Jaws is widely known to have had a troubled production from almost day one. It was very difficult for Spielberg to get actors in the lead roles, they started shooting without a script, the shark never worked, Robert Shaw and Richard Dreyfuss hated each other, and Spielberg was threatened with being fired every single day. Somehow from all this chaos he was able to direct what is one of the greatest thrillers made.
Seen in ideal circumstances: Saturday night of 4th of July weekend, with a packed crowd that laughed at each joke, screamed at the floating head, and applauded Shaw's entrance. It still plays like a pivotal link between Old Hollywood and the modern blockbuster, proving how far an imaginative eye can elevate B material. But for the first time, I noticed how cleverly—and classically—it sketches its community.
Premier film "commercial" de Steven Spielberg qui malgré quelques stéréotypes navrants et faciles, tient tout de même en haleine le spectateur attentif. Le succès du film provoqua l'apparition d'une multitude de succédanés médiocres sur la thématique "poisson-agression" souvent d'une affligeante médiocrité... www.cinefiches.com
9 - I have previously pointed to small-scale projects by the likes of Marker and Svankmajer as definitive proof that you don't need much besides brains and effort to make excellent films, as long as you control your film's scope. Say what you will about modern Spielberg, but he extended that axiom to summer blockbusters (while creating them) by getting thrills and chills out of a fake-looking rubber shark.
2-3. Theoretically effective pulpy horror that, for some reason, continues well past its clock and its highest stakes. I'm not sure the scares or clever editing and shot composition are enough to save this one from the narrative holes, as well as the real-life detriment it did to sharks, as admitted by the author. It's led by a likable enough Id/Ego/Superego trio, however. And Spielberg softens the machismo a bit.