Jaws (1975) – film essay

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Often, we find an answer to an existential dilemma in a situation that defenestrates us to an ocean of choices. How to respond to a challenge may change the compass of the fortune’s wheel. Patience and fortitude conquer all things in the mastery of fear in defense of the sovereignty of life against inconveniences and losses in existential selfhood. In this regard, “Jaws” (1975), directed by Steven Spielberg, shows how Man fights against the Leviathan of Life with will and courage.

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“Jaws” is a cinematic feast of horror and adventure that brilliantly blurs the genre of the movie fashioned in minimalist realism as regards to the storyline, characters, and leitmotif. Only the thematic lynchpin is larger- than- life: a hybrid of sea monsters, ranging from Johan’s Big Fish to Herman Melville’s Moby Dick and to Ernest Hemingway’s Mako that loves to swim around by the teeming shore in New York. In fact, the peaceful resort seaboard of Amity in New York betrays our idea of a Great White Shark as a dweller of the Pacific Ocean where tall palm trees and suntanned surfers are part of the landscape. Also, the appearance and roles of the characters in the movie do not carry Hollywood glamour. Police chief Martin Brody (played by Roy Schneider) is a mild-mannered family man who has recently moved from New York City but has aquaphobia due to childhood trauma. Oceanographer Matt Hooper (played by Richard Dreyfuss) is a wealthy neurotic scientist who is determined to get the formidable man-eater. Seasoned fisherman Quint (played by Robert Shaw) has all the characteristics of the choicest seaman with bravado sealed in unhealed fear. The ad-hocish triumvirate team formed mutual allegiance to defeat the predator that not only threatens the lives of people in the water but also agitates their fears buried in the waves of minds’ mains. Jaws is the contender of life’s challenge that the three characters must face and fight.

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Spielberg is ingenious in using music as a leitmotif in expressing the intensity of emotions in scenes that produces suspense held in abeyance of impending danger that tantalizes our ready expectation of sequential segments of the story. He uses a recurring theme without the grandiose scale of orchestral tunes, signaling the menacing presence of the predator lurking in the uneasy equanimity of ordinary leisure. Spielberg also defies casting high-billed actors and actresses to create the verisimilitude of reality. The result produces relatability of the characters placed in situations where the ordinary people might have behaved in such extraordinary circumstances, asking us what we would do if we were in the position.

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The stupendousness of the big predatory fish and the nuanced emotions of trepidation is akin to reading Hemingway’s The Old Man and the Sea, where the seasoned fisherman Santiago’s serenity amid the battle against the man-eater in the ocean alone testifies to the steadfastness of human will and courage. Jaws is a film version of it that says, “Man can be destroyed but cannot be conquered.” “Jaws” is a masterpiece cinema that has become a classic in the history of cinema with its legacy. Now I know why people love to watch it anew and again across the oceans.

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