Just When You Thought It Was Safe To Go Back In The Water: The Merits Of Jaws 2

Throughout Hollywood history, there have been many classic films have been spared from getting unnecessary sequels: ‘Gone with the Wind’; ‘Ben Hur’; ‘Schindler’s List’, and ‘The Oogieloves in the Big Balloon Adventure.’ But while they were all spared from subpar followups, ‘Jaws’ was not.

The biggest problem with doing a sequel to ‘Jaws’ is that the film’s ending was about as conclusive as you could get: the shark was killed and Amity was safe to collect tourist money once more. The conflict was wrapped up. The story’s reason for existence had been dealt with. There was no logical way to continue Brody’s adventures without feeling contrived and tackled-on. Yet, the lure of more box office cash was too strong, and the world was given ‘Jaws 2’, one of the most unnecessary sequels ever made.

While it can’t stand on the same level of the original film (which, in all fairness, no sequel could) ‘Jaws 2’ is actually not that bad. Compared with most shark films released in the last twenty years, it’s a markedly better than most, with a number of good scares, some good performances, the ever-stellar music of John Williams, and Roy Scheider’s excellent performance as Chief Brody. And while it’s best remembered as a mediocre sequel to the film that invented the modern blockbuster, it’s not without its merits. Let’s take a look at five things it does well.

6. It doesn’t copy the first film

It would have been easy for ‘Jaws 2’ to copy the same plot of the original: have a shark attack Amity, have the people in charge refuse to shut the town down because money is important, and have Brody head out once again to kill the shark and save the day. And while ‘2’ does follow the same basic plot, it makes some substantial changes. Among them are:

*Instead of the shark attacking beaches in full view of the public, it mainly focuses on individuals and groups far out at sea, away from the public eye, making the disaster more ‘undercover’ so to speak.

*There’s greater variety in the film’s attack sequences: Where the shark in ‘Jaws’ attacked swimmers, a dock, and some boats, this film features attacks on a water skier, scuba divers, teenagers on sailing craft, a killer whale, and even a helicopter.

*Most of the story is set around Brody trying to deal with his own paranoia/post traumatic stress disorder and the shark after he loses his job.

*Brody has a bigger personal stake in the story. Previously, one of his sons had a close call with the shark, but was otherwise unharmed. Here, both of them are out at sea and attacked by the shark, giving him a good reason to head out and face it.

5. A strong sense of isolation

The first ‘Jaws’ excelled at its sense of isolation, and ‘Jaws 2’ continues that tradition by having all the victims and attacks take place where help is too far away to come in time, or where it’s impossible to even call for help in the first place, such as the teenagers on their boats, or the driver of the watersking boat. Her demise is particularly awful, as her boat is easily broken up the shark, and she’s too far away from shore to swim to safety. It’s no wonder she’s desperate enough to try burning the shark, because, no matter how dangerous it is, it’s the only chance she’s got to survive.

And while she dies, another teenager is left alone in her sailboat after her boyfriend is munched to death with no idea how to get back to shore, and with only the flimsy walls of her craft standing between her and bloody death. It’s no wonder her pleas to God to make the shark go away feel so genuine: I’d be praying like mad as well.

One twist I particularly like is that the movie plays around with this isolation: even when the teenagers are helped by a helicopter, the shark destroys it and shreds their sails with the ruined blades, leaving the teens worse off than before.

4. A shark that’s suitably different from the previous one

How do you distinguish one Great White shark from the next? Aside from its size and intelligence, it’s a difficult task. ‘Jaws 2’ distinguishes itself from most shark movies by giving its beast an enormous burn mark on its head. It may be a bit cheesy (an evil shark with an evil scar!), but in a crowded field of killer shark movies, it makes the beast stand out.

3. This fantastic jump scare

If there’s one scene that ‘Jaws 2’ is remembered for, it’s the infamous helicopter scene, where the shark takes on a helicopter (albeit, one that’s floating on the water instead of hovering in the air) and manages to destroy it. What makes it work is that the attack is so unexpected. Logically, we know that the kids can’t be rescued at this point in the story, and that something is going to happen, but we imagine that the boats are going to be attacked, not the helicopter. Even better, the film has the shark’s sudden appearance filmed from inside the cockpit instead of a wide shot outside the craft. That gives it a more intimate feel, and helps make it more frightening because we see the shark from the pilot’s perspective.

One other part of this scene is also its effectiveness in not showing what happens to the pilot after the helicopter is turned over. It’s obvious that he’s killed, but not showing how it happens makes his demise more frightening, as we have to imagine the poor guy trapped in that tiny cockpit, drowning and unable to get out while the shark munches him. Interestingly, there was some footage shot of the pilot trying to get out, which was later deleted from the film. Personally, I think leaving it out and letting our imaginations run wild was a wise choice.

2. Vaughn’s Vote

Compared to his substantial role in the original film, Mayor Vaughn’s presence in ‘Jaws 2’ is noticeably smaller and roughly the same as the original (a politician who wants to keep the town open no matter how dangerous an attacking monster may be because money is great), but there’s a new depth to the relationship between him and Brody, best shown in scenes that aren’t even in the movie. Two deleted scenes show the town’s leaders wanting to remove Brody as chief of police, culminating in a vote. Out of all those present, Vaughn is the only one who votes to keep Brody on.

(the scenes begin at 5:32)

It’s a great moment that humanizes Vaughn beyond the cliché of ‘leader of a community forsakes safety over profits’: he’s still Brody’s friend and respects him even when the two don’t agree. Compared to so many other unreasonably mayor figures we’ve gotten in pop culture, that little moment gives him a depth that his contemporaries lack.

1. It focuses on Brody coping with the events of the previous film

In my opinion, the one thing that makes ‘Jaws 2’ work isn’t the shark, the attacks, or its scares. No, what elevates ‘Jaws 2’ above its successors is Brody. In the first film, he was a competent, well-meaning, and rational man who was out of his element when it came to shark hunting, but who nevertheless stepped up to the challenge. But unlike so many sequel heroes, he isn’t a confident person who leaps back into action at the first sing of trouble. He’s a man who’s still competent, but struggling to deal with the stress of what happened to him, and the fears he’s gained of the ocean. That fear manifests itself best in an early scene where he has to get the wreckage of a boating accident.

Without any words, we see just how badly being attacked by a killer shark has affected Brody and made him so reluctant to go into waist-deep water. Watching Brody deal with that paranoia and fear throughout the movie gives him a vulnerable edge that so many other characters lack: He’s still a good man who wants to keep his community safe, but his PTSD drives Brody to do things he normally wouldn’t do, such as his famous beach scene, which is arguably the best moment in the film:

This all comes to a head after Brody is fired from his job. After all he’s gone through, he could just walk away and let someone else deal with the shark, but he still chooses to go out and face the beast to save his sons, and the lives of innocent teenagers, showing that, even when battling his inner demons, Brody is a good man, and will still do what’s right.

In a way, Brody can be seen as a predecessor to Ellen Ripley in ‘Aliens’: He fought a monster, survived, and made it back to safety, but suffers psychologically and has to face the monster again to conquer his fears for good. And once he does, he comes out stronger than before, more capable, and worthy of praise. Martin Brody is the heart and soul of ‘Jaws 2’, and he single-handily elevates what could have been a bad sequel into a watchable one that’s nowhere near deserving of the scorn it or its successors have gotten over the years.

‘Jaws 2’ may be an acceptable sequel to the original, but the arrival of the next sequel sent the franchise began down the road to silliness, terrible visual effects, and roaring sharks. Tune in next week when we’ll take a look at the third entry in the Jaws saga, ‘Jaws 3D’

What we can learn from ‘Sharknado 3: Oh Hell No!’

 

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Last week, we took a look at the second film in the Sharknado franchise. Now let’s see what happens when sharks head into outer space!

Teaming up with the president is always cool

In real life, presidents almost never get to do anything other than giving speeches and sign paperwork. But in fiction, they have the chance to hop in fighter jets and take on aliens, take on terrorists who have taken over Air Force One, and fight vampires/zombies. In ‘Oh Hell No!’ Fin joins forces with the President of the United States to defend the White House from an attacking sharknado, both of them getting to fire guns and take out sharks before fleeing as the White House is destroyed by the Washington Monument.

In your own works, having the president of a country get her/his own action sequences is a surefire way to get the viewer’s attention. The president, by virtue of their office, is going to be an important individual, and also has the underdog value of being someone with no fighting/action skills, and having to go up against dangerous opponents with enormous stakes: if they die or get captured, the country is in big trouble. For bonus points, consider having your president be a historical figure, such as George Washington, Teddy Roosevelt, etc. Who wouldn’t want to see any of them taking on sharknadoes?

Awesome RV’s are always cool.

They rarely show up in fiction outside of zombie stories, but armored RV’s are always cool. What’s not to love about a vehicle that not only has all the comforts of home, but also has enough weapons and armor to take on the toughest monsters? ‘Oh Hell No!’ gets one that allows Nova and Lucas to pursue the latest sharknado threat in relative safety.

In our own stories, armored RV’s offer a lot of flexibility, ranging from van-sized, to bus-sized, and even dual-bus sized. But no matter how you rig them, they tap into the deep-rooted fantasy we all have of wanting to get into action without giving up the comforts of a bed, a kitchen, and so on.

Have someone’s heroic sacrifice show just how determined they are

How far would you go to sacrifice yourself for a cause? Sacrificing your life for something greater than yourself is heroic, but would you still be willing to do it if it was tremendously painful? Poor Lucas has a pretty unpleasant death in ‘Oh Hell No!,’ which finds him struggling to activate the RV’s self-destruct mechanism, only to have his legs and arms ripped off one by one until he finally activates the mechanism by hitting the button with his chin.

While being cruel, having your characters struggle to sacrifice themselves gives your viewers the chance to see just how determined and brave they can be… though if you’re not careful, it can become unintentionally amusing if they keep losing limbs and body parts. (it’s easy to visualize Lucas still trying to hit the button if his head was bitten off).

If your story has an out-there monster, have the military fight it

It’s amazing to think that after six movies, ‘Oh Hell No!’ has the only instance of the United States military taking on a sharknado. But as with Attack of the Killer Tomatoes, part of the fun of this kind of movie is seeing the military fight the beast and fail to defeat it, and a good reminder that seeing determined soldiers fighting goofy monsters to the death is all-but guaranteed to get a laugh from your audience.

Bigger is sometimes better

While previous sharknadoes have affected just a single city (Los Angeles and New York City), ‘Oh Hell No!’ has the fishy menace attack the East Coast of the United States, giving Fin and friends a much tougher task ahead of them: they have to save half a country from being wiped out instead of a single city.

While it’s common for the world to be at stake in disaster movies, ‘Oh Hell No!’ cleverly subverts the trend by only having a large part a country threatened, instead of the entire world. Consider doing the same in your own stories: audiences are so used to having the entire world be threatened that having something smaller and more intimate can feel refreshingly different.

Consider having your monsters run amok in an amusement park of DOOM

What’s more fun than a theme park? Having monsters running amok at a theme park! ‘Oh Hell No!’ features the fun of sharks attacking Universal Studios Orlando, including the last on-screen appearance of the Twister attraction before it was closed down.

The appeal of having monsters attacking a theme park is that they get to run amok among a nearly infinite variety of rides. Who wouldn’t want to see Michael Myers hijacking a bumper car to run people over? Or seeing Jason Vorhees slashing people to bits inside a tunnel of love while riding a swan boat? Or a Predator decapitating drunk partygoers on the steamboat in Disneyland?

Consider having an old timer get to fulfill a dream, but also help others in the process

Much like the baseball player from ‘The Second One,’ ‘Oh Hell No!’ features another older man who finally gets to fulfill a failed dream of heading into space. But what’s interesting in this version is that it’s Fin’s dad, Gil, and that by heading into space, he also is helping to save millions of lives and also be the hero his son always wanted, which allows him to accomplish three things at once.

While it’s satisfying to see someone fulfill a dream, you can make it even better if the character in question gets to help others in in the process.

Consider drafting the boyfriend/girlfriend to fight monsters

A date should be about having fun and enjoying yourself, not taking up arms to fight sharknadoes trying to wipe out humanity, as Claudia’s boyfriend learns when he’s recruited to fight off sharknadoes at NASA to protect the space shuttle.

The advantage of recruiting a boyfriend/girlfriend to fight isn’t that they’re underdogs fighting to survive something they’re not prepared for (unless they happen to have training or experience), but in that their character is revealed in times of extreme stress, which can help their partner decide if they really want to get together with them or not. They might be cowards who run away to save their own skins, or they may be brave, and prove themselves to be a worthy partner.

When you need a memorable finale for your monster movie, and realism isn’t an issue, consider sending your monster into space

When a monster franchise sends its monster into outer space, it’s a sign that the filmmakers have run out of ideas or are no longer taking the franchise seriously, and for good reason: I don’t think you can send an earth-born monster into outer space and not have it be inherently silly, as Jason and the Leprechaun have proved.

Yet, the silliness of outer space carnage can work if your series already thrives on the silly and the absurd, and sending sharks into the cosmos feels like the logical outcome of the ‘Sharknado’ franchise. and gives us the rare sight of man fighting sharks in the final frontier.

While it may be difficult to pull of seriously, sending sending your monsters into space does have the undeniable novelty of seeing said monsters causing havoc in space shuttles, space stations, other planets, etc. If your audience doesn’t groan and give up, they’ll go along just to see what absurdity awaits them.

End with the threat neutralized for good and the hero getting what they want

‘Oh Hell No!’ ends on quite the high note: the storm system that had caused the sharknadoes ihas been neutralized, Earth is safe, and Fin finally has a family of his own. If SyFy had chosen to end the ‘Sharknado’ series with the third film, it would have been a satisfying finale.

In our own stories, consider giving your own protagonist a happy ending and what they’ve wanted all along. It may be a family, a career they’ve dreamed of, or perhaps a new business, or even just the freedom to travel and see the world. It’s a just reward for all their hard work, and a satisfying way to see them begin a new life away from whatever’s been tormenting them.

Avoid ending on a cliffhanger if this is supposed to be the series finale.

With that said, however, ‘Oh Hell No’ does taint its happy ending with having April be squashed by a falling shark from outer space, leaving the viewer to wonder if she survived. While I don’t know if SyFy always intended to continue the series, or if it was a spur-of-the-moment decision to include the cliffhanger, it feels anticlimactic to set everything up as the big finale, only for the film to change its mind at the last second.

While it’s always tempting to leave the door open for more adventures, it’s wiser to wrap your story up instead of leaving a loose thread: it’s always possible to come back to a finished series, but leaving the door open to a sequel that will never happen will always leave viewers wondering what could have happened.

The Takeaway

Consider having the president, a boyfriend/girlfriend, and a cool RV help save a country once and for all from a monster with heroic self-sacrifice while the monster/s attack an amusement park and then heads into space before being stopped for good with the help of an older person fulfilling a lifelong dream, thus giving the protagonist what they’ve always wanted, but avoid ending your series finale on a cliffhangar that negates all the emotional investment we’ve had up to this point.

What we can learn from ‘Sharknado: The Second One’

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Last week, we took a look at Sci-Fi’s surprise hit, ‘Sharknado,’ This week, let’s take a look at… well, The Second One.

Consider having your hero rush in to help, even when he has no idea what he’s doing.

In the film’s opening scene, Fin and April are en route to New York City, only for their plane to be attacked by sharks. Even though Fin’s a surfer with no flying experience, he still tries to fly the plane to safety instead of waiting for someone else to do so.

Not only does rushing in to help make our characters active protagonists, but it also gives them an underdog quality, in that they have to accomplish a task they’re not qualified to do.

Have your characters save someone they don’t like

While it’s easy for our characters to rush in and save people they care about, or even just bystanders they don’t know, it takes more courage to rush into danger to save someone they don’t like, as Fin has to do with Martin, an old childhood friend of his. While we may enjoy seeing mean people get their comeuppance (though not Martin, in this case), having our heroes take the high ground and save their lives says a lot about their character.

For bonus points, consider having the two characters take advantage of their situation to heal any emotional rifts they have and become friends again, as Fin and Martin do. Or, if not that, at least no longer hate each other.

Consider having an old-timer finally get to fulfill a failed dream decades later

His role isn’t necessary to the story, but it’s satisfying to see Harland McGuinnes – an old, retired baseball player – finally get the home run he never got to get in his last game by whacking a shark into the billboard at Citi Field. Who among us doesn’t have a dream that never came true, whether from circumstances beyond our control, or because of our own failings? That’s why it’s so satisfying to see characters get a second chance to make that dream come true and pulling it off, especially if they’re older and past their physical prime.

Consider doing crazy chase scenes

Car chases, foot chases, motorcycle chases, boat chases, helicopter chases; all of them have been done thousands of times in films. But how about a chase where the monsters are pursing an out-of-the-ordinary vehicle? One of ‘The Second One’s most creative scenes has Fin and friends riding a subway car that’s not only trying to outrun a tidal wave, but the sharks it’s carrying as well.

When it comes to chase scenes, the sky’s the limit, so why not try including two different antagonists at once in your own?

Consider trapping your characters be trapped between two bad choices

As the old saying goes, sometimes we have to choose the lesser of two evils in life. A similar situation has characters being forced to choose between two very unpleasant outcomes. In ‘The Second One,’ Fin and friends are trapped in a stairwell trying to get a door open. If they fail, they have to make a choice:

1. Do they choose to be killed by sharks who are rising towards them via flooding?

2. Do they choose to be killed by sharks descending towards them who are on fire?

Thankfully, they get the door open, but such no-win scenarios not only helps reveal more about a character’s true fortitude (are they brave? Panicky? Do they sacrifice others to save themselves?), but makes the viewer wonder what they’d do in the same situation, which keeps them engaged and wanting to find out what happens next.

Have the commoners rise up to save the day

If there’s one trope all but guaranteed to warm the heart, it’s seeing everyday people take up arms to fight the monster/menace of your story, and win. When this trope comes in to play, the authorities have failed to save the day, and the only people everyone else can rely on is themselves, which adds further drama to the scene. Here, the citizens of New York grab all manner of weapons and take on the sharks. Considering that these weapons include pitchforks, guns, chainsaws, and flamethrowers fashioned from super soakers, it’s as goofy as you’d expect, but still great fun.

Consider having a mid-air fight

(Play the clip to jump right to Fin’s mid-air fight)

They’re rare. They’re impractical, They’re all-but impossible to pull off in real life, but there’s no denying that a free-fall fight between two characters is awesome. In the climax of ‘The Second One,’ Fin flies through the sharknado towards the Empire State Building with his chainsaw, carving up sharks left and right, and eventually riding one onto the tower’s antenna.

The advantages of such a fight are numerous: Both participants are in a hazardous environment, the fight has to be decided quickly, which increases the ferocity on both participants, and unless they can figure out a way to land safely or get away, both fighters are going to die a very unpleasant death on impact. When you need a hazardous environment to stage a fight, it’s hard to top one in the sky.

Reconsider killing off likeable side characters

It’s distressingly common for disaster films to kill off side characters who are often more interesting than the protagonists, and ‘The Second One’ follows that trend, killing off Fin’s old love interest, Skye, and a helpful cab driver, Ben, played by the great Judd Hirsch. I liked both of these characters, and how they were competent, resourceful, and did their part to help Fin and the others survive; I especially liked how Skye, while still in love with Fin, doesn’t try to stop him from healing his relationship with April, which makes her death feel cruel and unnecessary (and Fin doesn’t even mention her afterwords!).

In our own stories, think carefully before killing off these side characters. While audiences expect a certain amount of casualties in a disaster film, having these side characters survive, even if longer than expected, can be a welcome surprise because we’re conditioned to believe they’ll die. If your viewer likes these characters, they’ll be grateful to you for saving them, and walk away happier than they would have otherwise been.

The Takeaway

We like seeing our protagonists rushing in to help, even when they don’t know what they’re doing, especially if it’s to save someone they don’t like and would otherwise leave to die, while watching older people fulfill a dream that never came true before escaping in a crazy chase sequence and then end up being trapped between two terrible ways to die, before rallying the common folk to save the day before charging into battle that includes a mid-air fight, and hopefully doesn’t involve the death of a likeable side character.