Steve Kagan/Getty Images
Jared Bahir Browsh, University of Colorado Boulder
âDa, duh.â
Two simple notes â E and F â have become synonymous with tension, fear and sharks, representing the primal dread of being stalked by a predator.
And they largely have âJawsâ to thank.
Fifty years ago, Steven Spielbergâs blockbuster film â along with its spooky score composed by John Williams â convinced generations of swimmers to think twice before going in the water.
As a scholar of media history and popular culture, I decided to take a deeper dive into the staying power of these two notes and learned about how theyâre influenced by 19th-century classical music, Mickey Mouse and Alfred Hitchcock.
The first summer blockbuster
In 1964, fisherman Frank Mundus killed a 4,500-pound great white shark off Long Island.
After hearing the story, freelance journalist Peter Benchley began pitching a novel based on three menâs attempt to capture a man-eating shark, basing the character of Quint off of Mundus. Doubleday commissioned Benchley to write the novel, and in 1973, Universal Studios producers Richard D. Zanuck and David Brown purchased the film rights to the novel before it was published. The 26-year-old Spielberg was signed on to be the director.
Tapping into both mythical and real fears regarding great white sharks â including an infamous set of shark attacks along the Jersey Shore in 1916 â Benchleyâs 1974 novel became a bestseller. The book was a key part of Universalâs marketing campaign, which began several months before the filmâs release.
Starting in the fall of 1974, Zanuck, Brown and Benchley appeared on a number of radio and television programs to simultaneously promote the release of the paperback edition of the novel and the upcoming film. The marketing also included a national television advertising campaign that featured emerging composer Williamsâ two-note theme. The plan was for a summer release, which, at the time, was reserved for films with less than stellar reviews.
Films at the time typically were released market by market, preceded by local reviews. However, Universalâs decision to release the film in hundreds of theaters across the country on June 20, 1975, led to huge up-front profits, sparking a 14-week run as the No. 1 film in the U.S.
Many consider âJawsâ the first true summer blockbuster. It catapulted Spielberg to fame and kicked off the directorâs long collaboration with Williams, who would go on to earn the second-highest number of Academy Award nominations in history â 54 â behind only Walt Disneyâs 59.
The filmâs beating heart
Though itâs now considered one of the greatest scores in film history, when Williams proposed the two-note theme, Spielberg initially thought it was a joke.
But Williams had been inspired by 19th and 20th century composers, including Claude Debussy, Igor Stravinsky and especially Antonin Dvorakâs Symphony No. 9, âFrom the New World.â In the âJawsâ theme, you can hear echoes of the end of Dvorakâs symphony, as well as the sounds of another character-driven musical piece, Sergei Prokofievâs âPeter and the Wolf.â
âPeter and the Wolfâ and the score from âJawsâ are both prime examples of leitmotifs, or a musical piece that represents a place or character.
The varying pace of the ostinato â a musical motif that repeats itself â elicits intensifying degrees of emotion and fear. This became more integral as Spielberg and the technical team struggled with the malfunctioning pneumatic sharks that theyâd nicknamed âBruce,â after Spielbergâs lawyer.
As a result, the shark does not appear until the 81-minute mark of the 124-minute film. But its presence is felt through Williamsâ theme, which some music scholars have theorized evoke the sharkâs heartbeat.
Screen Archives/Moviepix via Getty Images
Sounds to manipulate emotions
Williams also has Disney to thank for revolutionizing character-driven music in film.
The two donât just share a brimming trophy case. They also understood how music can heighten emotion and magnify action for audiences.
Although his career started in the silent film era, Disney became a titan of film, and later media, by leveraging sound to establish one of the greatest stars in media history, Mickey Mouse.
When Disney saw âThe Jazz Singerâ in 1927, he knew that sound would be the future of film.
On Nov. 18, 1928, âSteamboat Willieâ premiered at Universalâs Colony Theater in New York City as Disneyâs first animated film to incorporate synchronized sound.
Unlike previous attempts to bring sound to film by having record players concurrently play or deploying live musicians to perform in the theater, Disney used technology that recorded sound directly on the film reel.
It wasnât the first animated film with synchronized sound, but it was a technical improvement to previous attempts at it, and âSteamboat Willieâ became an international hit, launching Mickeyâs â and Disneyâs â career.
The use of music or sound to match the rhythm of the characters on screen became known as âMickey Mousing.â
âKing Kongâ in 1933 would deftly deploy Mickey Mousing in a live action film, with music mimicking the giant gorillaâs movements. For example, in one scene, Kong carries away Ann Darrow, whoâs played by actress Fay Wray. Composer Max Steiner uses lighter tones to convey Kongâs curiosity as he holds Ann, followed by ominous, faster, tones as Ann escapes and Kong chases after her. In doing so, Steiner encourages viewers to both fear and connect with the beast throughout the film, helping them suspend disbelief and enter a world of fantasy.
Mickey Mousing declined in popularity after World War II. Many filmmakers saw it as juvenile and too simplistic for the evolving and advancing film industry.
When less is more
In spite of this criticism, the technique was still used to score some iconic scenes, like the playing of violins in the shower as Marion Crane is stabbed in Alfred Hitchcockâs âPsycho.â
Spielberg idolized Hitchcock. A young Spielberg was even kicked off the Universal lot after sneaking on to watch the production of Hitchcockâs 1966 film âTorn Curtain.â
Although Hitchcock and Spielberg never met, âJawsâ clearly exhibits the influence of Hitchcock, the âMaster of Suspense.â And maybe thatâs why Spielberg initially overcame his doubts about using something so simple to represent tension in the thriller.
Universal/Getty Images
The use of the two-note motif helped overcome the production issues Spielberg faced directing the first feature length movie to be filmed on the ocean. The malfunctioning animatronic shark forced Spielberg to leverage Williamsâ minimalist theme to represent the sharkâs ominous presence in spite of the limited appearances by the eponymous predatory star.
As Williams continued his legendary career, he would deploy a similar sonic motif for certain âStar Warsâ characters. Each time Darth Vader appeared, the âImperial Marchâ was played to set the tone for the leader of the dark side.
As movie budgets creep closer to a half-billion dollars, the âJawsâ theme â and the way those two notes manipulate tension â is a reminder that in film, sometimes less can be more.
Jared Bahir Browsh, Assistant Teaching Professor of Critical Sports Studies, University of Colorado Boulder
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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