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S?arfr thriller sho ws bite
By GregLukow
like its bhod brother The.
Exorcist, Jaws is this year's
movie mountain just about
: everybody's going to it simply
because it's there. -
Stripped down to their
rather shallow essentials, both
of these movies come up
looking the same. They are box
office phenomena in the
highest sense of the
word turning a couple of
joyously trashy novels into
joyously trashy films.
They are a myriad of old
Hollywood tricks, special
effects and mechancial
monsters to create new,
unexplored and unknowable
evils. A gaping, great white
shark is no different from
festering Linda Blair as a
possessed force that must be
overcome and driven out
before these movies' isolated
worlds can return to normal.
Excises histrionics.
Jaws the movie, has excised
most of the landlocked
histrionics of the book. Roy
Scheider, as Police Chief
Brody, gives the film a
levelheadedness that was
missing in the novel, with its
hints of Mafia pressures,
middle-age bugaboos and
marital infidelities. Conniving
Mayor Vaughn remains intact,
however, played to the hilt by
veteran character actor Murray
Hamilton, wearing little boat
anchors on his tacky suit and
trying to keep the Amity
Island beaches open for the
summer holiday even after
several people have been eaten . '
by the shark.
Richard Dreyfuss gives
another of his irresistible
performances, this time as
Hooper, the rich-kid
William's ominous music
looming in the background)
and then cuts to a surface level
shot where the girl is suddenly
yanked, . dragged and sucked
down away from view. The
economics and suspense
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Matt Hooper (Richard Dreyfuss, right) a young ichthyologist,' and
Cheif of Police Brody (Roy Scheider) are relieved when a tiger
shark, believed to be the sea monster that has attacked bathers is
caught by bounty hunters.
oceanographer who is treated
more kindly here than in the
novel. Robert Shaw is properly
salty and sea worn as Quint,
the professional shark kills.
Effective Cinema
Despite the storys
shallowness, there is effective
and simplistic cinema used
here. An opening shark attack
on a young female swimmer
uses only slow, underwater
subjective shots from the
shark's eye view (with John
r
technique of this brief, simply
edited sequence is
Hitchcockian in the purest
sense and is perfect example of
the sr.!ch overstated idea that
it's vvhat you don't see that can
be most alarming.
Twenty -seven-year-old
Steven Spielberg is the now
well-known name behind it all,
and it yet another in a long line
of talented, young American
directors.
(Continued on pg. 10)
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tuesday, july 1, 1975