Jaws (film)

Jaws is a 1975 American film directed by Steven Spiel- 1 Plot

berg and based on Peter Benchley's 1974 novel of the
same name. The prototypical summer blockbuster, its A group of teenagers are having an evening beach party
release is regarded as a watershed moment in motion pic-
on Amity Island and Chrissie Watkins (Susan Backlinie)
ture history. In the story, a giant man-eating great white
decides to swim in the ocean. While treading, she is
shark attacks beachgoers on Amity Island, a fictional New
pulled underwater. The next morning, Deputy Hendricks
England summer resort town, prompting the local police(Jeffrey Kramer) finds her remains on the beach. Upon
chief to hunt it with the help of a marine biologist and a
hearing from the medical examiner that the cause of death
professional shark hunter. The film stars Roy Scheider as
was a possible shark attack, Police Chief Martin Brody
police chief Martin Brody, Richard Dreyfuss as oceanog-
(Roy Scheider) proceeds to close the beaches, but Mayor
rapher Matt Hooper, Robert Shaw as shark hunter Quint,Larry Vaughn (Murray Hamilton) overrules him, fearing
Murray Hamilton as Larry Vaughn, the mayor of Amity news of a shark attack will ruin the summer tourist sea-
Island, and Lorraine Gary as Brody’s wife, Ellen. The son, the town’s primary revenue source. He rationalizes
screenplay is credited to both Benchley, who wrote thethat there have been no prior shark problems in the area,
first drafts, and actor-writer Carl Gottlieb, who rewrote
and theorizes the girl was killed in a boating accident.
the script during principal photography. The coroner concurs and Brody reluctantly accepts their
Shot mostly on location on Martha’s Vineyard in conclusion.
Massachusetts, the film had a troubled production, go- When another fatal shark attack occurs shortly after-
ing over budget and past schedule. As the art depart- wards, several actions are taken to handle the situation.
ment’s mechanical sharks suffered many malfunctions, Amid an amateur shark-hunting frenzy, local professional
Spielberg decided to mostly suggest the animal’s pres- shark hunter Quint (Robert Shaw) offers his services for
ence, employing an ominous, minimalistic theme created $10,000. Matt Hooper (Richard Dreyfuss), a consulting
by composer John Williams to indicate the shark’s im- oceanographer, arrives and examines Chrissie’s remains.
pending appearances. Spielberg and others have com- He concludes that the cause of death was definitely a
pared this suggestive approach to that of classic thriller shark attack.
director Alfred Hitchcock. Universal Pictures gave the
film what was then an exceptionally wide release for a The local fishermen catch a large tiger shark, but Hooper
major studio picture, over 450 screens, accompanied by isn't so sure it is the same predator, confirming this af-
an extensive marketing campaign with a heavy emphasis ter finding no human remains inside its stomach. While
on television spots and tie-in merchandise. Hooper and Brody search the local waters at night, they
discover local fisherman Ben Gardner’s half-sunken boat.
Now considered one of the greatest films ever made,[2] Hooper examines the vessel underwater and retrieves a
Jaws became the highest-grossing film of all time until sizable great white shark's tooth embedded in the hull.
Star Wars. It won several awards for its soundtrack and Startled by finding Gardner’s partial remains, Hooper
editing. Along with Star Wars, Jaws was pivotal in es- drops the tooth. Brody and Hooper tell Vaughn that a
tablishing the modern Hollywood business model, which humongous great white shark is the real culprit, but he
revolves around high box-office returns from action and discounts their warnings and refuses to close the beaches,
adventure pictures with simple "high-concept" premises allowing only added safety precautions. On the Fourth of
that are released during the summer in thousands of the- July weekend, the beaches are packed with tourists. Fol-
aters and supported by heavy advertising. It was followed lowing a practical joke, the shark enters a nearby estuary,
by three sequels, none with the participation of Spielberg hitting Brody’s kids and killing a boater. Brody pushes
or Benchley, and many imitative thrillers. In 2001, Jaws a devastated Vaughn, whose kids were also there, to hire
was selected by the Library of Congress for preserva- Quint.
tion in the United States National Film Registry, being
deemed “culturally, historically, or aesthetically signifi- Quint, Brody, and Hooper set out on Quint’s boat, the
cant”. Orca, to hunt the shark. While Brody lays down a chum
line, 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 attached
to 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 where rial debut, The Culpepper Cattle Co. had come out the pre-
Quint and Hooper compare scars and share how they re- vious year.[8] However, they grew irritated by Richards’s
ceived them. Quint recounts how he survived the shark habit of describing the shark as a whale and soon dropped
attacks that followed the sinking of the warship USS In- him from the project.[8] Meanwhile, Steven Spielberg
dianapolis during the War in the Pacific in 1945. The very much wanted the job. The 26-year-old had just di-
great white returns, ramming the boat’s hull and killing rected his first theatrical film, The Sugarland Express, for
the power. The men work through the night repairing the Zanuck and Brown. At the end of a meeting in their of-
engine. In the morning, Brody attempts to call the Coast fice, Spielberg noticed their copy of the still-unpublished
Guard, but Quint smashes the radio, enraging Brody. Af- Benchley novel, and after reading it was immediately
ter a long chase, Quint harpoons another barrel into the captivated.[6] He later observed that it was similar to his
shark. The men tie the line to the stern, but the shark 1971 television film Duel in that both deal with “these
drags the boat backwards, swamping the deck and flood- leviathans targeting everymen.”[5] After Richards’s de-
ing the engine compartment with seawater and forcing parture, the producers signed Spielberg to direct in June
Quint to cut the line to prevent the transom from being 1973, before the release of The Sugarland Express.[8]
pulled out. He then heads toward shore to draw his quarry
Before production began, however, Spielberg grew reluc-
into shallow waters and suffocate it, but overtaxes and tant to continue with Jaws, in fear of becoming typecast
stalls the damaged engine. as the “truck and shark director”.[9] He wanted to move
With the boat immobilized, the trio attempt a riskier ap- over to 20th Century Fox's Lucky Lady instead, but Uni-
proach: Hooper dons scuba gear and enters the water in versal exercised its right under its contract with the di-
a shark-proof cage, intending to lethally inject the shark rector to veto his departure.[10] Brown helped convince
with strychnine using a hypodermic spear. The shark de- Spielberg to stick with the project, saying that “after
molishes the cage, causing Hooper to drop the spear be- [Jaws], you can make all the films you want”.[9] The
fore escaping to the seabed. Seconds later, the shark at- film was given an estimated budget of $3.5 million and a
tacks the boat directly, killing Quint. Brody, trapped on shooting schedule of 55 days. Principal photography was
the sinking vessel, shoves a pressurized scuba tank into set to begin in May 1974. Universal wanted the shoot to
the shark’s mouth, and, climbing the mast, shoots the finish by the end of June, when the major studios’ con-
tank with Quint’s rifle. The resulting explosion obliterates tract with the Screen Actors Guild was due to expire, to
the shark. Hooper surfaces, and he and Brody paddle to avoid any disruptions due to a potential strike.[11]
Amity Island on boat wreckage.

2.2 Writing
2 Production
For the screen adaptation, Spielberg wanted to stay with
the novel’s basic plot, while omitting Benchley’s many
2.1 Development subplots.[6] He declared that his favorite part of the book
was the shark hunt on the last 120 pages, and told Zanuck
Richard D. Zanuck and David Brown, producers at when he accepted the job, “I'd like to do the picture if I
Universal Pictures, independently heard about Peter could change the first two acts and base the first two acts
Benchley’s novel Jaws. Brown came across it in the lit- on original screenplay material, and then be very true to
erature section of lifestyle magazine Cosmopolitan, then the book for the last third.”[12] When the producers pur-
edited by his wife, Helen Gurley Brown. A small card chased the rights to his novel, they promised Benchley
written by the magazine’s book editor gave a detailed that he could write the first draft of the screenplay.[6] The
description of the plot, concluding with the comment intent was to make sure a script could be done despite an
“might make a good movie”.[3][4] The producers each impending threat of a Writer’s Guild strike, given Bench-
read the book over the course of a single night and agreed ley was not unionized.[13] Overall, he wrote three drafts
the next morning that it was “the most exciting thing that before the script was turned over to other writers;[6] deliv-
they had ever read” and that they wanted to produce a ering his final version to Spielberg, he declared, “I'm writ-
film version, although they were unsure how it would ten out on this, and that’s the best I can do.”[14] Benchley
be accomplished.[5] They purchased the movie rights in would later describe his contribution to the finished film
1973, before the book’s publication, for approximately as “the storyline and the ocean stuff – basically, the me-
$175,000.[6] Brown claimed that had they read the book chanics”, given he “didn't know how to put the character
twice, they would never have made the film because they texture into a screenplay.”[13] One of his changes was to
would have realized how difficult it would be to execute remove the novel’s adulterous affair between Ellen Brody
certain sequences.[7] and Matt Hooper, at the suggestion of Spielberg, who
To direct, Zanuck and Brown first considered veteran feared it would compromise the camaraderie between the
filmmaker John Sturges—whose résumé included an- men on the Orca.[15] During the film’s production, Bench-
other maritime adventure, The Old Man and the Sea— ley agreed to return and play a small onscreen role as a
before offering the job to Dick Richards, whose directo- reporter.[16]
2.3 Casting 3

Spielberg, who felt that the characters in Benchley’s script rector, Milius turned Sackler’s “three-quarters of a page”
were still unlikable, invited the young screenwriter John speech into a monologue, and that was then rewritten by
Byrum to do a rewrite, but he declined the offer.[9] Shaw.[25] Gottlieb gives primary credit to Shaw, down-
Columbo creators William Link and Richard Levinson playing Milius’s contribution.[26]
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 2.3 Casting
writer and offered to do an uncredited rewrite; since the
producers and Spielberg were unhappy with Benchley’s Though Spielberg complied with a request from Zanuck
drafts, they quickly agreed.[5] At the suggestion of Spiel- and Brown to cast known actors,[16] he wanted to avoid
berg, Brody’s characterization made him afraid of water, hiring any big stars. He felt that “somewhat anonymous”
“coming from an urban jungle to find something more performers would help the audience “believe this was
terrifying off this placid island near Massachusetts.”[13] happening to people like you and me”, whereas “stars
Spielberg wanted “some levity” in Jaws, humor that bring a lot of memories along with them, and those mem-
would avoid making it “a dark sea hunt,” so he turned ories can sometimes ... corrupt the story.”[22] The direc-
to his friend Carl Gottlieb, a comedy writer-actor then tor added that in his plans “the superstar was gonna be
working on the sitcom The Odd Couple.[14] Spielberg the shark”.[14] The first actors cast were Lorraine Gary,
sent Gottlieb a script, asking what the writer would the wife of then-president of Universal Sid Sheinberg,
change and if there was a role he would be interested as Ellen Brody,[16] and Murray Hamilton as the mayor
in performing.[18] Gottlieb sent Spielberg three pages of of Amity Island.[27] Stuntwoman-turned-actress Susan
notes, and picked the part of Meadows, the politically Backlinie was cast as Chrissie as she knew how to swim
connected editor of the local paper. He passed the au- and was willing to perform nude.[14] Most minor roles
dition one week before Spielberg took him to meet the were played by residents of Martha’s Vineyard, where
producers regarding a writing job.[19] the film was shot. One example was Deputy Hendricks,
played by future television producer Jeffrey Kramer.[28]
While the deal was initially for a “one-week dialogue
polish”, Gottlieb eventually became the primary screen- The role of Brody was offered to Robert Duvall, but the
[29]
writer, rewriting the entire script during a nine-week pe- actor was interested only in portraying Quint. Charlton
riod of principal photography. [19]
The script for each Heston expressed a desire for the role, but Spielberg felt
scene was typically finished the night before it was shot, that Heston would bring a screen persona too grand for
after Gottlieb had dinner with Spielberg and members the part of a police chief of a modest community.[30] Roy
of the cast and crew to decide what would go into the Scheider became interested in the project after overhear-
film. Many pieces of dialogue originated from the ac- ing Spielberg at a party talk with a screenwriter about
tors’ improvisations during these meals; a few were cre- having the shark jump up onto a boat.[16] Spielberg was
ated on set, most notably Roy Scheider’s ad-lib of the initially apprehensive about hiring Scheider, fearing he
line “You're gonna need a bigger boat.”[20] John Milius would portray a “tough guy”, similar to his role in The
contributed dialogue polishes,[21] and Sugarland Express French Connection.[29]
writers Matthew Robbins and Hal Barwood also made un- Nine days before the start of production, neither Quint
credited contributions.[22] Spielberg has claimed that he nor Hooper had been cast.[31] The role of Quint was orig-
prepared his own draft, although it is unclear to what de- inally offered to actors Lee Marvin and Sterling Hay-
gree the other screenwriters drew on his material.[21] One den, both of whom passed.[16][29] Zanuck and Brown had
specific alteration he called for in the story was to change just finished working with Robert Shaw on The Sting,
the cause of the shark’s death from extensive wounds to and suggested him to Spielberg.[32] Shaw was reluctant
a scuba tank explosion, as he felt audiences would re- to take the role since he did not like the book, but de-
spond better to a “big rousing ending.”[23] The director cided to accept at the urging of both his wife, actress
estimated the final script had a total of 27 scenes that were Mary Ure, and his secretary—"The last time they were
not in the book.[15] that enthusiastic was From Russia with Love. And they
Benchley had written Jaws after reading about sport fish- were right.”[33] Shaw based his performance on fellow
erman Frank Mundus's capture of an enormous shark in cast member Craig Kingsbury, a local fisherman, farmer,
1964. According to Gottlieb, Quint was loosely based and legendary eccentric, who was playing fisherman Ben
on Mundus, whose book Sportfishing for Sharks he read Gardner.[34] Spielberg described Kingsbury as “the purest
for research.[24] Sackler came up with the backstory of version of who, in my mind, Quint was”, and some of his
Quint as a survivor of the World War II USS Indianapolis offscreen utterances were incorporated into the script as
disaster.[25] The question of who deserves the most credit lines of Gardner and Quint.[35] Another source for some
for writing Quint’s monologue about the Indianapolis has of Quint’s dialogue and mannerisms, especially in the
caused substantial controversy. Spielberg described it as third act at sea, was Vineyard mechanic and boat-owner
a collaboration between Sackler, Milius, and actor Robert Lynn Murphy.[36][37]
Shaw, who was also a playwright.[21] According to the di- For the role of Hooper, Spielberg initially wanted Jon
4 2 PRODUCTION

Voight.[32] Timothy Bottoms, Joel Grey, and Jeff Bridges

were also considered for the part.[38] 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 per-
formance and fearing that no one would want to hire him
once Kravitz was released, he immediately called Spiel-
berg 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.[39] As a
result of the casting, Hooper was rewritten to better suit
the actor,[31] as well as to be more representative of Spiel-
berg, who came to view Dreyfuss as “my alter ego”.[38] The fishing village of Menemsha, Martha’s Vineyard, was the
primary location.[45]

2.4 Filming volved a team of as many as 40 effects technicians, super-

vised by mechanical effects supervisor Bob Mattey, best
“We started the film without a script, without a cast and
known for creating the giant squid in 20,000 Leagues Un-
without a shark.” der the Sea. After the sharks were completed, they were
—actor Richard Dreyfuss on the film’s troubled trucked to the shooting location.[47] In early July, the plat-
production[40] form used to tow the two side-view sharks capsized as it
was being lowered to the ocean floor, forcing a team of
Principal photography began May 2, 1974,[41] on the is- divers to retrieve it.[48] The model required 14 operators
land of Martha’s Vineyard, Massachusetts, selected after to control all of the moving parts.[39]
consideration was given to eastern Long Island. Brown The film had a troubled shoot and went far over bud-
explained later that the production “needed a vacation get. David Brown said that the budget “was $4 million
area that was lower middle class enough so that an appear- and the picture wound up costing $9 million";[49] the ef-
ance of a shark would destroy the tourist business.”[42] fects outlays alone grew to $3 million due to the problems
Martha’s Vineyard was also chosen because the surround- with the mechanical sharks.[50] Disgruntled crew mem-
ing ocean had a sandy bottom that never dropped below bers gave the film the nickname “Flaws”.[39][46] Spielberg
35 feet (11 m) for 12 miles (19 km) out from shore, which attributed many problems to his perfectionism and his in-
allowed the mechanical sharks to operate while also be- experience. The former was epitomized by his insistence
yond sight of land.[43] As Spielberg wanted to film the on shooting at sea with a life-sized shark; “I could have
aquatic sequences relatively close-up to resemble what shot the movie in the tank or even in a protected lake
people see while swimming, cinematographer Bill But- somewhere, but it would not have looked the same,” he
ler devised new equipment to facilitate marine and un- said.[33] As for his lack of experience: “I was naive about
derwater shooting, including a rig to keep the camera sta- the ocean, basically. I was pretty naive about mother na-
ble regardless of tide and a sealed submersible camera ture and the hubris of a filmmaker who thinks he can con-
box.[44] Spielberg asked the art department to avoid red quer the elements was foolhardy, but I was too young to
in both scenery and wardrobe, so that the blood from the know I was being foolhardy when I demanded that we
attacks would be the only red element and cause a bigger shoot the film in the Atlantic Ocean and not in a North
shock.[35] Hollywood tank.”[25] Gottlieb said that “there was noth-
Three full-size pneumatically powered prop sharks— ing to do except make the movie”, so everyone kept over-
which the film crew nicknamed “Bruce” after Spielberg’s working, and while as a writer he did not have to attend
lawyer, Bruce Ramer—were made for the production:[46] the ocean set every day, once the crewmen returned they
a “sea-sled shark”, a full-body prop with its belly miss- arrived “ravaged and sunburnt, windblown and covered
ing that was towed with a 300-foot (roughly 100-m) line, with salt water”.[13]
and two “platform sharks”, one that moved from camera- Shooting at sea led to many delays: unwanted sailboats
left to -right (with its hidden left side exposing an array drifted into frame, cameras got soaked,[35] and the Orca
of pneumatic hoses), and an opposite model with its right once began to sink with the actors on board.[51] The
flank uncovered.[6] The sharks were designed by art di- prop sharks frequently malfunctioned owing to a series of
rector Joe Alves during the third quarter of 1973. Be- problems including bad weather, pneumatic hoses taking
tween November 1973 and April 1974, the sharks were on salt water, frames fracturing due to water resistance,
fabricated at Rolly Harper’s Motion Picture & Equipment corroding skin, and electrolysis. From the first water test
Rental in Sun Valley, California. Their construction in- onward, the “non-absorbent” neoprene foam that made
2.5 Music 5

up the sharks’ skin soaked up liquid, causing the sharks attacked the boat and cage. The footage of the cage attack
to balloon, and the sea-sled model frequently got entan- was so stunning that Spielberg was eager to incorporate it
gled among forests of seaweed.[33][48] Spielberg later cal- in the film. No one had been in the cage at the time, how-
culated that during the 12-hour daily work schedule, on ever, and the script, following the novel, originally had the
average only four hours were actually spent filming.[52] shark killing Hooper in it. The storyline was consequently
Gottlieb was nearly decapitated by the boat’s propellers, altered to have Hooper escape from the cage, which al-
and Dreyfuss was almost imprisoned in the steel cage.[33] lowed the footage to be used.[57][58] As production exec-
The actors were frequently seasick. Shaw also fled to utive Bill Gilmore put it, “The shark down in Australia
Canada whenever he could due to tax problems,[53] en- rewrote the script and saved Dreyfuss’s character.”[59]
gaged in binge drinking, and developed a grudge against Although principal photography was scheduled to take 55
Dreyfuss, who was getting rave reviews for his perfor-
days, it did not wrap until October 6, 1974, after 159
mance in Duddy Kravitz.[14][54] Editor Verna Fields rarely days.[39][41] Spielberg, reflecting on the protracted shoot,
had material to work with during principal photography,
stated, “I thought my career as a filmmaker was over. I
as according to Spielberg “we would shoot five scenes in heard rumors ... that I would never work again because
a good day, three in an average day, and none in a bad
no one had ever taken a film 100 days over schedule.”[39]
day.”[55] 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.[23] It has since become a tra-
dition for Spielberg to be absent when the final scene of
one 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 and
Frank James Sparks as stand-ins for Dreyfuss in the scene
where the shark attacks the cage,[61] 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 con-
structed for comedy and made them terrifying, and some
The mechanical shark, attached to the tower scenes he shot to be terrifying and made them comedy
scenes.”[62] The ship used for the Orca was brought to Los
The delays proved serendipitous in some regards. The Angeles so the sound effects team could record sounds for
script was refined during production, and the unreli- both the ship and the underwater scenes.[63]
able mechanical sharks forced Spielberg to shoot many
scenes so that the shark was only hinted at. For ex- Two scenes were altered following test screenings. As
ample, for much of the shark hunt, its location is indi- the audience’s screams had covered up Scheider’s “bigger
cated by the floating yellow barrels.[56] The opening had boat” one-liner, Brody’s reaction after the shark jumps
the shark devouring Chrissie,[14] but it was rewritten so behind[64][65]
him was extended, and the volume of the line was
that it would be shot with Backlinie being dragged and raised. Spielberg also decided that he was greedy
[35]
yanked by cables to simulate an attack. Spielberg also for “one more scream”, and reshot the scene in which
included multiple shots of just the dorsal fin. This forced Hooper discovers Ben Gardner’s body, using $3,000 of
restraint is widely thought to have added to the film’s his own money after Universal refused to pay for the
suspense. [56]
As Spielberg put it years later, “The film reshoot. The underwater scene was shot in Fields’s swim-
[66]
went from a Japanese Saturday matinee horror flick to ming pool in Encino, California, using a lifecast latex
more of a Hitchcock, the less-you-see-the-more-you-get model of Craig Kingsbury’s head attached to a fake body,
[35]
thriller.”[39]
In another interview, he similarly declared, which was placed in the wrecked boat’s hull. To sim-
“The shark not working was a godsend. It made me ulate the murky waters of Martha’s Vineyard, powdered
become more like Alfred Hitchcock than like Ray Har- milk was poured [13]
into the pool, which was then covered
ryhausen.” The acting became crucial for making audi- with tarpaulin.
ences 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.”[25]
Footage of real sharks was shot by Ron and Valerie Taylor 2.5 Music
in the waters off Australia, with a smaller-framed actor in
a miniature shark cage to create the illusion that the sharks Main article: Jaws (soundtrack)
were enormous. During the Taylors’ shoot, a great white
6 3 INSPIRATIONS AND THEMES

John Williams composed the film’s score, which earned 3 Inspirations and themes
him an Academy Award and was later ranked the sixth-
greatest score by the American Film Institute.[68][69] The
main “shark” theme, a simple alternating pattern of two Herman Melville's Moby-Dick is the most notable artis-
notes—variously identified as “E and F”[70] or “F and tic antecedent to Jaws. The character of Quint strongly
F sharp”[71] —became a classic piece of suspense mu- resembles Captain Ahab, the obsessed captain of the
sic, synonymous with approaching danger (see leading- Pequod who devotes his life to hunting a sperm whale.
tone). Williams described the theme as “grinding away Quint’s monologue reveals a similar obsession with
at you, just as a shark would do, instinctual, relent- sharks; even his boat, the Orca, is named after the only
less, unstoppable.”[72] The piece was performed by tuba natural enemy of the white shark. In the novel and orig-
player Tommy Johnson. When asked by Johnson why inal screenplay, Quint dies after being dragged under
the melody was written in such a high register and not the ocean by a harpoon tied to his leg, similar to the
played by the more appropriate French horn, Williams death of Ahab in Melville’s novel.[80] A direct reference
responded that he wanted it to sound “a little more to these similarities may be found in Spielberg’s draft of
threatening”.[73] When Williams first demonstrated his the screenplay, which introduces Quint watching the film
idea to Spielberg, playing just the two notes on a pi- version of Moby-Dick; his continuous laughter prompts
ano, Spielberg was said to have laughed, thinking that other audience members to get up and leave the theater
it was a joke. As Williams saw similarities between (Wesley Strick's screenplay for the 1991 remake of Cape
Jaws and pirate movies, at other points in the score Fear features a similar scene). However, the scene from
he evoked “pirate music”, which he called “primal, but Moby-Dick could not be licensed from the film’s star,
fun and entertaining”.[67] Calling for rapid, percussive Gregory Peck, its copyright holder.[5] Screenwriter Carl
string playing, the score contains echoes of La mer by Gottlieb also drew comparisons to Ernest Hemingway's
Claude Debussy as well of Igor Stravinsky's The Rite of The Old Man and the Sea: "Jaws is ... a titanic struggle,
Spring.[71][74] like Melville or Hemingway.”[24]

There are various interpretations of the meaning and ef- The underwater scenes shot from the shark’s point of
fectiveness of the primary music theme, which is widely view have been compared with passages in two 1950s
described as one of the most recognizable cinematic horror films, The Creature from the Black Lagoon and
themes of all time.[75] Music scholar Joseph Cancellaro The Monster That Challenged the World.[81][82] Gottlieb
named two science fiction productions from the same era
proposes that the two-note expression mimics the shark’s
heartbeat.[76] According to Alexandre Tylski, like themes as influences on how the shark was depicted, or not: The
Bernard Herrmann wrote for Taxi Driver, North by North- Thing from Another World, which Gottlieb described as
west, and particularly Mysterious Island, it suggests hu- “a great horror film where you only see the monster in
man respiration. He further argues that the score’s the last reel";[83] and It Came From Outer Space, where
strongest motif is actually “the split, the rupture”—when “the suspense was built up because the creature was al-
it dramatically cuts off, as after Chrissie’s death.[71] The ways off-camera”. Those precedents helped Spielberg
relationship between sound and silence is also taken ad- and Gottlieb to “concentrate on showing the 'effects’ of
vantage of in the way the audience is conditioned to as- the shark rather than the shark itself”.[20] Scholars such
sociate the shark with its theme,[72] which is exploited to- as Thomas Schatz noted how Jaws melds various gen-
ward the film’s climax when the shark suddenly appears res while essentially being an action film and a thriller.
with no musical introduction.[75] Most is taken from horror, with the core of a nature-
based monster movie while adding elements of a slasher
Spielberg later said that without Williams’s score the film film. The second half of the movie provides a buddy film
would have been only half as successful, and according in the interaction between the crew of the Orca, and a
to Williams it jumpstarted his career.[67] He had previ- supernatural horror based on the shark’s depiction of a
ously scored Spielberg’s debut feature, The Sugarland Ex- nearly Satanic menace.[84]
press, and went on to collaborate with the director on al-
most all of his films.[72] The original soundtrack for Jaws Critics such as Neil Sinyard have noticed similarities [85]
to
was released by MCA Records on LP in 1975, and as a Henrik Ibsen's play An Enemy of the People. Gottlieb
CD in 1992, including roughly a half hour of music that himself said he and Spielberg referred [86]
to Jaws as "Moby-
Williams redid for the album. [77][78]
In 2000, two versions Dick meets Enemy of the People.” The Ibsen work fea-
of the score were released: Decca/Universal reissued the tures a doctor who discovers that a seaside town’s medic-
soundtrack album to coincide with the release of the inal hot springs, a major tourist attraction and revenue
25th-anniversary DVD, featuring the entire 51 minutes of source, are contaminated. When the doctor attempts
the original score,[77][78]
and Varèse Sarabande put out a to convince the townspeople of the danger, he loses his
rerecording of the score performed by the Royal Scottish job and is shunned. This plotline is paralleled in Jaws
National Orchestra, conducted by Joel McNeely.[79] 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 vin-
dicated when more shark attacks occur at the crowded
 7

beach in broad daylight. Sinyard calls the film a “deft it can be and has been read—from representing alien
combination of Watergate and Ibsen’s play”.[85] menaces such as communism or the Third World
to more intimate dreads concerning the unreality of
contemporary American life and the vain efforts to
3.1 Scholarly criticism sanitize and suppress the knowledge of death. He
asserts that its symbolic function is to be found in this
Jaws has received attention from academic critics. very “polysemousness which is profoundly ideological,
Stephen Heath relates the film’s ideological meanings to insofar as it allows essentially social and historical
the then-recent Watergate scandal. He argues that Brody anxieties to be folded back into apparently 'natural'
represents the “white male middle class—[there is] not ones ... to be recontained in what looks like [94]
a conflict
a single black and, very quickly, not a single woman in with other forms of biological existence.” He views
the film”, who restores public order “with an ordinary- Quint’s demise as the symbolic overthrow of an old,
guy kind of heroism born of fear-and-decency”. [87]
Yet populist, New Deal America and Brody and Hooper’s
Heath moves beyond ideological content analysis to ex- partnership as an “allegory of an alliance between the
amine Jaws as a signal example of the film as “industrial forces of law-and-order and the new technocracy of
product” that sells on the basis of “the pleasure of cinema, the multinational corporations ... in which the viewer
thus yielding the perpetuation of the industry (which is rejoices without
[95]
understanding that he or she is excluded
why part of the meaning of Jaws is to be the most prof- from it.”
itable movie)".[88] Neal Gabler analyzed the film as showing three different
Andrew Britton contrasts the film to the novel’s post- approaches to solving an obstacle: science (represented
Watergate cynicism, suggesting that its narrative alter- by Hooper), spiritualism (represented by Quint), and the
ations from the book (Hooper’s survival, the shark’s ex- common man (represented by Brody). The last of the
plosive death) help make it “a communal exorcism, a cer- three is the one which succeeds and is in that way en-
emony for the restoration of ideological confidence.” He dorsed by the film.[96]
suggests that the experience of the film is “inconceiv-
able” without the mass audience’s jubilation when the
shark is annihilated, signifying the obliteration of evil 4 Release
itself.[89] In his view, Brody serves to demonstrate that
“individual action by the one just man is still a viable
4.1 Promotion
source for social change”.[90] Peter Biskind argues that
the film does maintain post-Watergate cynicism concern- Universal spent $1.8 million promoting Jaws, includ-
ing politics and politicians insofar as the sole villain be- ing an unprecedented $700,000 on national television
side the shark is the town’s venal mayor. Yet he observes spot advertising.[40][97] The media blitz included about
that, far from the narrative formulas so often employed two dozen 30-second advertisements airing each night
by New Hollywood filmmakers of the era—involving Us on prime-time network TV between June 18, 1975, and
vs. Them, hip counterculture figures vs. "The Man"— the film’s opening two days later.[98] Beyond that, in
the overarching conflict in Jaws does not pit the heroes
the description of film industry scholar Searle Kochberg,
against authority figures, but against a menace that targets Universal “devised and co-ordinated a highly innovative
everyone regardless of socioeconomic position.[91]
plan” for the picture’s marketing.[98] As early as Octo-
Whereas Britton states that the film avoids the novel’s ber 1974, Zanuck, Brown, and Benchley hit the televi-
theme of social class conflicts on Amity Island,[90] sion and radio talk show circuit to promote the paper-
Biskind detects class divisions in the screen version and back edition of the novel and the forthcoming film.[99]
argues for their significance. “Authority must be re- The studio and publisher Bantam agreed on a title logo
stored,” he writes, “but not by Quint”. The seaman’s that would appear on both the paperback and in all of
“working class toughness and bourgeois independence is the advertising for the film.[98] The centerpieces of the
alien and frightening ... irrational and out of control”. joint promotion strategy were John Williams’ theme and
Hooper, meanwhile, is “associated with technology rather the poster image featuring the shark approaching a lone
than experience, inherited wealth rather than self-made female swimmer.[50] The poster was based on the paper-
sufficiency"; he is marginalized from the conclusive ac- back’s cover, and had the same artist, Bantam employee
tion, if less terminally than Quint.[92] Britton sees the film Roger Kastel.[100] The Seiniger Advertising agency spent
more as concerned with the “vulnerability of children and six months designing the poster; principal Tony Seiniger
the need to protect and guard them”, which in turn helps explained that “no matter what we did, it didn't look scary
generate a “pervasive sense of the supreme value of fam- enough”. Seiniger ultimately decided that “you had to
ily life: a value clearly related to [ideological] stability actually go underneath the shark so you could see his
and cultural continuity”.[93] teeth.”[101]
Fredric Jameson's Marxist analysis highlights the More merchandise was created to take advantage of the
polysemy of the shark and the multiple ways in which film’s release. In 1999, Graeme Turner wrote that Jaws
8 5 RECEPTION

was accompanied by what was still “probably the most an extended run were much slimmer.)[113][114] Universal
elaborate array of tie-ins” of any film to date: “This in- president Sid Sheinberg reasoned that nationwide market-
cluded a sound-track album, T-shirts, plastic tumblers, a ing costs would be amortized at a more favorable rate per
book about the making of the movie, the book the movie print relative to a slow, scaled release.[112][115][116] Build-
was based on, beach towels, blankets, shark costumes, toy ing on the film’s success, the release was subsequently
sharks, hobby kits, iron-transfers, games, posters, shark’s expanded on July 25 to nearly 700 theaters, and on Au-
tooth necklaces, sleepwear, water pistols, and more.”[102] gust 15 to more than 950.[117] Overseas distribution fol-
The Ideal Toy Company, for instance, produced a game lowed the same pattern, with intensive television cam-
in which the player had to use a hook to fish out items paigns and wide releases—in Great Britain, for instance,
from the shark’s mouth before the jaws closed.[103] 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 the
4.2 Theatrical run United States on Sunday, June 21 and Wednesday, June
24, 2015.[119][120]
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 5 Reception
marketing campaign, generated great interest among the-
ater owners, facilitating the studio’s plan to debut Jaws at
hundreds of cinemas simultaneously.[104][105] A third and
5.1 Box office performance
final preview screening, of a cut incorporating changes
inspired by the previous presentations, was held in Hol- Jaws opened with a $7 million weekend[121] and recouped
lywood on April 24.[106] After Universal chairman Lew its production costs in two weeks.[122] In just 78 days, it
Wasserman attended one of the screenings, he ordered overtook The Godfather as the highest-grossing film at
the film’s initial release—planned for a massive total of the North American box office,[110] sailing past that pic-
as many as 900 theaters—to be cut down, declaring, “I ture’s earnings of $86 million[123] to become the first film
want this picture to run all summer long. I don't want to reach $100 million in rentals.[124] Its initial release ulti-
people in Palm Springs to see the picture in Palm Springs. mately brought in $123.1 million in rentals.[122] Theatri-
I want them to have to get in their cars and drive to see it cal re-releases in 1976 and 1979 brought its total rentals
in Hollywood.”[107] Nonetheless, the several hundred the- to $133.4 million.[123]
aters that were still booked for the opening represented The picture entered overseas release in December
what was then an unusually wide release. At the time, 1975,[125] and its international business mirrored its do-
wide openings were associated with movies of doubtful mestic performance. It broke records in Singapore,[126]
quality; not uncommon on the exploitation side of the in- New Zealand, Japan,[127] Spain,[128] and Mexico.[129] By
dustry, they were customarily employed to diminish the 1977, Jaws was the highest-grossing international release
effect of negative reviews and word of mouth. There had with worldwide rentals of $193 million, equating to about
been some recent exceptions, precedents that included $400 million of gross revenue;[130] it supplanted The God-
the rerelease of Billy Jack and the original release of its father, which had earned $145 million in rentals.[131]
sequel The Trial of Billy Jack, the Dirty Harry sequel Jaws was the highest-grossing film of all time until Star
Magnum Force, and the latest installments in the James Wars, which debuted two years later. Star Wars sur-
Bond series.[108][109] Still, the typical major studio film passed Jaws for the U.S. record six months after its re-
release at the time involved opening at a few big-city the- lease and set a new global record in 1978.[132][133] As of
aters, which allowed for a series of premieres. Distribu- June 2013, it is the 127th-highest-grossing film of all time
tors would then slowly forward prints to additional locales with $470.7 million worldwide,[134] and the 66th highest
across the country, capitalizing on any positive critical or domestically with a total North American gross of $260
audience response. The outsized success of The Godfa- million.[121] Adjusted for inflation, Jaws has earned al-
ther in 1972 had sparked a trend toward wider releases, most $2 billion worldwide at 2011 prices and is the sec-
but even that film had debuted in just five theaters, before ond most successful franchise film after Star Wars.[135] In
going wide in its second weekend.[110] North America, it is the seventh-highest-grossing movie
On June 20, Jaws opened across North America on of all time, with a total of $1.017 billion at current
464 screens—409 in the United States, the remainder in prices,[136] based on an estimated 128,078,800 tickets
Canada.[111] The coupling of this broad distribution pat- sold.[137] In the United Kingdom, it is the seventh-highest-
tern with the movie’s then even rarer national television grossing film to be released since 1975, earning the equiv-
marketing campaign yielded a release method virtually alent of over £70 million in 2009/10 currency,[138] with
unheard-of at the time.[112] (A month earlier, Columbia admissions estimated at 16.2 million.[139] Jaws has also
Pictures had done something similar with a Charles Bron- sold 13 million tickets in Brazil, the second-highest at-
son thriller, Breakout, though that film’s prospects for tendance ever in the country behind Titanic.[140]
5.3 Accolades 9

On television, the American Broadcasting Company numbing repast for sense-sated gluttons” and “filmmak-
aired it for the first time right after its 1979 re-release.[141] ing of this essentially manipulative sort"; Molly Haskell
The first U.S. broadcast attracted 57 percent of the total of The Village Voice similarly characterized it as a “scare
audience, the second highest televised movie share at the machine that works with computer-like precision. ... You
time behind Gone with the Wind.[142] In the United King- feel like a rat, being given shock therapy”.[149] The most
dom, 23 million people watched its inaugural broadcast frequently criticized aspect of the film has been the ar-
in October 1981, the second biggest TV audience ever for tificiality of its mechanical antagonist: Magill declared
a feature film behind Live and Let Die.[143] that “the programmed shark has one truly phony close-
up”,[154] and in 2002, online reviewer James Berardinelli
said that if not for Spielberg’s deftly suspenseful direc-
5.2 Critical response tion, “we would be doubled over with laughter at the
cheesiness of the animatronic creature.”[75] Halliwell’s
Jaws received mostly positive reviews upon Film Guide claimed “despite genuinely suspenseful and
release.[144][145] Roger Ebert of the Chicago Sun- frightening sequences, it is a slackly narrated and some-
Times called it “a sensationally effective action picture, times flatly handled thriller with an over-abundance of di-
a scary thriller that works all the better because it’s alogue and, when it finally appears, a pretty unconvincing
populated with characters that have been developed monster.”[155]
into human beings”.[146] Variety's A.D. Murphy praised
Spielberg’s directorial skills, and called Robert Shaw’s
performance “absolutely magnificent”.[147] According 5.3 Accolades
to The New Yorker 's Pauline Kael, it was “the most
cheerfully perverse scare movie ever made ... [with] Jaws won three Academy Awards for Best Film Edit-
more zest than an early Woody Allen picture, a lot ing, Best Original Dramatic Score, and Best Sound
more electricity, [and] it’s funny in a Woody Allen sort (Robert Hoyt, Roger Heman, Earl Madery and John
of way”.[148] For New Times magazine, Frank Rich Carter).[68][156] It was also nominated for Best Picture,
wrote, “Spielberg is blessed with a talent that is absurdly losing to One Flew Over the Cuckoo’s Nest.[157] Spiel-
absent from most American filmmakers these days: this berg greatly resented the fact that he was not nom-
man actually knows how to tell a story on screen. ... inated for Best Director.[149] Along with the Oscar,
It speaks well of this director’s gifts that some of the John Williams’s score won the Grammy Award,[158] the
most frightening sequences in Jaws are those where we BAFTA Award for Best Film Music,[159] and the Golden
don't even see the shark.”[149] Writing for New York Globe Award.[160] To her Academy Award, Verna Fields
magazine, Judith Crist described the film as “an exhila- added the American Cinema Editors' Eddie Award for
rating adventure entertainment of the highest order” and Best Edited Feature Film.[161]
complimented its acting and “extraordinary technical Jaws was chosen Favorite Movie at the People’s Choice
achievements”.[150] Rex Reed praised the “nerve-frying” Awards.[162] It was also nominated for best Film, Di-
action scenes and concluded that “for the most part, Jaws rector, Actor (Richard Dreyfuss), Editing, and Sound at
is a gripping horror film that works beautifully in every the 29th British Academy Film Awards,[159] and Best
department”.[151] Film—Drama, Director, and Screenplay at the 33rd
The film was not without its detractors. Vincent Canby Golden Globe Awards.[160] Spielberg was nominated by
of The New York Times wrote, “It’s a measure of how the the Directors Guild of America for a DGA Award,[163]
film operates that not once do we feel particular sympa- and the Writers Guild of America nominated Peter
thy for any of the shark’s victims. ... In the best films, Benchley and Carl Gottlieb’s script for Best Adapted
characters are revealed in terms of the action. In movies Drama.[164]
like Jaws, characters are simply functions of the action In the years since its release, Jaws has frequently been
... like stage hands who move props around and deliver cited by film critics and industry professionals as one of
information when it’s necessary”. He did, however, de- the greatest movies of all time. It was number 48 on
scribe it as “the sort of nonsense that can be a good deal American Film Institute’s 100 Years... 100 Movies, a list
of fun”.[152] Los Angeles Times critic Charles Champlin of the greatest American films of all time compiled in
disagreed with the film’s PG rating, saying that "Jaws is 1998; it dropped to number 56 on the 10 Year Anniver-
too gruesome for children, and likely to turn the stomach sary list.[165][166] AFI also ranked the shark at number 18
of the impressionable at any age. ... It is a coarse-grained on its list of the 50 Best Villains,[167] Roy Scheider’s line
and exploitative work which depends on excess for its im- “You're gonna need a bigger boat” 35th on a list of top
pact. Ashore it is a bore, awkwardly staged and lumpily 100 movie quotes,[168] Williams’s score at sixth on a list
written.”[153] Marcia Magill of Films in Review said that of 100 Years of Film Scores,[69] and the film as second on
while Jaws “is eminently worth seeing for its second half”, a list of 100 most thrilling films, behind only Psycho.[169]
she felt that before the protagonists’ pursuit of the shark In 2003, The New York Times included the film on its list
the film was “often flawed by its busyness”.[154] William of the best 1,000 movies ever made.[170] The following
S. Pechter of Commentary described Jaws as “a mind- year, Jaws placed at the top of the Bravo network’s five-
10 6 LEGACY

hour miniseries The 100 Scariest Movie Moments.[171] The rate appetites for big profits quickly, which is to say, stu-
Chicago Film Critics Association named it the sixth scari- dios wanted every film to be Jaws.”[185] Scholar Thomas
est film ever made in 2006.[172] In 2008, Jaws was ranked Schatz writes that it “recalibrated the profit potential of
the fifth greatest film in history by Empire magazine,[173] the Hollywood hit, and redefined its status as a marketable
which also placed Quint at number 50 on its list of the commodity and cultural phenomenon as well. The film
100 Greatest Movie Characters of All Time.[174] The film brought an emphatic end to Hollywood’s five-year reces-
has been cited in many other lists of 50 and 100 greatest sion, while ushering in an era of high-cost, high-tech,
films, including ones compiled by Leonard Maltin,[175] high-speed thrillers.”[186]
Entertainment Weekly,[176] Film4,[177] Rolling Stone,[178]
Jaws also played a major part in establishing summer as
Total Film,[179] TV Guide,[180] and Vanity Fair.[181] the prime season for the release of studios’ biggest box-
In 2001, the United States Library of Congress selected office contenders, their intended blockbusters;[110][187]
it for preservation in the National Film Registry as a winter had long been the time when most hoped-for hits
“culturally significant” motion picture.[182] In 2006, its were distributed, while summer was largely reserved for
screenplay was ranked the 63rd best of all time by the dumping films thought likely to be poor performers.[186]
Writers Guild of America.[183] 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 that
6 Legacy 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.[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 Trojan
horse through which the studios began to reassert their
power.”[185]
The film had broader cultural repercussions, as well. Sim-
ilar 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.[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 still
seen as responsible for perpetuating negative stereotypes
about sharks and their behavior,[193] 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.”[194]
Benchley stated that he would not have written the origi-
nal novel had he known what sharks are really like in the
wild.[195] Conservation groups have bemoaned the fact
that the film has made it considerably harder to convince
the 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-
The entrance of the now closed Jaws ride at Universal Studios
ence fiction film Alien was pitched to studio executives
Florida
as "Jaws in space.”[197][198] Many films based on man-
Jaws was key in establishing the benefits of a wide na- eating animals, usually aquatic, were released through
tional release backed by heavy television advertising, the 1970s and 1980s, such as Orca, Grizzly, Mako: The
rather than the traditional progressive release in which a Jaws of Death, Barracuda, Alligator, Day of the Ani-
film slowly entered new markets and built support over mals, Aatank, Tintorera and Eaten Alive. Spielberg de-
time.[98][110] Saturation booking, in which a film opens si- clared Piranha, directed by Joe Dante and written by John
multaneously at thousands of cinemas, and massive media Sayles, “the best of the Jaws ripoffs”.[157] Among the var-
buys are now commonplace for the major Hollywood stu- ious mockbusters based on Jaws American or foreign,
dios.[184] According to Peter Biskind, Jaws “diminish[ed] three came from Italy: Great White,[199] which inspired
the importance of print reviews, making it virtually im- a plagiarism lawsuit by Universal and was even marketed
possible for a film to build slowly, finding its audience in some countries as a part of the Jaws franchise;[200]
by dint of mere quality. ... Moreover, Jaws whet corpo- Monster Shark,[199] featured in Mystery Science Theater
6.2 Sequels 11

3000 under the title Devil Fish;[201] and Deep Blood, that 6.2 Sequels
blends in a supernatural element.[202] The 1995 thriller
film Cruel Jaws even has the alternate title Jaws 5: Cruel Jaws spawned three sequels, none of which approached
Jaws,[203] and the 2009 Japanese horror film Psycho Shark the success of the original. Their combined domestic
was released in the United States as Jaws in Japan.[204] grosses amount to barely half of the first film’s.[222] In
Martha’s Vineyard celebrated the film’s 30th anniversary October 1975, Spielberg declared to a film festival au-
in 2005 with a “JawsFest” festival,[205] which had a sec- dience that “making a sequel to anything is just a cheap
ond edition in 2012.[206] An independent group of fans carny trick”.[157] Nonetheless, he did consider taking on
produced the feature-length documentary The Shark is the first sequel when its original director, John D. Han-
Still Working, featuring interviews with the film’s cast and cock, was fired a few days into the shoot; ultimately, his
crew. Narrated by Roy Scheider and dedicated to Peter obligations to Close Encounters of the Third Kind, which
Benchley, who died in 2006, it debuted at the 2009 Los he was working on with Dreyfuss, made it impossible.[223]
Angeles United Film Festival.[207][208] 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,
6.1 Home video releases Jaws 3-D (1983), was directed by Joe Alves, who had
served as art director and production designer, respec-
The first ever LaserDisc title marketed in North America tively, on the two preceding films.[225] Starring Dennis
was the MCA DiscoVision release of Jaws in 1978.[209] A Quaid and Louis Gossett, Jr., it was released in the 3-D
second LaserDisc was released in 1992,[210] before a third format, although the effect did not transfer to television
and final version came out under MCA/Universal Home or home video, where it was renamed Jaws 3.[226] Jaws:
Video’s Signature Collection imprint in 1995. This re- The Revenge (1987), directed by Joseph Sargent, starring
lease was an elaborate boxset that included deleted scenes Michael Caine, and featuring the return of Gary, is con-
and outtakes, a new two-hour documentary on the making sidered one of the worst sequels ever made.[227][228] While
of the film directed and produced by Laurent Bouzereau, all three sequels made a profit at the box office (Jaws 2
a copy of the novel Jaws, and a CD of John Williams’s and Jaws 3-D were among the top 20 highest-grossing
soundtrack.[211] films of their respective years), critics and audiences alike
MCA Home Video first released Jaws on VHS in were generally dissatisfied with the films.[229]
1980.[212][213] For the film’s 20th anniversary in 1995,
MCA Universal Home Video issued a new Collector’s
Edition tape featuring a making-of retrospective.[214] 6.3 Adaptations and merchandise
This release sold 800,000 units in North America.[215]
Another, final VHS release, marking the film’s 25th an- The film has inspired two theme park rides: one at
niversary in 2000, came with a companion tape con- Universal Studios Florida,[230] which closed in January
taining a documentary, deleted scenes, outtakes, and a 2012,[231] and one at Universal Studios Japan.[232] There
trailer.[216] is also an animatronic version of a scene from the film
on the Studio Tour at Universal Studios Hollywood.[233]
Jaws was first released on DVD in 2000 for the film’s
There have been at least two musical adaptations: JAWS
25th anniversary, accompanied by a massive publicity
The Musical!, which premiered in 2004 at the Minnesota
campaign.[215] It featured a 50-minute documentary on
Fringe Festival, and Giant Killer Shark: The Musical,
the making of the film (an edited version of the one
which premiered in 2006 at the Toronto Fringe Festi-
featured on the 1995 LaserDisc release), with inter-
val.[234] Three video games based on the film were re-
views with Spielberg, Scheider, Dreyfuss, Benchley, and
leased: 1987’s Jaws, developed by LJN for the Nintendo
other cast and crew members. Other extras included
Entertainment System;[235] 2006’s Jaws Unleashed by
deleted scenes, outtakes, trailers, production photos, and
Majesco Entertainment for the Xbox, PlayStation 2, and
storyboards.[217] The DVD shipped one million copies
PC;[236] and 2011’s Jaws: Ultimate Predator, also by
in just one month.[218] In June 2005, a 30th-anniversary
Majesco, for the Nintendo 3DS and Wii.[237] A mobile
edition was released at the JawsFest festival in Martha’s
game was released in 2010 for the iPhone.[238] Aristo-
Vineyard.[205] The new DVD had many extras seen in
crat made an officially licensed slot machine based on the
previous home video releases, including the full two-hour
movie.[239]
Bouzereau documentary, and a previously unavailable in-
terview with Spielberg conducted on the set of Jaws in
1974.[219] On the second JawsFest in August 2012, the
Blu-ray Disc of Jaws was released,[206] with over four 7 See also
hours of extras, including The Shark Is Still Working.[220]
The Blu-ray release was part of the celebrations of Uni- • List of American films of 1975
versal’s 100th anniversary, and debuted at fourth place in
the charts, with over 362,000 units sold.[221] • List of killer shark films
12 8 REFERENCES

8 References [28] Nadler 2006, p. 35.

[29] McBride 1999, p. 237

[1] "JAWS (A)". British Board of Film Classification. June
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[2] [Link] [31] Baer 2008, p. 206
500-greatest-movies/
[32] Jackson 2007, p. 20
[3] Priggé 2004, p. 6
[33] “Summer of the Shark”. Time. June 23, 1975. Archived
[4] Scanlon 2009, p. 197 from the original on November 30, 2009. Retrieved
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[35] Bouzereau, Laurent (1995). A Look Inside Jaws [“Pro-
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[8] McBride 1999, p. 232 [36] Brannen, Peter (May 26, 2011). “Once Bitten: Islanders
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[10] McBride 1999, p. 240 [37] Taylor 2012, pp. 250–251

[11] Gottlieb 2005, p. 52 [38] McBride 1999, p. 236

[12] Friedman & Notbohm 2000, p. 8. [39] Harvey, Neil (June 13, 2005). “30 years of 'Jaws’". The
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[14] Pangolin Pictures (June 16, 2010). Jaws: The Inside Story
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 19

11 Text and image sources, contributors, and licenses

11.1 Text
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Mrwojo, Frecklefoot, Edward, Ubiquity, Kchishol1970, Modster, Aezram, Matthewmayer, Ixfd64, Tregoweth, Jeandré du Toit, DJ Clay-
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Atlant, Philip Cross, Carbon Caryatid, Andrewpmk, AarHan3, Fritz Saalfeld, Poorpete, Scarecroe, Seans Potato Business, Wtmitchell,
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teria, The JPS, Woohookitty, DoctorWho42, Fingers-of-Pyrex, Thorpe, Trogga, Before My Ken, WadeSimMiser, Dozenist, CiTrusD,
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11.2 Images
• File:[Link] Source: [Link]
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• File:Vampire_Smiley.png Source: [Link] License: GPL Contrib-
utors: ? Original artist: ?
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