DARK SHADOWS (2012)

 Greetings again from the darkness. If anyone ever asks “What was the name of that late 60′s goth, supernatural soap opera with the cult following?“, it’s safe to assume they mean the TV series “Dark Shadows“. It ran from 1966-1971 for a remarkable 1225 episodes. For those who remember it, the image they recall tends to be actor Jonathan Frid as Barnabus Collins … the first vampire most of us ever saw outside of a Friday night horror film. The series made quite an impact on two young boys in particular: Tim Burton and Johnny Depp.

There are many reasons that movies get made. Pet projects or labors of love are not as common these days because of high production costs. But that’s exactly what this movie is – a pet project for Burton and Depp. They clearly have fun with the characters, and the film dallies ever so closely to the parody line. The initial set-up is brilliant and dark and ominous, leading us to believe this film will be in line with Burton’s Sleepy Hollow or Corpse Bride. Instead, the rest of the movie is more in line with Beetlejuice. Definitely not a bad thing – just different than what we were prepped for.

 Johnny Depp gives a wonderful performance as Barnabus Collins, the rich young man cursed by Angelique, the witch he spurns in love. His curse is to be turned into a vampire and buried alive. When his casket is discovered 196 years later, the world of 1972 is quite different than the one he left. He comically struggles to fit in and make sense of it all … not the least of which is his remaining family. At his beloved Collinswood Manor lives Elizabeth Collins Stoddard (Michelle Pfeiffer), Roger Collins (Jonny Lee Miller), Carolyn Stoddard (Chloe Grace Moretz), David Collins (Gulliver McGrath), the live-in child psychiatrist Dr Hoffman (Helena Bonham Carter), and their recently hired nanny Victoria (Bella Heathcote). While he was buried, the wicked witch Angelique (Eva Green) becomes the most powerful figure in town.  Ms. Green holds nothing back in her over-the-top jealous witch fun.

 Burton does a nice job poking fun at the 1970′s with comedy that won’t mean much to today’s youngsters, but will hit home with those from the era. The art direction and sets are terrific, especially Collinwood Manor. The music of the 70′s is used to comic effect, including a live performance by Alice Cooper. Michelle Pfeiffer does the best job at capturing the look and feel of the original series, but her daughter’s character (Moretz) takes an unnecessary turn as Burton tries to cram as much in as possible. In fact, the film is actually quite fun to watch, but is lacking real substance in the story department … not dissimilar to the original series.

 This is the 8th film collaboration between Burton and Depp. They make a wonderful team, and Depp has added another entertaining character to his Captain Jack Sparrow, Edward Scissorhands, Mad Hatter legacy. His movements and speech pattern are especially entertaining as we are mesmerized by his milky white complexion. His dialogue (written by Seth Grahame-Smith) demands attention and is both comical and majestic simultaneously. Burton’s tribute to the TV series includes cameos by four of the original actors: Kathryn Leigh Scott, Lara Parker, David Selby, and the recently deceased Jonathan Frid (pictured left) as guests at the ball. It’s a classy touch. Danny Elfman’s score is a bit overwhelmed by the use of numerous 70′s classics, and it was disappointing to hear The Killers version of “Go All the Way” rather than The Raspberries as the closing credits rolled.

Burton is one of the more visual directors and even though the story is a bit lacking, each scene gives us plenty to absorb. The ghosts are especially well done, as is the fishing town of Collinsport which was built just for the movie. It has many similarities to Bodega Bay, which film lovers will recognize as the setting for Hitchcock’s The Birds. Lastly, Burton gives us another scene with the great Christopher Lee – this time as a boat captain caught between Angelique and Barnabus. Good stuff.

SEE THIS MOVIE IF: you are a fan of the original TV series OR you enjoy Burton/Depp collaborations OR you “get” 1970′s humor

SKIP THIS MOVIE IF: in your mind, the 1970′s have as much relevance as 1870

watch the trailer:

THE CABIN IN THE WOODS (2011)

 Greetings again from the darkness. Well I was not ready for the horror/zombie/slasher genre to be turned on its ear, but that’s exactly what co-writers Joss Whedon and Drew Goddard (also director) have done here. Rest assured that your favorite aspects of horror films will be lampooned, or at least parodied. There are times you will jump and laugh simultaneously, but mostly I found myself checking off the influences/targets of the filmmakers.

There is no way to comment on this film without offering up spoilers, and I will not do that. What I can tell you is that you’ll be reminded of films such as Scream, Friday the 13th, Bubba Ho-Tep, Night of the Living Dead, The Evil Dead, Saw, and dare I say, elements of the classic TV series The Twilight Zone … you know the parts where you know there is more going on than you are seeing, but you can’t quite put it all together.

 The movie starts out with a tongue-in-cheek assembly of generic characters from most horror films: the fun-loving jock (Chris Hemsworth, pre-Thor), the “bad” girl (Anna Hutchison), the “good” girl (Kristen Connolly), the brainiac (Jesse Williams), and of course the comic relief stoner waxing philosophical (a very effective Fran Kranz). This group piles into a borrowed RV and heads to the cabin. And yes, we get the obligatory stop at the run down gas station manned by the straight-from-Deliverance attendant played by tobacco-spitting Tim De Zarn.

 We learn quickly that something odd is going on and our heroes are really playthings in some kind of cosmic game being conducted at an underground lab run by Richard Jenkins and Bradley Whitford. That much is shown in the trailer and that’s the end of what I will say. After that, the choice is yours … just like in the basement.

I have no idea whether to recommend this movie, and if so, to whom.  The last 15 minutes are pure mayhem, and you will either be fully onboard with this Disneyland ride gone bad, or you will have wanted to leave for the past hour. Filmed three years ago, but caught up in studio legalities, the movie was selected for opening night at SXSW and it truly is a twisted, even demented jab at all things horror. Only you can decide what comes next.

SEE THIS MOVIE IF: your twisted, demented movie-watching personality has made you a horror/zombie/slasher expert and you don’t mind Whedon and Goddard poking a little fun at your genre … just don’t blame me.

SKIP THIS MOVIE IF: I didn’t just describe you in the “See” section

watch this trailer … or don’t, if you are planning to see the movie:

SILENT HOUSE

 Greetings again from the darkness. On my never ending trek to find quality horror movies, this one had a couple of interesting things going for it. First, it stars Elizabeth Olsen (sister of the twins) who was so impressive in last year’s Martha Marcy May Marlene. Secondly, the film was reported to have been shot in one continuous take/shot. From a technical aspect, this is one of the more curious claims and brazen filmmaking attempts one can imagine.

Let’s start with the fantastic Ms. Olsen. With very few lines of dialogue and being on screen for 95% of the film, she doesn’t disappoint. The camera loves her face … even when that camera is mere inches away and the lighting is provided by a kerosene lamp or flashlight. She proves very expressive in fear and isn’t afraid of quiet; and more rare these days, she isn’t afraid to look less than glamorous. Ms. Olsen’s future is much brighter than the lighting in this bleak house in which she is stuck.

 The basic story has Sarah (Olsen), her dad (Adam Trese) and her uncle (Eric Sheffer Stevens) returning to the family lake house for some simple rehab and packing, with the goal of putting the place up for sale. Next thing you know, strange noises, a lost key, and dad lay bloodied on the floor. The house itself is a maze of doors, floors and staircases, and because the windows are boarded up and the electricity is dead, the limited lighting will have you straining your eyes to make out location and shapes.

 Directed by the husband and wife team of Chris Kentis and Laura Lau (Open Water), the first 30 minutes of this movie captured my interest and had me on edge. Unfortunately, it kind of unravels and ultimately ends with a disappointing and rather cheap explanation. It’s a remake of a 2010 Uruguay film, which was based on a true story from the 1940′s. I am not sure if the ending to this one follows the “true” ending. As for the single take, I call BS. There were changes to the blood spatters on Olsen, not to mention numerous times where a “blackout” proved convenient to shift camera location. Still, the real time feel is a nice touch, as is the minimal use of music … a rarity in a genre known for blasting crescendos to cue our screams.

SEE THIS MOVIE IF: you want to follow the evolution of Elizabeth Olsen on her way to stardom OR you have a “Rainman” fetish for doors

SKIP THIS MOVIE IF: you prefer your horror films to have a satisfying ending OR you want to believe the filmmaker claim that it was shot in a single take

watch the trailer:

THE WOMAN IN BLACK (2012)

 Greetings again from the darkness. The quest for quality horror films is a never-ending project. Since low budget fright fests are the easiest way to make money in Hollywood, most take shortcuts that leave us feeling cheated. This remake of a 1989 British TV horror film actually has wonderful production design … the Gothic mansion is a sight to behold. Unfortunately, the shortcut here was a story that offers little substance, despite being based on Susan Hill‘s novel.

Daniel Radcliffe (yes, Harry Potter himself) plays a young, widowed solicitor named Arthur Kipps, who is still grief stricken, and now on the verge of losing his job. He is given one last chance to prove his mettle to the firm by going to a remote village to settle the affairs of recently deceased client. His young son (Misha Handley) and his nanny are to meet him in the village a few days later.

 The local townspeople clearly don’t want him there and are constantly trying to shoo him back to London. Of course, no one ever bothers to tell him why they are frightened and why they are so angry with him for going to the old house. This mansion is a work of art. It has the necessary creep factor to star in a real horror film. The furnishings and fixtures and decor are really the star of the movie. In fact, the DVD should include a segment on the antique mechanical toys.  It’s not giving away anything to say that every time Radcliffe sees this mysterious woman in black, something bad happens in the village.  The mystery is solved easily enough as we read along while Radcliffe organizes the letters.

The annoying thing about the film is that whenever we get a chill-inducing moment like a shadow in the background or a figure passing by a mirror, it is immediately followed up by a cheap parlor trick involving a sonic blast of music and an ear-piercing scream. It’s as if the director (James Watkins) is convinced movie goers are too ignorant to know when to be scared.  His solution: provide clues to say “Scream now!” Ciaran Hinds and Janet McTeer add a touch of class to the film as Mr.and Mrs. Daily, who recently lost their son. Mr. Daily has found solace in the bottle, while Mrs. Daily teeters on the brink of insanity. My theory that no film featuring Mr. Hinds can be all bad is tested here, and Ms. McTeer was seen recently as the best thing about the Albert Nobbs film.

 On a positive note, this is a nice transition movie for Daniel Radcliffe. He has quite a career challenge as he tries to break loose of the Harry Potter clamp. He succeeds here with quite a different physical appearance, though he really has little to do but alternate between a distantly forlorn look and peering cautiously around dark corners. A couple of interesting notes: the boy playing his son is Radcliffe’s real life godson; and the actor who played Radcliffe’s role in the 1989 original is Adrian Rawlins, who played Harry Potter’s father in those movies.

By the way, how long until Daniel Radcliffe realizes he should just steer clear of train stations?

SEE THIS MOVIE IF: you are desperately seeking a horror film that isn’t a slasher … even if it’s not very good OR you are anxious to see Daniel Radcliffe first real step towards a film career outside of “Harry Potter” OR you just want to see a beautifully creepy haunted house

SKIP THIS MOVIE IF: you are expecting a classic horror story in the vein of Poe OR you have had your fill of cheap tricks designed with no purpose other than to cause viewers to jump

watch the trailer:

THE SKIN I LIVE IN (La piel que habito, sp)

 Greetings again from the darkness. I will readily admit to being a huge Pedro Almodovar fan. His films regularly place on my ”Best Of” list every two years. I so admire his creativity, tough women characters, visual acumen and multi-dimensional stories. With Almodovar, we can bank on some type of dalliance with death, a brush with sexual deviance, non-linear time lines, plots that twist and turn incessantly, a color palette to make Frida Kahlo envious and psychological darkness that forces us to look inward. All of these elements are present here … yet somehow it doesn’t quite click.

 Antonio Banderas plays Dr. Robert Ledgard, a plastic surgeon revered for his work in face transplants. What the medical profession doesn’t know is that Dr. Ledgard takes the mad scientist label to whole new dimension. And he does it with the coolness reserved for the other side of the pillow. I will not go into details of the story other than to say Banderas’ character would make Dr. Frankenstein turn away in disgust.

Dr. Ledgard lives in a beautiful mansion with his protective housekeeper played by Almodovar veteran Marissa Paredes. He also has a live-in patient named Vera, played wonderfully by Elena Anaya. You will recognize Ms. Anaya if you took my advice and tracked down Mesrine parts 1 and 2. Support work is also provided by Jim Cornet as Vicente. I wish I could tell you more of the characters, but can’t without giving away too much.

 Dr. Legard and Vera are two of the most fascinating characters ever written by Almodovar, and the film is a twisted road to discomfort all wrapped up in a silky smooth picture frame. From a filmmaking perspective, I couldn’t rate it much higher. From an entertainment perspective, it would be near the bottom of the most interesting or desirable Almodovar films. Am I disappointed? Sure, a little. But not enough to override my excitement for the next film by Almodovar!

SEE THIS MOVIE IF: like me, you must see every Almodovar film OR you want to see Antonio Banderas in his most intense role in quite some time.

SKIP THIS MOVIE IF: you have yet to enter the film realm of Almodovar … this is not the best for an introduction

watch the trailer:

THE THING (2011)

 Greetings again from the darkness. Let’s tip our ski masks and flamethrowers to John W Campbell Jr. He wrote the 1938 novella (“Who Goes There?”) that has inspired 3 versions of The Thing, plus the Alien series and numerous other sci-fi movies and TV episodes. This latest version is actually a pre-quel to the 1982 film John Carpenter’s The Thing starring Kurt Russell. First time feature director Matthijs van Heijningen Jr does a nice job of staying true to Carpenter’s version and offering a back-story, while still coming across fresh for a new generation.

 Going back to 1951, The Thing from Another Planet succeeded in frightening a bunch of young filmgoers and hooking them on sci-fi and terror at the theatre. In that version, James Arness (later famous as Marshal Dillon in Gunsmoke) was a hulking creature responsible for many nightmares for kids in the 50′s. John Carpenter updated the look in 1982 with a version that has become classic sci-fi and horror, and now this version takes advantage of today’s spectacular special effects.

 The special effects do dominate and that’s not necessarily a bad thing. The creature and its process are on full display quite a lot, so instead of suspense, we get outright fright shown by the research team. If you aren’t aware, this research station is located in Antarctica, and the frozen tundra and isolation are characters unto themselves. There is very little character development in this most recent version. We do get a Ripley-esque Kate played by Mary Elizabeth Winstead (Death Proof cheerleader), a misguided scientist (are there any other types?) played by Ulrich Thomsen, and a right guy in the wrong place nice guy played by Joel Edgerton (Animal Kingdom, Warrior). The rest of the cast are mostly Norwegian dudes who, I am sure, have had better vacations than this.

The movie has a couple of very nice shots depicting the frozen terrain and a very cool overhead of the creature frozen in ice. Other than that, fans of the 1982 version will be glad to know that the flamethrowers are back, as is the dog. Just know that this one is driven by special effects, so if you are up for a creature/alien film, you’ll probably be satisfied.

SEE THIS MOVIE IF: you are a fan of either of the previous two OR you like the mixture of terror and sci-fi OR you never miss a movie featuring a flamethrower

SKIP THIS MOVIE IF: you think John Carpenter’s 1982 version can’t possibly be topped OR you aren’t the type to be impressed by gore-centric special effects OR you are protesting since Kurt Russell doesn’t make an appearance

watch the trailer:

DON’T BE AFRAID OF THE DARK (2010)

 Greetings again from the darkness. While I really enjoy a good horror movie, I have never been too fond of those that featured unexplained or other-worldly creatures. However, with Pan’s Labyrinth to his credit, Guillermo del Toro has earned my trust. Supposedly the 1973 British version of this film (Nigel McKeand teleplay) so frightened a young del Toro that it inspired him to become a filmmaker. Here he acts as producer and co-writer, while first timer Troy Nixey directs.

 What makes this one work is that it takes full advantage of setting and dark tones, rather than over-exposure of the freakish fairies that live in the ash pit. Blackwood Manor is one creepy, yet fantastic mansion that belonged to a famous artist who was killed in the basement. Also, the three leads are good in their roles. Guy Pearce plays the struggling businessman who gets his 10 year old daughter forced upon him by his ex-wife. Katie Holmes plays Pearce’s girlfriend and the interior designer in charge of the mansion re-do. The real gem of the film is Bailee Madison, whom you will remember from Bridge to Teribithia.

 Putting a cute kid in peril is one of the most over-used cliches in horror films, but here young Sally (Madison) is actually quite brave and rational … she is trying to solve this mystery without bothering the oh-so-busy adults. As is customary, the dad (Pearce) is clueless and the last to catch on, but there is a very interesting dynamic between Holmes and Madison. Those are the kind of details that make this one worth seeing for all you lovers of horror. Just remember the second rule of real estate: never buy a mansion named Blackwood.

SEE THIS MOVIE IF: you never miss a decent horror film OR you want to see Jack Thompson (so great in Breaker Morant) as the crusty old caretaker

SKIP THIS MOVIE IF: little creatures in the basement is all you need to know to find something else to do

watch the trailer:

THE LAST CIRCUS (Balada triste de trompets, Sp.)

 Greetings again from the darkness. Here’s hoping I don’t get booted from proper society for admitting a strange fascination and enjoyment from the latest directorial effort by Spanish cult favorite Alex de la Iglesia. The film is assembled with unequal parts: political parody, black comedy, dark horror, outlandish action and a bizarre love triangle. All of that plus some of the freakiest clowns you will ever see! I am not really familiar with Mr. De La Torre’s previous work but evidently he has quite a following in Spain, though he has found only limited success in the U.S. with The Day of the Beast. Neither am I an historical expert on the Spanish Civil War or the regime of Generalissimo Francisco Franco, both of which are on-screen targets of the director’s true feelings. Still, the movie is such that it kept me engaged and even enthralled the entire time … especially in Act I.

 The film begins in 1937 when a faction of the Republican Army crashes a kids’ circus performance and forces the performers to join in the crusade. One of the clowns leaves behind a young son while simultaneously picking up a machete and destroying a platoon almost single handedly – while still in women’s clown costume! It is a visual I have yet to erase from my memory.

Six year later, the clown is forced into servitude constructing the famed Valley of the Fallen. His son tracks him down and is offered “revenge” as the only redemptive action by his father. Flash forward to 1973 and the young boy is seen joining a traveling circus as the “sad clown”. This circus troupe is run by the ruthless and sadistic “funny clown” who is clearly the filmmakers representation of Franco. The foreshadowing scene comes in the initial meeting between the two clowns as ‘funny’ tells ‘sad’ if he weren’t a clown, he’d be a murderer. ‘Sad’ responds “me too”. Let the mayhem begin! The rivalry and violence escalates as Javier, the sad clown, is led on and falls for the acrobatic girlfriend of Sergio, the funny clown. As the story moves forward both Javier (Carlos Areces) and Sergio (Antonio de la Torre from Volver) become more grotesque and violent in their attempts to capture Natalia (Carolina Bang) the acrobat. It all ends with a breathtaking climb and operatic duel atop the memorial in the Valley of the Fallen.

 There is no way to describe the trip from machete clown to the tragic dance atop the cross. It is a mash-up of Inglorious Basterds, Freaks, Machete and Phantom of the Opera. Additionally, there are countless homages to classic films through the years (North By Northwest, Vertigo, and many more) and a nearly operatic feel to the story and some scenes. Singer Raphael‘s version of “Ballad of the Sad Trumpet” plays a role, as does a crumpled trumpet. I certainly see this one becoming a regular on the midnight movie circuit, and rightfully so. It has everything a viewer could possibly want … provided they are in an altered-state-stupor and looking for the best violent clown movie currently showing!

SEE THIS MOVIE IF: you are a fan of 1970′s horror films but have always wished they contained significantly more violence and a few demented clowns

SKIP THIS MOVIE IF: you are already frightened of clowns OR you are my mother

watch the RED BAND trailer (not suitable for under age 17):

FRIGHT NIGHT (2011)

 Greetings again from the darkness. We can’t really discuss this movie without referencing the 1985 original. Writer Tom Holland was involved with both (including directing the original) and gets credit for updating the story while maintaining the look and feel. It seems as if vampires are everywhere these days, but the Fright Night recipe expertly mixes suspense, danger and campy humor.

Charley (Anton Yelchin) and his single Mom (Toni Collette) live in a quiet Las Vegas suburb. Charley’s nerdy friend Ed (Christopher Mintz-Plasse) notices the place is getting quieter everyday … people are disappearing! These disappearances correspond with the arrival of Charley’s new neighbor Jerry (Colin Farrell). Yep … Jerry the Vampire.

 Charley at first ignores Ed’s investigative skills and concentrates on Amy (Imogen Poots), the out-of-his-league girlfriend whom he desperately wants to get to know better. And then … Ed disappears. Charley tries to push Amy aside and solve this mystery. It doesn’t take long since he breaks into Jerry’s house and discovers where he stores the bodies of his victims. As you might expect, Jerry doesn’t take well to the invasion.

Charley goes to Vegas showman Peter Vincent (David Tenant) to seek help in destroying Jerry. See, Peter Vincent’s crazy Vegas show is all about fighting the evil dead among us. Of course, Vincent isn’t quite as tough off stage.

 There are plenty of moments of campy fun as Charley pursues Jerry. Not the least of which is a fender bender which includes Chris Sarandon, who played Jerry in the original. While it’s a nice homage, it just made me miss Roddy McDowall, who originated the role of Peter Vincent. Still, watching McLovin as a tough-talking vampire is quite a bit of fun as are the few moments of doubt from Collette and Poots.

Craig Gillespie directs the film, and his success a few years ago with the indie hit Lars and the Real Girl brings an added touch of class to the film. He really does a nice job of balancing the terror of the story with the humor necessary to make this one enjoyable and a bit different.

 A tip of the cap to the casting of the movie. Yelchin (Star Trek, The Beaver) is a real up and comer. Ms. Poots was very effective in Jane Eyre and it will be interesting to follow the direction of her career. Collette is a real pro. Colin Farrell seems to really enjoy his turn as a vampire and adds some subtleties and quirks that make it fun. David Tenant (“Dr. Who”) really captures the Vegas Peter Vincent. Mintz-Plasse is one of the few who can effectively bounce from high school nerd to powerful vampire. Must also mention some hidden gems: singer Lisa Loeb makes a quick appearance as Ed’s mother, Charley’s friend Mark is played by Dave Franco – brother of James (you will spot the resemblance), and Peter Vincent’s girlfriend Ginger is played by Sandra Vergara, sister of Sofia from “Modern Family” (again, you can’t miss the resemblance).

In this day and age, it isn’t easy to assemble such a strong cast, script and director for a movie that isn’t centered around alien action, terminal disease or toilet humor. If you enjoy campy horror films done with an acknowledged tongue planted in cheek, then I recommend this one. It delivers exactly what you hope and expect.

SEE THIS MOVIE IF: you enjoyed the 1985 original OR you get a kick out of campy vampire flicks

SKIP THIS MOVIE IF: you prefer your vampire movies to be dark and mysterious OR you are convinced no one can ever be a better vamp than Robert Pattinson

watch the trailer:

JAWS (1975) revisited

 Greetings again from the darkness.  Ba-dum.  Two of the more recognizable notes from any movie musical score are courtesy of 5-time Academy Award winner (45 nominations!), composer John Williams.  A truly great score plays a vital role in the emotional connection that a viewer makes with a movie.  In some movies, we barely notice the music.  Not so with the Jaws theme.   In 1975, it signaled an immediate jump in our blood pressure and has since glided right into becoming part of our societal lexicon - musical slang for “trouble is on the way”. 

You are probably wondering why I am writing about a 36-year old movie … especially one that revolves around shark attacks.  Haven’t we had more than our share of monster and disaster flicks?  Well, my friends, it’s time for you to re-discover the wonderment, joy, anxiety, humor and humanity of Jaws.  I did just that last evening at a screening provided by the Dallas Film Society, Dallas Morning News and film critic Chris Vognar.  

 When Jaws was first released in 1975, I saw it three times over three consecutive days.  I couldn’t get enough!  It was, after all, the first “summer blockbuster”.  At the time, I was the ultimate beach lover, and along came a movie that was so frightening, it convinced people to stay out of the water!  Over the years, I have watched it quite a few times on cable/tape/DVD, but not until last evening was I able to re-live that theatrical experience from the summer that changed movies forever.  Last night the theatre was full, and nearly a third of those in attendance claimed to have never before seen the movie.  So my hope is that you will make time for this classic film … whether it’s your first time, or your twentieth.  Introduce it to your kids, grandkids, nieces and nephews (if they are ready).   Talk about what makes it great, and about all the movies it has since influenced.

Rather than “review” the movie, I will point out some interesting details how it was made, its legacy and even some of my favorite moments from the movie.

Director Steven Spielberg was 28 years old when the movie was released.  He had already made some noise as a filmmaker with Duel and Sugarland Express, but it was the success of Jaws that labeled him wunderkind.  The now-legendary Spielberg went on to direct such classics as Close Encounters of the Third Kind, three Indiana Jones movies, The Color Purple, the first two Jurassic Park‘s, Schindler’s List, and Saving Private Ryan.  He is also listed as Producer on more than 120 other projects.  He is the ultimate ‘mover and shaker’ in Hollywood.   But Jaws was his last movie where the burden of expectations and box office results were minimal.  Jaws went on to gross almost a half billion dollars worldwide … an unheard of level at the time (movie tickets cost about $2.oo each in 1975).

 The story is based on the first novel by Peter Benchley, who would later write “The Deep” and “The Island“.  Mr. Benchley also appears briefly in the film version of Jaws as a reporter on the Amity beach.  The novel was a best seller, but much darker in tone than the Spielberg film.  Spielberg turned the book’s key characters into less abrasive personalities, while maintaining the colorful attitudes.

 Speaking of characters, many people tend to focus on Roy Scheider‘s Martin Brody,  Chief of Police on Amity Island.  He really does a nice job as the no-nonsense non-islander attempting to fit in without poking too much fun at the “problems” of the locals.  Others are drawn to the performance of Richard Dreyfuss as Oceanographer Matt Hooper.  Dreyfuss is far and away the most energetic of the actors, and his cocky, know-it-all, rich boy makes for a terrific contrast with the other more subdued characters.

The guy to really watch in this movie is the great Robert Shaw as Quint, the crusty local fisherman who vows to kill the shark for a huge fee.  Spielberg originally wanted Lee Marvin for the role, but it’s difficult to imagine anyone other than Shaw as the tough-as-nails Quint.  His sililoquy regarding his USS Indianapolis ordeal is mesmerizing and fascinating … and that scene alone should have won him the Best Supporting Actor.  Yet somehow, he wasn’t even nominated in the year that had, yes, George Burns winning for The Sunshine Boys.  Shaw’s character comes across as true salt of the sea, and watching him co-exist on a small boat with Scheider and Dreyfuss for the entire second half is movie-watching glory.  As they compare scars and enjoy an adult beverage, we are afforded a brief laugh outloud moment.  And don’t miss Scheider giving momentary consideration to flaunting his appendix scar.

 Much has been written over the years about the animatronic shark.  It was nicknamed Bruce, after Spielberg’s attorney.  Bruce gave the filmmakers a great deal of trouble and, because of that, the film works even better.  We don’t glimpse the shark until well into the movie, giving tension and anticipation much time to build.  Until the last few minutes, we really don’t get a full-on view of the shark, but it SEEMS like we do!

The Mayor of Amity is played by Murray Hamilton.  Mr. Hamilton is well remembered as Mr. Robinson … husband to THAT Mrs. Robinson … in The Graduate (1967).  In that movie, he refused to shake Dustin Hoffman‘s hand.  Here, he refuses to close the beaches, for fear of losing tourist revenue.  He only has a hand full of scenes in Jaws, but each is quite memorable.  Watching him speechify to the cameras, politicize to the citizens, and nearly break down while smoking in the hospital, adds depth and intensity to the film.

The trivia associated with Jaws is abundant.  What’s really important is that this is an incredibly well made movie that holds up extremely well today.  When you watch it, notice how you immediately understand the feelings of the locals at the town hall meeting, the desperation of the deputy, the shame of the Medical Examiner, the bravado of the fishermen and the confusion of Brody’s wife.  Notice the camerawork as it varies between the viewpoint of the shark, the viewpoint of a character, or interested onlooker to the beach happenings.  Check out the masterful film editing with three characters battling for space aboard the Orca.  Great stuff.

Jaws was nominated for Best Picture, but lost out to One Flew Over the Cuckoo’s Nest.  It did win for Best Editing, Best Sound, and Best Music (score).  Its lasting impact includes the genius of Spielberg, turning Summer into Movie time, and that iconic score.  Ba-dum.  Stay out of the water!

Check out the original trailer from 1975: