When lists are made of the important post-modern movies, Jaws usually gets its due. It’s heralded for its breakout blockbuster novelty, and illustrative of the Tinsel Town transformation from art into artifice. Fans point to its endearing entertainment value and scholars compliment its wise decision to marginalize the monster – in this case, a wonky and unwieldy mechanical shark – for the sake of some solid suspense. But beyond the commercial and the critical, few have noted its cultural significance. While Star Wars and Halloween get all the obsessive, geek glory, Stephen Spielberg’s expert exercise in flawless filmmaking is the popular kid who can’t catch a break when it comes to lasting social and industry significance – until now.
The Shark is Still Working says it all. It’s a double edged announcement, a title reference back to a seminal statement made during Jaws’ tenuous production. It’s also the name of Erik Hollander’s near definitive documentary on the film. A masterful companion piece to the various supplements surrounding the perfect popcorn hit, it’s the smart and insightful sugar coating on three decades of fascinating fish stories. Unlike DVD extras which give us details into every aspect of the production, or a generalized historical overview, what this filmmaker wants to accomplish is something far more esoteric. Instead of focusing on the mechanics of Jaws creation, Hollander hopes to reveal how a simple silver screen adaptation of a bestselling novel became a lynchpin for a greater artistic appreciation.
Now actively seeking a distribution deal, the story behind The Shark is Still Working is divided into two halves – The Impact and The Legacy. Each section states its purpose with amiability and authority, using interviews with all living participants (including Spielberg and his quintessential cast) and testimonials from talent (Kevin Smith, Bryan Singer, Eli Roth) who view Jaws as instrumental in inspiring their passion for film. Interspersed amongst all the accolades and explanations, we meet the devoted, the long time lovers of the movie and its many merchandised variants. Using a first ever Jaws Fest Convention on Martha’s Vineyard as a central staging conceit, Hollander walks us through the initial discussions, the day to day travails, and the lasting import of what many originally feared would be a well meaning fiasco.
The first thing The Shark is Still Working reminds us of is Stephen Spielberg’s then novice status. Throughout the introductory material, meant to give context for those not born during the director’s neophyte reputation, we witness how chutzpah, matched with blind studio faith, fostered a motion picture masterpiece. The iconic filmmaker speaks frankly about his fears and his production nightmares, stating in open terms how the lessons he learned while making Jaws influence him to this day, and occasionally find him waking in a nightmarish cold sweat. Richard Dreyfuss and Roy Scheider second the apprehension, wondering aloud how a ‘kid’ in his mid ‘20s with limited feature film experience could conceivable make a movie filmed in and around the open ocean. It’s the preparation for a series of war stories, but oddly enough, Hollander barely skirts the history.
Instead, he gives us the basics – the shark worked/didn’t work, a three month shoot gets extended to seven, Spielberg escapes to LA while second unit work finishes the film – and then it’s off to the rhetorical races. We learn how the mechanical monster and its notoriously inconsistent functionality were visualized, how Robert Shaw used his own inherent writing skills to polish the famed “Indianapolis” speech, and how a fake head and the editor’s own pool became a celebrated shock moment onscreen. Beyond the hourly battles against tide, weather, exhaustion, incompetence, and filmic fate, Hollander also explores the industry impact. No one thought the film would eventually redefine the business model, though initial test screenings suggested a modest return. Watching the project move from disaster in the making to cultural benchmark is part of The Shark is Still Working’s archeological fun.
Those of us lucky enough to be teenagers when the movie hit screens in 1975 can attest to this section of the film. From the Time Magazine cover story and numerous tie-in publications, to the numerous lampoon references, to the main movie poster, with its oversized beast about to devour an oblivious, skinny dipping female, Jaws went from book to social staple so quickly that to call it a phenomenon would be a massive understatement. Before his pal George Lucas came along to cement the status of big screen spectacle as the next wave in the artform’s advancement, this funky fish story was a clamorous cause celeb. Via montages and displays, anecdote, and actual news reports, Hollander highlights the initial impact, arguing that a kind of symbolic synchronicity between audience and artist was occurring.
As if to emphasize this bond, Carl Gottlieb’s tell all onset diary The Jaws Log is discussed at length. Considered by present filmmakers like Singer and Smith as a kind of movie insider’s Bible, we see how a quick tie-in tome suddenly stands as a constructive confessional for anyone interested in discovering just how difficult it can be to helm a Hollywood production. We are then introduced to other industry insiders like Greg Nicotero (F/X god) and John Williams (soundtrack composer extraordinaire) and listen as they list the ways – both directly and indirectly – that this movie made their careers. To see such influence being acknowledged and defended is heartwarming, especially after all the hand wringing and kvetching over the lack of logistical prowess. But then The Shark is Still Working takes it all a step further. And it’s at this point where Hollander’s point goes from salient to insurmountable.
At Jaws Fest 2005, thousands of fans descend on the Martha’s Vineyard locations, each one bearing the amiable alms of a lifetime devoted to the film. Many sport tattoos and other celebratory body art, while a few have taken their fascination to the borders of fanaticism. We meet a man who makes a hobby out of imitating Robert Shaw’s salty sea captain character Quint, and witness as he lives out a life long dream – recreating the now infamous “chalkboard” scene from the film on the actual movie backdrop. It’s a sequence that comes dangerously close to idol insanity. Equally intriguing are the collectors, the people who’ve made it their goal to gather as much of the Jaws memorabilia available as possible. For some, a plastic cup or knock off t-shirt is not enough. For these dedicated individuals, years creating their own detailed models or lavish oil canvases remains the only way they can fully connect to Spielberg’s creation.
As sequels are discussed (and dismissed) and child actors chuckle about their place in history (there’s a monumental convention moment when the various Brody progeny from the films are reunited), the sphere of influence exacted by this film is finally understood. While it may not have a regressive recreationist society surrounding its narrative, people dressing up like Hooper and Chief Brody and reenacting their classic confrontations like a certain set of Jedi wannabes, Jaws is still cinematically significant. It stands as an important moment in motion picture history, the time when directors were finally acknowledged as the true guiding spirits of aesthetic truth. It may have been a bumpy road getting their, but as long as Spielberg was functioning, a cranky fake shark was not a big concern. The fact that, three decades later, it manages to still “work” magnificently is all that matters.
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