"No".
There's a word Steven Spielberg probably hasn't heard in a while. Back in 1974,
though, it was a different story. Back in 1974, Steven Spielberg had yet to
make Jaws. He'd seen the galley proofs of Peter Benchley's bestseller on
producer David Brown's desk. "What's this about?" he remembers
thinking, "a porno dentist?" Not quite. But although the transcript
could hardly be described as high art, Spielberg was sold.
Having recently
moved to Malibu, where he had taken to staring out to sea for hours at a time,
the concept tapped into his psyche. As he himself says, "I read it and
felt that I had been attacked. It terrified me, and I wanted to strike
back." Zanuck and Brown turned him down nonetheless. Only when their first
choice, Dick Richards (who had caused concern by continually referring to
"the whale"), wavered did they call Spielberg back.
And although by
this stage he had convinced himself the project wasn't for him, legend has it
that on arriving at the producers' office to find them wearing the Jaws
sweatshirts he'd had commissioned after that first fateful read (to convince
them he was the man for the job) he rescinded. "We shamed him,"
Zanuck said, "into staying on." Whatever its genesis, Jaws was
Spielberg's breakthrough. The first summer blockbuster, it was also the first
to ever break the $100 million mark (worldwide it exceeded five times that) and
single-handedly caused a downturn in the package holiday trade. "For years
he just scared us," commented his sister Anne after an early screening.
"Now he gets to scare the masses."
And didn't he
just. The head popping out of the boat (re-shot from a different angle when
preview audiences didn't jump enough), the moment the shark's head conies
bursting through the surface, the first attack, by an unseen predator — our
primal fears are tweaked incessantly. This last factor, the unseen element, is
crucial. For despite a 27-year old Spielberg publicly asserting that, "I
watch hundreds of old movies but I haven't learned that much from them,"
there was undoubtedly one lesson he took on board. And where better to study
than the school of Alfred Hitchcock?
"A bomb is
under the the table, and it explodes: that is surprise", the auteur
famously observed. "A bomb is under the table, but it does not
explode", that is suspense.
Spielberg's
decision to follow suit, not unleashing his demon for over an hour — although
there is the argument that endless technical difficulties with Bruce (the
nickname, based on that of his attorney, he gave Robert Mattey's mechanical
sharks) one, two and three contributed to the process — pays off handsomely.
Some say,
however, that Jaws is essentially Duel 2. Certainly there are similarities (mirrored
by Spielberg employing the same dinosaur sound effect for the deaths of truck
then shark), but this later work thrives in the defter touches that pepper its
perfect three-act chronology. The famous reverse zoom; Brody looking through
the shark book; the confrontation between him and Mrs Kintner; the use of
fences on land, in comparison with empty horizons at sea, to convey our
protagonists' isolation; the use of the colour yellow (the lilo, the barrels,
the torch) and the primary visual stimulus, to suggest impending danger.
If the cast
also gels seamlessly, such harmony didn't come without a struggle. Zanuck
wanted Charlton Heston as Brody ("What?" shrieked Spielberg.
"Moses? You want Moses? Everybody'll know he'll win!") and Sterling
Hayden as Quint. Spielberg's ideal for the role was Lee Marvin, and thought Jon
Voight spot-on for Hooper. Benchley meanwhile (who, it has to be said, had been
awkward throughout, having seen his three original drafts radically
re-written), frankly, wanted shooting for his egotistical dream troika of
Robert Redford, Paul Newman and Steve McQueen.
And if the
equally problematic Dreyfuss, who complained constantly that he'd, "rather
watch this movie than shoot it," took some convincing, it's unthinkable
that the final result — including cameos from Spielberg (the voice on Quint's
radio) and Benchley (a reporter), as well as sublime turns from Gary and
Hamilton in support — could have been any more masterful. Add to that the
timeless script, by Howard Sackler, Carl Gottlieb and John Milius (said to be
largely responsible for the Indianapolis monologue, though Shaw's input is
acknowledged); John Williams' score (even though Spielberg laughed on first
hearing it), and the equation is complete.
An equation all
the more impressive considering that both bigger budgets and time frames were
needed in the wake of a disastrous shoot, nicknamed "Flaws" by its
crew, in Martha's Vineyard.
Zanuck and
Brown's suggestion of, "We'll get a trained one!" hardly helped solve
the shark issues, Gottlieb and Spielberg were nearly killed in seafaring
accidents and a sinking Orca had expensive consequences, despite the director's
reputed order to: "Fuck the actors! Save the sound department!"
Rendering Spielberg's vow on wrapping what arguably remains his finest moment,
perhaps not altogether surprising. "My next picture will be on dry
land," he said solemnly. "There won't even be a bathroom scene."
Grade - A+
Rightly lauded,
Jaws has lost none of its power to terrify. A film of immense, visceral and
psychological power.
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