Jaws plot/story

I actually remember watching Steven Spielberg’s “Jaws” growing up and never did I once think or acknowledge it as a “scary” film. It was a source of comedy and the basis for many playground games and bubble bath entertainment. Knowing now the technicalities of film, I understand clearly why and how a film based around a twenty-five foot great white shark, hunting in the ocean waters of a small beach town called Amity, would be categorized as a “horror/thriller.”

At first you would think the resolution would simply be that people should just stay out of the water until the shark moves on. After really paying attention, though, the viewer really discovers what a brilliant idea it was to build the tension of the premise by putting the livelihood (a.k.a. the survival) of the entire town (that depends on the visiting tourists on one of the most beach-going days of the year) at stake. What adds to the suspense of Jaws, in addition to the fact that you don’t see it for most of the beginning of the film, is that seeing the fin alone is like seeing the tip of the iceberg—you just don’t know how big the “enemy” really is. Using camera angles to mystify the shark, but focus on the actors’ emotions and emotional responses also allowed the suspense to build.

As well, the reader is never really given an explanation of why the shark would suddenly develop a blood thirst for humans. To deliberately go after a human shows an evolution in purpose within the mind of the shark leveling the battle of wits and intelligence between it and mankind. Unlike the shark films that followed that had sharks scientifically enhanced in one way or another, the fear of the unknown—a possibility that that could really happen naturally—builds on the already pending fear that comes with wondering how much smarter could and will it get.  

The Princess Bride and the screenplay

The Princess Bride DVD cover reads that from “Oscar winning screenwriter, William Goldman, comes ‘an enchanting fantasy’ filled with adventure, romance, and good-hearted fun.”  In the film, a grandfather visits his grandson who is sick in bed. The grandfather reads a story of a fairy tale-like love of a would-be-princess rescued from the evil prince by her true love. Adapted from the book of the same name and author, the adventure comes alive as soon as the grandfather starts reading. It is clear that there are several arcs we follow according to Joseph Campbell’s The Hero’s Journey Outline, from Westley and the princess to Montoya. Undoubtedly the main theme of The Princess Bride would be Love Conquers All. A secondary theme may be Good vs. Evil. However, the arc that seems to be overlooked is the “Loss of innocence” of the grandson.

Defined as the classic “coming of age story,” the Loss of Innocence theme involves a young protagonist who is introduced to “the complexity of the adult world.” In the opening scene of the Princess Bride, we are introduced to the grandson who objects to his grandfather coming to visit him; he does not like it when his grandfather pinches his cheeks, an obvious gesture of affection. When the grandfather gives him the book as a gift, he is less than pleased (still yet “unappreciative” of the “history” behind it) and is skeptical of the story within. He then immediately objects to the “kissing” in the story.

In the first scene of The Princess Bride, the viewer is introduced to Buttercup and the farm boy, the phrase “as you wish,” and the meaning behind it (I love you). The viewer then follows the grandson’s journey as he follows the characters’ journeys in the book. By the end of the story, the grandson changes his view of the kissing scenes, as well, his attitude toward his grandfather visiting and invites him to return the next day. The grandfather’s response to the “miracle,” is then simply a smile and, “as you wish.”  

Bear 2010 and Horror Genre

On a quest to fulfill the assignment to screen a film outside of class that falls into the horror genre, Netflix was found to have a hidden gem called “Bear.” The 2010 horror film focused on four dysfunctional characters, two brothers and their significant others, who, taking a short-cut on their way to celebrate the brothers’ parents’ anniversary, end up with a flat tire in the woods. With no spare and no cell phone reception, night falls with them stuck. Just when they decide to take a walk to find “civilization,” a Grizzly bear comes out of the woods. Although (presuming it was a she) she does not attack, the older idiot brother shoots the bear several times out of fear.  Only to provoke the mate (given the younger female declares, “This one’s got balls!”) to avenge her death. Leaving only one character alive in the end (because she bows before the bear in submission, he leaves her alone).

Certainly the majority of elements that make up a horror were evident throughout the film. There was the rising tension between man and beast as the bear attacked and killed the twits one by one. The younger brother developed feelings of guilt over the older brother needlessly killing the first bear and they were all experiencing a threatening situation, facing death in a dark, isolated area with a very menacing mood.

However, in this case, the creature, though dangerous, could be viewed by the viewer as the “hero.” During the scene where the bear mourns the death of his love, immediately the heart of the viewer is captured so that the viewer essentially feels nothing for the humans and applauds the bear for each “lesson taught” to the humans. The “unknown invading the familiar” could be regarded as the humans invading the bears’ territory. Thus, turning the theme then from human fear of nature to nature’s fear of man’s ignorance.

Manhattan and "The Gaze"

Woody Allen’s “Manhattan” is a humorous black and white film that is about, Isaac, a 42 year old divorced man, who is dating, Tracy, a 17 year old high-school student. He learns that his ex-wife, who left him for another woman, is writing a book about their marriage and his best friend confesses that he is having an extra-marital affair with a woman that Isaac eventually gets involved with. From the very beginning of the film, Woody Allen, as Isaac, encourages the viewer to question everything from relationships, love, marriage and life while poking fun at religion.

 Throughout the film, Allen really uses analytic dialogue to push the plot forward. Using camera angles and close-up shots of the actor’s faces, the viewer is engaged in “active viewing” and participates in what feels like the “spectator’s gaze” with a partial “extra-diegetic gaze” from Isaac. Montages are used several times throughout the film to show changes in both Isaac’s growth and understanding as well as physical changes, like him moving to a smaller apartment after deciding to quit his job to pursue writing a book. In several scenes, music is used, in lieu of dialogue, to emphasize the growing tension between--and in--the emotional responses of the characters to each other.

Allen uses all the aforementioned elements to invite the viewer to take a deeper look at a few neurotic lives/confused individuals and question why people really do and say the things in relationships that they do. When he is discussing an issue with another character, though he does not “break the fourth wall,” the viewer senses that Allen, through Isaac, is really speaking directly to the viewer. In the beginning of the film he convinces himself that Tracy is much too young for him, only to conclude in the end the very possible theme of the movie: love really knows no bounds (age).