After a young woman is killed in a ferocious shark attack, Amity Island Chief of Police Marty Brody prepares to close the local beaches. When the Mayor suggests this is the wrong move, he succumbs to doubt and backs off the plan. Unfortunately, one week later, a young boy is killed by the shark in front of scores of beach goers. The town is whipped into a frenzy and fishermen from all around the coast flock in to capture and kill the shark. When a large tiger shark is hauled in, Brody and the town residents breath a sigh of relief, but oceanographer Matt Hooper isn’t convinced it’s their killer. Another shark attack confirms his suspicions and forces the Mayor and Brody to take drastic action. They pay an exorbitant sum to the colorful, local shark-killer Quint to take care of the beast. Quint, Brody, and Hooper embark on the vessel “Orca” and soon come face to face with the biggest great white shark each have ever encountered.
Widely considered to be the first summer blockbuster and the kickoff to Steven Spielberg’s career, I can now write my hot take—this film is fantastic. There’s not much to gush over that hasn’t already been said. The use of William’s score to audio-locate the approaching shark is perfect. The effects are minimal but effective. The film avoids falling into a “slasher/monster film” rut by progressing through three distinct and perfect acts: (1) the reckoning on the beaches, (2) the frenzy to hunt and salvage summer, and (3) the battle on the open seas. And I loved our three main players and their respective characterizations. Brody, Hooper, and Quint each had real likable traits and compelling character flaws. Seeing the three strangers form, storm, norm, perform, and adjourn (with the help of the shark) makes this one of my favorite “team up” stories. Of course, Quint’s “U.S.S. Indianapolis monologue” is perfect. And the film’s tone is fluid and fascinating. The film is a thriller, no doubt, but has a swashbuckling drive, friendly banter, and beautifully shot vignettes of family life to balance out the blood and guts.
The “current events” angle I mentioned earlier is the parallel between the “we can’t close the beaches on the 4th of July” and pundits suggesting early on that we should all be accepting the risk of a still-not fully understood COVID “for the economy”. As with “Jurassic Park”, this is a monster film and the shark is an antagonist—but the irresponsible choices of people proved to be an equally powerful, antagonistic force. No doubt, the blood of the victims was shared by shark *and* man. In this way, the film is weirdly prophetic. And considering we seem to be getting dumber, I suspect this tale will remain timeless.