Jaws 1975 123movies

Watch: Jaws 1975 123movies, Full Movie Online – It’s a hot summer on Amity Island, a small community whose main business is its beaches. When new Sheriff Martin Brody discovers the remains of a shark attack victim, his first inclination is to close the beaches to swimmers. This doesn’t sit well with Mayor Larry Vaughn and several of the local businessmen. Brody backs down to his regret as that weekend a young boy is killed by the predator. The dead boy’s mother puts out a bounty on the shark and Amity is soon swamped with amateur hunters and fisherman hoping to cash in on the reward. A local fisherman with much experience hunting sharks, Quint, offers to hunt down the creature for a hefty fee. Soon Quint, Brody and Matt Hooper from the Oceanographic Institute are at sea hunting the Great White shark. As Brody succinctly surmises after their first encounter with the creature, they’re going to need a bigger boat..
Plot: When an insatiable great white shark terrorizes the townspeople of Amity Island, the police chief, an oceanographer and a grizzled shark hunter seek to destroy the blood-thirsty beast.
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Ratings:

	8.1/10 Votes: 605,858
	97% | RottenTomatoes
	87/100 | MetaCritic
	N/A Votes: 8777 Popularity: 34.561 | TMDB

Reviews:

Jaws.

A man eating shark is terrorising the holiday island of Amity. Police chief Martin Brody, shark hunter Quint and marine biologist Matt Hooper set sail in the hope of killing the great white monster.

Jaws is responsible for many things, it’s responsible for propelling director Steven Spielberg’s career into the stratosphere, it was responsible for a downturn in the package holiday trade, and it was responsible for shaping the summer blockbuster release practice’s. There are many other things which one doesn’t need to bore you with, it’s just true to say that Jaws is firmly ensconced in movie history, if one hasn’t seen it then one surely knows about it, it is, even today, part of popular culture.

But is it any good? Is it worthy of a long standing reputation as one of the greatest monster movies of all time? Hell yes it is, one or two easily overlooked flaws aside, it busted the box office (world wide) and tapped into a primal fear that resides in the majority of mankind, the unseen that resides in the sea.

Jaws sets out its marker right from the start with a truly shocking and attention grabbing opening sequence, from then on in Spielberg (learning from Hitchcock for sure) tweaks the tension to have the audience living on their nerves, even as character building (by way of Brody’s family arc) sedates the pace, we just know that it’s all relative to an extension of fear and terror that is around the next corner. After the first victims’ remains are found, Brody glances out at the ocean, Spielberg perfectly framing the shot to say so much about what we are about to be witness’ to. Jolts and shocks pop up from time to time to help build the unease, whilst Spielberg makes the audience wait before we even see what it is that so coldly and efficiently destroys man. Then it’s the claustrophobic switch as our brave protagonists are out at sea on Quint’s boat, unaware that the giant menace is now hunting them, eyes as black as death itself.

So many great scenes linger for all time in the memory, the entrance of Quint is a hum dinger, a mournful widow reducing Brody to a stunned realism, the Indianappolis monologue, the bigger boat! Just some of the reasons why I personally love cinema so much. The score from John Williams is as effective as any for the genre and Robert Hoyt’s sound team’s work furthers the unfolding dread. The cast are superb and uniformly excellent, managing to cast aside technical problems (and genuine resentments at times) to portray this story with verve and a genuine depth of feeling. Yet Roy Scheider (Brody), Robert Shaw (Quint) and Richard Dreyfuss (Hooper) were far from from original choices, Charlton Heston was wanted for the role of Brody, Sterling Hayden and Lee Marvin were both mooted for Quint, and John Voight was Spielberg’s preferred choice for Hooper. Whilst Jaws author (and co screen writer here) Peter Benchley was heading for the top by asking for Newman, Redford and McQueen!! Imagine that!

Still it all turned out well in the end because Jaws stands the test of time as one of the best films of its type. No amount of complaining about continuity and a rough looking mechanical shark will ever dim its appeal, even as I revisited it recently for the hundredth time I still got tingles all over my body. So file it alongside King Kong in the pantheon of Monster Movie Masterpieces. 10/10 always, now go enjoy your dip in the ocean.

Much like the shark itself, the movie starts slowly, deep down in the depths before coming to the surface to explode in pure sensationalism.

Jaws is one of those rare exceptions where high-brow art meets fun entertainment. At the time of its making, however, simply keeping its head above water was the most the cast and crew were hoping for.

But Spielberg had created something special. During production, no one saw it–I’m not sure Spielberg himself saw it, but it was there. I think it was really editor Verna Fields who saw it and put it together.

Jaws begins the way most primal fears begin: someone is alone, in the dark, in an alien environment, and is being attacked from some unknown entity. People remark today how Jaws worked so well, that it’s kept them afraid of the ocean for years. I disagree. I think it’s because we are scared of the ocean is why Jaws works so well. The opening scene of the young girl being savaged in the black nothingness that is the night ocean is terrifying because it preys on primal fears; it doesn’t create them.

Next we’re introduced to our cast of characters: There’s Police Chief Martin Brody–an everyman with a fear of the water–and his wife, Ellen. There’s Brody’s loyal deputy Len Hendricks (mysteriously named “Jeff” in the sequel). Then, of course, there’s the other side. There is the crooked mayor Larry Vaughan, and his two toadies newspaper editor Harry Meadows and coroner Carl Santos. After Brody and Hendricks find evidence of a hungry shark off the coast of the resort town of Amity, they do the sensible thing and start closing up the beaches. The mayor, seeing dwindling dollar signs, convinces Meadows and Santos to back him, and together they confront Brody and put the kibosh on his beach closing plan.

In an era where the primitive special effects technology gave us a shark that looked like a pool toy, it became essential that the shark not be the focal point of the film. And while a fin here and a barrel there do work wonders, it’s only because the shark is far from the only villain in the movie. To have credibility, we have to have a human villain. And that is where Vaughan comes in.

After Vaughan’s cavalier “it-can’t-happen-again” attitude blows up in his face, Brody brings in the book smart, but decidedly out-of-his-element marine biologist Matt Hooper. Hooper tells Brody everything he and we, the audience, already know: The shark is out there; it’s hungry; it’s eating people; and it will continue to do so unless it is killed.

After a disastrous Fourth of July celebration that should have gotten Vaughan impeached, Brody and Hooper join forces with Quint, a grizzled fisherman with a personal vendetta against sharks. The movie then switches from its horror and drama elements and becomes something of an adventure, foreshadowing Spielberg’s work on films like Raiders of the Lost Ark. Even John Williams’ score begins to conjure up images of Errol Flynn-style swashbuckling. The adventure almost seems fun.

And that is when the shark, previously only a shadow, fin, or plot point referenced by dialogue, takes center stage. The movie shifts gears further near the end, going from adventure to a full on monster movie.

The build up is slow, relying on showing us the results of the shark’s presence rather than the shark itself. This creates enough fear and credibility so that by the time the big, rubbery toy shark is commanding the screen, we’re afraid of it. It’s already been established as a monster.

The movie’s pacing, dialogue and acting are all perfect, creating a strong enough foundation on which a silly, albeit terrifying, plot rests. By the time the shark is sinking boats and eating shark cages, Spielberg has made us by into it that he could have had the shark blasting off for the moon and we would have accepted it. And that is how and why Jaws works.

Modern filmmakers need to take cues from Jaws
Watching Jaws today, the film has just as much impact as it did back in 1975. Why? Because, rather than relying on special effects, the film relies on characters, dialogue and atmosphere. The shark’s presence is always felt, even though it is rarely seen. However, what you remember most from this film are the characters. The interaction on the boat between the three leads is cinema perfection. The filmmakers of today have lost their way in a sea of weightless CGI and meaningless noise. A true masterpiece “monster movie” begins with good characters and atmosphere, the effects are merely the icing on the cake.

Spielberg’s original blockbuster
On the fictional New England resort island of Amity tourism is the main industry and each summer the beaches are backed with people hoping to swim in its beautiful waters… the last thing the authorities want is news that a shark has killed somebody. When I girl disappears at sea it is first assumed she just drowned but when her body is found the Island’s new Police Chief, Martin Brody, wants to close the beaches but the mayor is determined to keep them open and pressures the local doctor to certify that she was killed by a boat… a second death, just off a crowded beach, causes a major panic and the mother of the victim offers a three thousand dollar reward to whoever catches the shark. This attracts everybody with a boat but doesn’t impress local fisherman Quint, who demands $10,000, or shark expert Matt Hooper, who Brody invited to the island. After further deaths Brody, Quint and Hooper set of in Quint’s boat, the Orca, to hunt down the great white shark that has been terrorising the island. Once they find the shark it becomes clear that catching it will not be easy.

This iconic film has certainly stood the test of time and is as gripping as ever. The story is relatively simple without any real twists and that is one of its strengths. It is very much a film of two halves; the first land based as Brody tries to get the town authorities to take the shark seriously and the second out at sea as Brody, Quint and Hooper hunt down the shark. These three, brilliantly played by Roy Scheider, Robert Shaw and Richard Dreyfuss respectively, are great characters and the scenes between then on the boat are a delight; sometimes tense, sometimes funny and, when Quint tells the story of what happened when the USS Indianapolis was sunk positively chilling. The shark effects are pretty impressive, only in the final scenes does in took a bit rubbery; of course it helps that we aren’t shown too much of the shark early on. The music, by John Williams, is great… not just the famous ‘shark theme’ but also the other music. There are plenty of scary moments throughout the film; some at least as frightening as horror films largely because of its familiar setting and the fact that even though shark attacks are rare we all know that they do occasionally happen. Overall this is a great film that can be enjoyed by most people… if you don’t mind a few scares. It is a must see for anybody who enjoys classic movies.

Other Information:

Original Language en
Runtime 2 hr 4 min (124 min), 2 hr 10 min (130 min) (Extended Edition)
Budget 7000000
Revenue 470653000
Status Released
Rated PG
Genre Adventure, Thriller
Director Steven Spielberg
Writer Peter Benchley, Carl Gottlieb
Actors Roy Scheider, Robert Shaw, Richard Dreyfuss
Country United States
Awards Won 3 Oscars. 15 wins & 20 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono (Westrex Recording System), DTS (2000 Special Edition has 5.1 audio in english)
Aspect Ratio 2.39 : 1
Camera Arriflex 35-III, Panavision C-Series Lenses (some shots), Panavision Panaflex, Panavision C-Series Lenses
Laboratory Technicolor, Hollywood (CA), USA (color)
Film Length (7 reels), 3,395 m (Sweden), 3,480 m (Italy)
Negative Format 35 mm (Eastman 100T 5254)
Cinematographic Process Digital Intermediate (4K) (2020 remaster), Dolby Vision (4K Blu-Ray Release), Panavision (anamorphic)
Printed Film Format DCP Digital Cinema Package (IMAX DMR blow-up), 35 mm