Part I | Part II
Parts III and IV coming soon
Parts III and IV coming soon
8. Brody's Studies
We don't know a lot about sharks and neither does the main character, so the movie needs to educate us both. How? It's useful to stop a moment and reflect on how, if you were directing the movie and needed to educate your audience, you would do that. Maybe he's watching a television documentary or he goes to a museum, but then how do you make that scene not only educational, not only educational and interesting, but also a scene into which the character belongs. Spielberg decided to have Brody sitting in his office going through books on sharks.
The scene educates everyone, in particular seeding us a few pieces of information.
First, the shark can sense activity in the water, telling us that we can't hide or swim away. Second, the shark is very big. Third, you're not safe on a boat. Finally, the picture of the shark eating a scuba tank sets up the final scene of the movie.
Two things especially distinguish this scene, though. The first thing is its quiet. There is practically no dialogue about the sharks, rather we look on as Brody flips through the books. The second is the way it is edited into the second scene. Instead of cleanly cutting the scene and ending it, Fields intercut Brody's flipping through the book into the beginning of the next scene. The result is that the images of the shark more closely anticipate the attack of the next scene by being woven into it.
9. Holiday Roast
There's another anticipation from the previous scene to this one, though, and that's the presence of the jetty. In the previous scene the jetty is set up as a safe place, where the boys go when their father tells them to get off the boat. We know the shark can attack a boat, but not a whole pier, right?
Like many other scenes in Jaws, this one also begins on a note of comedy, with two islanders trying to cash in on the bounty with the hair-brained plan of tying the shark to the pier. When the beast takes the bait, though, and the boobs cheer on the fleeing shark, we have no way to expect what happens: the shark rips end of the pier clean off, taking one of the men along for the ride. The whole scene pivots off of one ingenious moment when we see the end of the jetty, ripped off by the shark, turn round in the water. Spielberg uses the tip of the pier, now tethered to the shark by the chained bait on which the shark has chomped, as a proxy for the shark itself. To amplify this shock, it turns around nice and slowly to the sound of a metallic screech, a slash harsh and alien enough to tell our subconscious that something unfriendly is approaching even though we can't see it.
In the heat of the moment, we seem to see the shark, so strong is the suggestion of its presence. Of course there is still a man in the water, and Spielberg shoots his frantic swim back to the pier from below the water line, so we can practically feel the water rushing down our own throats.
With the wide establishing shots, we feel like the man in the water with the shark on one side and our pal calling from the pier on the other. This is also the first moment in which we hear the Jaws theme in full swing.
Spielberg wisely tunes down the carnage, though, and as the man escapes the scene ends on a light note as the near-victim asks his pal, "Can we go home now?"