Jaws’ Most Underrated Scene Inspired Another Steven Spielberg Masterpiece

As a second major theatrical characteristic, “Jaws” was one of the first times Steven Spielberg worked with children, which would become one of its director’s characteristics. Since then, his stories have often been told through the eyes of a child, whom they have undergone a prison camp of the Second World War, fleeing extraterrestrials, meeting dinosaurs or looking for the blue fairy to become human and win the love of a mother. Similarly, in “Jaws”, Jay Mello, 6 and Chris Rebello, play the sons of Chef Brody (Roy Scheider), Sean and Michael. They appear throughout the film, initially enjoying the summer season of Amity Island, especially since Michael obtained his own boat.

Book by Laurent Bouzereau “Spielberg: the first ten years” highlights a small scene of “jaws” which presents these adorable children. (The book is a collection of in -depth films and interviews that explore how the young director reinvented cinema in a single decade – since his departure by “The Sugarland Express” at “and the extraterrestrial”.) The moment in question may not have the shock value of the shock value of the shock value of the shock value of the shock value The most scary scenes in the filmLike the view of blood gushing from the water next to the raft of life in tatters of Alex Kintner (Jeffrey Voorhees) or the head of Ben Gardner (Craig Kingsbury) floating suddenly in sight, and he may not make most of the classification rankings The biggest “jaws” scenes ,, But it is nevertheless a perfect example of what makes Spielberg a filmmaker so intuitive. Indeed, it is a smaller and more human rhythm among all the carnage.

The scene in question finds the chef Brody emotionally distraught. He has just been slapped by the mother of Alex Kintner (Lee Fierro) in front of half of the city for having left the beaches open, even if he had tried to do the right thing from the start. Brody sits at the dinner table with his head in his hands. When he has a sip of his glass, his little boy too, Sean. When Brody puts his hands in a gesture of prayer, Sean imitates him with his little food fingers. They finish their copy game by exchanging monster -shaped looks, rubbing the faces and scolding, sean distressing its missing teeth. A Ms. Sprifée Brody (Lorraine Gary) turns away from their playful exchange, knowing that another little boy has just lost his life.

Bouzereau’s book quotes Spielberg as indicating the following on this scene:

“The exploration of human behavior fascinates me. I think we improvised this moment on the day – I wanted Roy to show that he was depressed, and his son imitates him. It clarifies the mood, and Brody can see that he has a life outside of his work, that he has children and a family.”

On the surface, this brief moment of silent comedy and comforting family dynamics does nothing to advance the plot, but that is what makes it special. It is difficult to imagine a modern blockbuster taking the time to suspend action for such a tender study. The heroes on the big screen today are too often incredibly beautiful and shallow; We get little about whom they are outside their ability to save the day. Scheider like Brody, who delivers one of the Best performances in a Spielberg movieOn the other hand, is only a everyday guy who could be your neighbor, and that is exactly what confronts the shark so relatable and scary in “Jaws”.

Bouzereau’s book also reveals that a memorable moment of “and the extraterrestrial” was directly inspired by this scene of “Jaws”. To quote Spielberg on the question:

“I remember when I worked on the script of ‘and”, I wanted a similar scene where and imitate Elliott, which led them to communicate for the first time. I thought: ‘Hey, if it worked in’ Jaws ”, it could work in “and” “

“And the extraterrestrial” is one of the best extraterrestrial films of all time Due to the deep link that and develops with Elliott (Henry Thomas), while they grow to see each other not only as friends and playmates but also as sort of sisters. When they meet for the first time, Spielberg includes an equally calm and fun copy when Elliott leads and in his room with the pieces of Reese. And wipes her nose, touches her lips and greets each time after Elliott. Elliott looks in admiration in front of this little creature Rowdy Espace which imitates each of its movements. They end by pointing their indexes, which would become the emblematic gesture of the “telephone house”, then the heartbreaking farewells, “I will be here”. Elliot is charmed by childish innocence of and and no longer sees it as a scary stranger.

These small scenes of “jaws” and “and extraterrestrial” are reflected in the sweetest way, and, above all, they remind us that Spielberg does not only make great explosive blockbusters for the spectacle alone – it also gives them a beating human heart. This is why his films have endured for generations and will continue to do so.