T
he 50th Anniversary Re-Issue IMAX screening of Steven Spielberg's Jaws (1975) was not just a revisit to a classic, but a thoughtful re-education and celebration of cinematic history.
From the moment the MCA Universal logo and the iconic JAWS title card graced the colossal IMAX screen, the experience justified every penny.
The stunning clarity plunged the
audience into Amity Island’s perilous summer like never before. The enhanced
resolution revealed details previously lost to small screens and the
compression/conversions to old VHS and DVDs. A prime example of this is
immediately apparent in the opening sequence. The day-for-night shots where Tom is running after Chrissie on the beach, is remarkably
clearer. This allows for a much richer appreciation throughout.
As someone with deep admiration for analogue artifacts, particularly
works shot on ARRIFLEX or Panavision cameras with anamorphic lenses, this
IMAX presentation elevated Jaws to an all-time high.
The depth of colour in the Eastman Kodak film stock was particularly
striking, underscoring the meticulous artistry of every frame. Paired with
the film’s masterful editing by Verna Fields and Bill Butler's
breathtaking cinematography (who could forget the legendary push-pull dolly
zoom magnifying Chief Brody’s fear) the visual storytelling
remains unmatched.
Accompanying the visual wonder was the stunning dynamic
range surround sound. This elevated the film's already exceptional sound design
to new heights. John Williams' score reverberated
with bone-chilling precision. The piercing visceral screams of Chrissie, the
shark's first victim. As well as, the muted underwater foley (which I’d never
fully appreciated before) added unsettling realism to the attacks.
Remarkably, five decades later, the film’s tension holds up flawlessly. Steven Spielberg’s slow-burn build-up of fear of the unknown is particularly vivid during the jetty scene. The night time attack with the chain coiling out, Charlie’s panicked swimming and scrambling back to safety, not to mention the menacing devil-horned-like pilings of the jetty end chasing him. Even as a viewer of more than a dozen times, I was on edge. Later on, the climactic boat chase sequences, with the yellow barrels being dragged underwater and the Orca being pulled backwards by Bruce, are technically impressive marvels that deliver and then some.
The exceptional cast chemistry lends a lot of weight to every interaction. The Mayor’s ferry crossing confrontation with Brody is a superb masterclass in blocking and tension. Whereas Ellen’s fears for her child upon spotting Brody’s shark book embodies a profoundly grounded realism where in pre-internet days, children read books as a gateway into both the wonders and terrors of natural creatures like sharks, crocodiles and dinosaurs. This information allowed our imaginations to fill in the blanks, much as the film skilfully does for the audience!
Many pivotal, often overlooked, scenes gained renewed
resonance. Mrs. Kintner’s gut-wrenching confrontation with Brody and the
compelling hospital scene with the family after Michael’s estuary attack,
particularly stood out. I also realized the profound importance of the moment
Ellen appealed to leave for 'home' in New York, contrasted with Chief Brody’s
resolute demand for the Mayor to sign the shark contract; a critical
intersection of character and plot development. Thereafter, the audience is given
red herrings (like the tiger shark) and clever hints/premonitions of what was
to come. Quint’s troubled fisherman persona and haunting U.S.S. Indianapolis
monologue, for instance, remains a powerful piece of storytelling and a
cornerstone of the film.
One of the thrilling aspects of the screening was the audience’s reactions to specific scenes. Yelps erupted at the OG classic jump scare, where Hooper peers into a hole in the hull of a damaged boat only to be met by a corpse’s head popping out, was electric. The lady sat next to me literally jumped out of her skin! Yet, while the film casts an eerie presence, there are moments of light amongst the dark. The audience roared with laughter at moments such as Brody’s deadpan "that’s some bad hat Harry" and Quint’s shanty "farewell and adieu to you fair Spanish ladies".
On IMAX, even smaller details emerged, such as the
fantastic shot of the shooting stars (albeit a visual effect), whose
pink/purple hue now looked strikingly vivid and truly spectacular in 4K
resolution. Furthermore, the shot of the great white’s tail fin sinking through bloody water to the
bottom of frame was very effective and
provoking, serving as a clear statement and final resolution that the waters
are safe again…for now!
For me, this re-release/re-viewing has solidified Jaws' position as a cinematic gem. Moreover, it has helped provide immense inspiration for my current game art project exploring parallels within the genre and coincidentally set in the 70s. Spielberg didn't just make a blockbuster; he defined THE blockbuster. One that masterfully draws out the most human moments on screen, while channelling our primal fears of the ocean and the unknown. Watching Jaws on the big screen for its 50th anniversary was, without a doubt, a profound and deeply satisfying experience that reaffirms and strengthens its enduring legacy as a timeless theatrical masterpiece.
Thanks for reading :)
Comments
Post a Comment