Ben Marley | Through the Shattered Lens

The 1978 film Jaws 2 poses a question that has been asked many times under many different circumstances:

When will people learn?

Seriously, you would think that after everything that happened during the first Jaws, the people of Amity Island would be a little bit smarter when it comes to sharks. I mean, did Ben Gardner, the Kintner Boy, Quint, and Chrissie Watkins all die in vain? If I lived on Amity Island, I would be so paranoid about another shark attack that I would probably move to Manitoba. At the very least, I would demand that the beach be closed if there was even the slightest chance that another great white shark was somewhere out there, eating anyone foolish enough to get back in the water.

It’s just common sense!

But no. In Jaws 2, when another shark shows up and eats two divers and a water skier before blowing up a motor boat, no one is even willing to consider shutting down the beach. Even after Chief Brody (Roy Scheider) insists that another shark has shown up, no one is willing to listen to him. “I know something about sharks!” Brody insists but the town council just shrugs him off. Maybe they think that Quint and Hooper did all the work the last time and that Brody was just along for the ride.

Of course, Brody does bring some of his problems on himself. Brody spends a lot of this film sitting in the dark, brooding about sharks. When he sees a shadow in the ocean, he runs down to the beach and starts shooting at it. “It’s just blue fish!” someone yells while Brody looks a little confused. How shocked can we really be when the town council fires Brody? He was a loose cannon.

Before he gets fired, Brody orders his teenage son, Mike (Mark Gruner) to stay out of the water. Of course, Mike doesn’t listen. He goes sailing with his friends and his younger brother, Sean (Marc Gilpin). That’s a big mistake, of course. As soon as Mike and company are a good distance away from Amity Island, the shark attacks and leaves them all stranded at sea. Mike is knocked unconscious. Sean is trapped on a boat all by himself. One of the teenage girls, Jackie Peters (Donna Wilkes), totally freaks out while her older sister, Brooke (Gigi Voran), suggests that they all play charades to pass the time. Everyone dismisses her idea but you know what? I have it on very good authority that sharks love charades. I think Brooke was on to something…

Jaws 2 is a strange, strange movie. It’s really two films in one. Jaws 2 starts out as an almost by-the-book remake of Jaws. True, Quint’s dead. And Richard Dreyfuss had just won an Oscar so there’s no way Hooper was going to come back. But Brody’s back and he’s once again an island police chief who is afraid of the water and who can’t get anyone to listen to him. Just as Jaws started out as almost a small town comedy, Jaws 2 has an early scene where Brody has to deal with the quirky citizens of Amity Island. (Unfortunately, Harry and his really bad hat don’t make a return appearance.) A scene where a dead killer whale washes up on the beach is shot to remind us of the scene in the first in which Hooper and Brody examine a dead shark.

But then, halfway through, Jaws 2 turns into a totally different movie. Suddenly, the teenagers are trapped out in the middle of the ocean and the shark is circling them and Brody is searching from them and the whole movie just goes insane. Roy Scheider abandons any attempt at subtlety as he becomes as obsessed with shark as Donald Pleasence was with Michael Myers in Halloween. The shark turns out to be incredibly sneaky. He’s never around until you stick your hand in the water and then suddenly — SHARK!

How powerful is this shark? He’s so powerful that he eats a freaking a helicopter! Seriously, a coast guard helicopter tries to rescue the kids and ends up getting eaten by the shark! That scene alone is worth whatever’s led up to it. (I think Jaws 2 might be the first film to feature a shark eating a helicopter.) The film only gets crazier from there, with Brody eventually reduced to verbally taunting the shark while clutching onto a power cable.

Now, admittedly, those stranded teenagers aren’t the most developed characters in the world. There’s a lot of them and it’s sometimes difficult to keep track of who is who. Fortunately, this is a 70s films and that means that Jaws 2 is all about the hair. You may not know their names but you’ll never forget their hair:

Check out some of the members of the Jaws 2 hair club:

Jaws, come out to play…

(Okay, Luther wasn’t actually in the movie but just imagine if he had been!)

Anyway, Jaws 2 cannot begin to hold a candle to the original Jaws but it’s still a lot of fun. Admittedly, there are a few parts, especially during the first hour, that drag in a way that Spielberg, the consummate story teller, would not have allowed. I could have done without some of the lengthy scenes where Brody tries to convince the city council that there’s another shark in the water, if just because we already know that the shark’s there and we can guess that the beach isn’t going to be closed. (After all, if the beach was closed, there wouldn’t be a movie…)

But once the teenagers are stranded in the ocean and the shark is eating the helicopter and Brody is calling it a bastard while hanging onto a power cable, there’s no way that you can resist the charms of this sequel. Jaws 2 isn’t exactly good but it’s just so entertaining!

Jaws 2 frequently shows up on AMC so keep an eye out for it!

And, for the love of God — stay out of the water!

I just finished watching the TCM premiere of the 1995 Best Picture nominee, Apollo 13. Of course, it wasn’t the first time I had seen it. Apollo 13 is one of those films that always seems to be playing somewhere and why not? It’s a good movie, telling a story that is all the more remarkable and inspiring for being true. In 1970, the Apollo 13 flight to the moon was interrupted by a sudden explosion, stranding three astronauts in space. Fighting a desperate battle against, NASA had to figure out how to bring them home. Apollo 13 tells the story of that accident and that rescue.

There’s a scene that happens about halfway through Apollo 13. The heavily damaged Apollo 13 spacecraft is orbiting the moon. Originally the plan was for Apollo 13 to land on the moon but, following that explosion on the craft, those plans have been cancelled. Inside the spacecraft, three astronauts can only stare down at the lunar surface below them.

As Commander Jim Lovell stares out the craft’s window, we suddenly see him fantasizing about what it would be like if the explosion hadn’t happened and if he actually could fulfill his dream of walking on the moon. We watch as Lovell (and, while we know the character is Jim Lovell, we are also very much aware that he’s being played by beloved cinematic icon Tom Hanks) leaves his foot print on the lunar surface. Lovell opens up his visor and, for a few seconds, stands there and takes in the with the vastness of space before him and making the scene all the more poignant is knowing that Tom Hanks, before he became an award-winning actor, wanted to be a astronaut just like Jim Lovell. Then, suddenly, we snap back to the film’s reality. Back inside the spacecraft, Lovell takes one final look at the moon and accepts that he will never get to walk upon its surface. “I’d like to go home,” he announces.

It’s a totally earnest and unabashedly sentimental moment, one that epitomizes the film as a whole. There is not a hint of cynicism to be found in Apollo 13. Instead, it’s a big, old-fashioned epic, a story about a crisis and how a bunch of determined, no-nonsense professionals came together to save the day. “Houston,” Lovell famously says at one point, “we have a problem.” It’s a celebrated line but Apollo 13 is less about the problem and more about celebrating the men who, through their own ingenuity, solved that problem.

That Apollo 13 is a crowd-pleaser should come as no surprise. It was directed by Ron Howard and I don’t know that Howard has ever directed a film that wasn’t designed to make audiences break into applause during the end credits. When Howard fails, the results can be maudlin and heavy-handed. But when he succeeds, as he does with Apollo 13, he proves that there’s nothing wrong with old-fashioned, inspirational entertainment.

Of course, since Apollo 13 is a Ron Howard film, that means that Clint Howard gets a small role. In Apollo 13, Clint shows up as a bespectacled flight engineer. When astronaut Jack Swiggert (Kevin Bacon) mentions having forgotten to pay his taxes before going into space, Clint says, “He shouldn’t joke about that, they’ll get him.” It’s a great line and Clint does a great job delivering it.

Apollo 13 is usually thought of as being a Tom Hanks film but actually, it’s an ensemble piece. Every role, from the smallest to the biggest, is perfectly cast. Not surprisingly, Bacon, Bill Paxton, Gary Sinise, Kathleen Quinlan, and Ed Harris all turn in excellent performances. But, even beyond the marquee names, Apollo 13 is full of memorable performances. Watching it tonight, I especially noticed an actor named Loren Dean, who played a NASA engineer named John Aaron. Dean didn’t get many lines but he was totally believable in his role. You looked at him and you thought, “If I’m ever trapped in space, this is the guy who I want working to bring me home.”

Apollo 13 was nominated for best picture but it lost to Mel Gibson’s film Braveheart. Personally, out of the nominees, I probably would have picked Sense and Sensibility but Apollo 13 more than deserved the nomination.