DestructiveBeings: The Purpose of Horror Films. McFarland.ISBN 0-7864-6307-4.

• Paszylk, Bartłomiej (2009). The Pleasure and Painof Cult Horror Films: An Historical Survey. Jef-ferson, North Carolina: McFarland. ISBN 0-7864-3695-6.

• Petersen, Clarence (1975). The Bantam Story:Thirty Years of Paperback Publishing. BantamBooks. OCLC 1937339.

• Priggé, Steven (2004). Movie Moguls Speak: Inter-views with Top Film Producers. Jefferson, NorthCarolina: McFarland. ISBN 0-7864-1929-6.

• Scanlon, Jennifer (2009). Bad Girls Go Everywhere:The Life of Helen Gurley Brown. Oxford: OxfordUniversity Press. ISBN 0-19-534205-4.

• Shone, Tom (2004). Blockbuster: How HollywoodLearned to Stop Worrying and Love the Summer.New York: Simon and Schuster. ISBN 0-7432-3568-1.

• Sinyard, Neil (1989). The Films of Steven Spielberg.London: Hamlyn Bison. ISBN 0-600-55226-8.

• Siska, William Charles (1980). Toward a Semi-otic Theory of Visual Communication in the Cin-ema. Manchester, New Hampshire: Ayer Publish-ing. ISBN 0-405-12900-9.

• Stanley, John (1988). Revenge of the Creature Fea-tures Movie Guide: An A to Z Encyclopedia to theCinema of the Fantastic, or, Is There a Mad Doc-tor in the House?. Pacifica, California: Creatures atLarge Press. ISBN 0-940064-08-1.

• Stringer, Julian (2003). Movie Blockbusters.Routledge. ISBN 978-0-415-25608-7.

• Taylor, Matt (2012). Jaws: Memories fromMartha’sVineyard. London: Titan Books. ISBN 978-1-78116-302-3.

• Turner, Graeme (1999). Film as Social Practice.London: Routledge. ISBN 0-415-21595-1.

• Wyatt, Justin (1994). High Concept: Movies andMarketing in Hollywood. Austin: University ofTexas Press. ISBN 0-292-79091-0.

• Wyatt, Justin (1998). “From Roadshowing to Satu-ration Release: Majors, Independents, and Market-ing/Distribution Innovations”. In Lewis, Jon. TheNew American Cinema. Durham, North Carolina:Duke University Press. ISBN 0-8223-2115-7.

• Yewdall, David Lewis (2011). Practical Art of Mo-tion Picture Sound. Waltham, Massachusetts: FocalPress. ISBN 0-240-81240-9.

10 External links• Jaws at DMOZ

• Jaws at Filmsite.org

• Jaws at the Internet Movie Database

• Jaws at the TCM Movie Database

• Jaws at AllMovie

• Jaws at Box Office Mojo

• Jaws at Metacritic

• Jaws at Rotten Tomatoes

19

11 Text and image sources, contributors, and licenses

11.1 Text• Jaws (film) Source: https://en.wikipedia.org/wiki/Jaws_(film)?oldid=696268275 Contributors: Koyaanis Qatsi, Rgamble, Zoe, Modemac,

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20 11 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

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