Jaws: Much ado about nothing?

There have been many horror movies on sharks. But have they all been as great as the one that started it all? There can be no answer in the affirmative for that one! This Steven Spielberg directed film is one in a million, where the villain does not make an entrance until the second half. Of course, Alfred Hitchcock paved the way for this genre with his brilliant 1963 film 'Birds', but it was Jaws that set the stage for the creation of a genre that now has taken a life of its own. I will not be discussing the lesser known and some terrible movies from this genre like the Sharknado series or DinoShark or even The Meg (although it definitely is better than the others). But I believe there is a film that comes a distant second to the Jaws with regard to holding true to all that an authentic horror film can and should offer. The Deep Blue Sea is the 1999 slasher/horror film that boasts of bigger and scarier sharks- this time three. While not being the best, it leaves a movie buff like me happy and satiated with the time I have spent on the couch watching this one. These are classics in their own right and so I am assuming that there aren't too many spoilers for you dear readers. However, in the event that you haven't watched one or either of them, mark this to be a humble spoiler alert for what is to come.

Through the innumerable rounds of watching both these movies I cannot help but observe some glaring similarities and some wonderful differences. In so many ways Deep Blue Sea is the answer to all the questions that Jaws can leave us with. The world renowned film critic Roger Ebert in a much enlightening review discussed how dialogues and shark attacks in the dark waters suggestively hint at the lurking 'killing machine' shark and successfully make us feel startled when the shark finally makes its appearance. This amazing screenplay helps to compensate for the lack of special effects. There is more- John Williams' scary , haunting and now super famous score makes a debilitating fear sink in our hearts of the approaching death scare. Deep Blue Sea having been created more than two decades later, has at its disposal technologies and special effects to make the shark look terrifying. But it still chooses the Jaws way- making the 'world of gliding monsters' suggestive. This makes Jaws mark up above the Deep Blue Sea.

Although Jaws can be deemed as an immortal super hit blockbuster, I cannot help but be critical of a few things that have troubled me over the umpteen number of viewings of this movie that I have awarded myself with. The three main characters we see in the film are- Brody (Roy Scheider), Hooper (Richard Dreyfuss) and Quint (Robert Grey). They seem to represent three points of a pyramid. Brody is the naive and scared of the water Common Man. Hooper is the scientist who uses technology to learn about about sharks and loves them. Finally, Quint is the working class hero, embittered Second World War returned veteran who claims to know the waters and yet falls short at the most trying time. He is tragically bitten in two by our villain. The last scene with Brody and Hooper swimming back to the island with the help of the buoys is telling of the alliance between Common Man and technology that finally prevails. It is this bitter ending of Quint and the strong allusions to have faith in technocracy are what I am not too keen on. 

Technology cannot act as a silver bullet. Movies like iRobot and Transcendence have explained this well. Let me be clear, I have no peeve with technology, but I only implore you to look at the greys. As John Ruskin said 'there is no such thing as a free lunch'. This holds true for technology too and blind faith in it can translate to technocracy. This issue I believe, is at the heart of Deep Blue Sea. It shows us the grey. The protein complex developed in the brain of these Mako Sharks can help cure Alzheimer's. However it comes at a cost- human lives. We are introduced to these sharks in captivity. Technology has enabled and necessitated fettering of these sharks and all they seek is freedom. In Jaws the killing machine is nothing but just that. It kills without any reason. Humans and sharks are at loggerheads. Are they really? Deep Blue Sea gives us a plot that delves into considering the question of conscience. Conscience of not only us humans but also of the so-called villain in the shark. There is a power struggle and the tables turn. So while in Deep Blue Sea we see a villain in the shark, we also witness the not so ethical ways of technology. The characters are definitely not as memorable as in Jaws. But we see the dawn of a new survivor. The survivor of the fittest (Carter, the strangler) and the most religious (Preacher, the chef). Samuel Jackson represents the big buck owning tycoon who is proud of his adventurous travails, playing with fire and life, Stellan Skarsgard and Saffron Burrows represent the arrogant scientists, while Carter and Preacher would rather play it safe and not disturb nature. Deep Blue Sea succeeds in unraveling the not so good facets of technocracy that Jaws embraced and this is where this film wins my heart. 

This discussion cannot discount how much I love Jaws and I will continue to enjoy it in my future viewings. But the lesser known Deep Blue Sea deserves the much needed appreciation for what it has to offer and that which the former failed to acknowledge. Would you agree or do you think all this is much ado about nothing? Consider giving these movies another watch to agree or agree to disagree with me. 

The Sound of Music: No 'so long, farewell' for this one!

We have all grown up with a healthy dose of ‘Do Re Mi’ and ‘Favourite things’- all songs from this wondrous musical drama set in the golden years before the Second World War reared its dirty head. ‘The Sound of Music’ directed by Robert Wise starring the melodious Julie Andrews, the breathtakingly charismatic Christopher Plummer (may his soul rest in peace) and the seven children actors playing the Von Trapp singers is everything sweet and more. This is a reel life depiction of the real life Von Trapp family singers who hailed from Austria, set in the period just before the National Socialist Party took control over Austria under the leadership of Hitler.

Wise makes us fall in love with Maria's simpleton character. Just like the Von Trapp family, through her we rediscover our love for music. Maria shows them a way of life that is carefree and beautiful while the horrors of war are imminent. So much so that Captain Von Trapp is more enamoured by her than by the ostentatious Baroness. Music forms the heart and soul of this 1965 drama. It is music that helps Maria discover herself, it is music that helps the children reunite with their father, it is music that helps the lovelorn Captain  find love again and it is also music that finally helps the Von Trapps escape Austria.

There are umpteen number of films that have based their premise on the Second World War, but few have done it through through such melodious entrapments. The undertones of war are shown through nonchalant conversations between the Von Trapp children and uncle Max or a Herr Zeller with a fellow Anschluss sympathizer. They set the background for all that transpires. Even Rolfe and Liesl's  young love turning sour  stands testimony to the dying exhilaration among the masses. Captain Von Trapp's patriotic idealism notwithstanding his discernment of the times makes for some magnificent subtlety in a period musical. The other spoil of war of course is the dehumanized young men shown through the depiction of Rolfe who is close to tears when he realizes he may have to shoot Captain Von Trapp. The gonging of wedding bells which signify time pass by as Austria comes into the dangerous clutches of the Nazi is another example of the wonderful screenplay.

Of course the film took creative liberties. It did away with one conflict – money. The Von Trapps in reality had lost their fortune in the Great Depression of 1929 and Maria taught her step children the art of singing so as to earn a living. Of course, a dull and helpless Von Trapp would not play to the strengths of depicting the grandeur of the Austrian elite. Unsurprisingly, this film also does not pass the Bechdel test. The conversations Maria shares with the Reverend Mother, Liesl, Baroness, all involve a man. But given all that this 1965 classic gifts us I can absolve it of all its faults.

The picturesque locales are a beautiful sight and add to the already plush palette of music and acting that film boasts of. Lin Manuel Miranda’s funny video with his family on revisiting all the famous locations of the film sets in Salzburg is a wonderful reminder of how this movie continues to stand the test of time. This holds true for lesser known humans like me as well as I intend for this to be the very first non-animated musical I show my niece.