Jaws at 50: a cinematic masterpiece – and an incredible piece of propaganda

Jaws turns 50 on June 20. Last year, Quentin Tarantino called Stephen Spielberg’s film “possibly the greatest movie ever made”. Though he was quick to add that it isn’t the best film in terms of script, cinematography or acting, he was convinced that its overall quality as a movie remains unmatched.

I’m not so sure if Jaws is the best movie ever made – but it’s certainly the movie that I like to watch the most. It is as fascinating and multilayered as it is entertaining and depressing. As a researcher of political propaganda, I believe that Jaws had political purpose.

I have watched Jaws well over 50 times and still, with every viewing, I spot a new detail. Just last week I noticed that when police chief Brody (Roy Scheider) leaves his office after the first shark attack, he opens a gate in a white picket fence.

The white picket fence is often used to symbolise the American dream and Brody’s actions are likely intended to symbolise the disruption to the dream’s pursuit of capitalism as he seeks to close the beaches and potentially ruin the town’s tourism season.

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The film was released in June 1975. Just in time for summer holidays spent splashing in the waves (or not!). However, despite its continued acclaim, it didn’t win any of the big Academy Awards in 1976. One Flew Over the Cuckoo’s Nest dominated that year. Composer John Williams did, however, win the Oscar for best original score, which I assume you are now humming in your head.

Read more: One Flew Over The Cuckoo’s Nest: 50 years on Jack Nicholson's greatest performance is as fresh as ever

The film is based on the book by Peter Benchley, published a year earlier in 1974. The book’s plot is somewhat different to the film. For example, Matt Hooper – the shark specialist played by Richard Dreyfuss in the film – is eaten by the shark, possibly as an act of retribution for his sins on land. He survives in the film.

Benchley was US president Lyndon Johnson’s (1963-1969) communications advisor before he became an author and so knew Washington’s priorities well. The film was then commissioned before the book had time to become a commercial success, which is somewhat unusual.

The shark – powerful, mysterious, dark eyed, stalking the American people and killing without emotion – represents the threat posed by communism. The defeat of this “menace” will require the reunification of American society following its disastrous and fractious involvement in the Vietnam war and political scandals like Watergate.

Hence, the white public sector worker (Brody), the scientist (Hooper) and the military veteran (Quint), put their differences aside to band together on a rickety and ill-equipped boat – the Orca – which was possibly meant to symbolise the wobbling US of its time.

So while Jaws is a parable of societal repair, it is also a story of exclusively white unification amid external threats. The civil rights movement and Vietnam are inextricably linked through the service of young black men to the cause, and yet black characters are conspicuous by their absence from the book and the film. The only black presence in the book is an anonymous gardener who rapes wealthy white women.

Human will to dominate the natural world

In the book, the horror focuses upon human, rather than animal, behaviour. This comes in the form of political corruption, mafia influence, adultery, snobbery, racial prejudice, community disconnect and dishonest journalism. And it occurs as much on land as it does at sea. There is a large section midway through the book where the shark plays no part in the, at times, highly sexual plot.

Spielberg removed many of the undercurrents and insinuations of the book for his adaptation. The film gives less attention to life in the town of Amity and focuses largely on the shark and the horror of its actions.

The irony is that so many characters feel personally offended by an animal capable of instinct alone, when they as humans – capable of reason and choice – behave so badly towards each other. Indeed, the lack of an eco-centric character to defend the shark in both the book or the film is telling.

The overwhelming horror is instead found in the treatment of the shark and the assertion that it must be killed rather than respected and left alone. Indeed, Jaws represents a parable of the modern human perception of battle against nature. Wherein Brody, Hooper and Quint, despite their differences, are united in their assumption of human superiority and their perspective that the problem ought to be dealt with using violence.

The story of Jaws also speaks to George Orwell’s essay Shooting an Elephant from 1936. It captured the author’s dilemma while working as a police officer in colonial Burma when an elephant disrupted the regular process of capitalism by trampling through a local market.

The philosophers Max Horkheimer and Theodor Adorno referred to the enlightenment as having created a “new barbarity” wherein humans are engaged in a project of destruction. Here then, a shark has had the audacity to behave in an inconvenient way to man’s profiteering from tourism and must be killed.

Indeed, one of the biggest criticisms of the film, which Spielberg has subsequently acknowledged, is its inaccurate representation of shark behaviour and the extent to which the film’s success contributed to the decline of the species.

Ultimately then, Jaws – the book, the film and the reaction of audiences to it – serves as a testimony to the role played by fear within human decision-making. The fear of “others”. Fear of the unknown. Fear of the natural world. Fear of loss of status or reputation.

It’s a testament to the susceptibility of humans to become insular and violent when they are scared, but also to the distorting influence of propagandists in determining what they ought to be afraid of.

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Colin Alexander does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.