Top 20 Horror Movies - #2) Jaws (1975)

One of the things that I'm doing this month as I celebrate Halloween here in the Land of Way is taking the time to rank my Top 20 Horror Movies and my Top 20 Horror Novels.

Note:
I want to be clear that I'm basing these choices on my own humble opinion.  I'm not trying to rank these movies in accordance with their place in pop culture, but I'm offering up my take on the best horror films that I have ever watched and enjoyed.  There are some familiar candidates that I consider to be great pictures that didn't make the cut because there wasn't room, and there are some films that are widely regarded as great pictures that didn't make the cut because I feel that they are overrated.  There are also a few instances where it was difficult to determine whether or not a movie belonged to the horror genre (I said "no" to Aliens but "yes" to Jaws), and it may also be worth noting that this is largely a modern list (as long as you're okay with my classification of modern as anything after 1960) that only features one lonely creature from the so-called "Classic Monsters" films produced by Universal Studios.

Thus far, the list includes:

#20) The Fly (1986) 
#19) The Howling (1981)
#18) Night of the Living Dead (1968)
#17) Alien (1979) 
#16) Invasion of the Body Snatchers (1978)
#15) Suspiria (1977) 
#14) Phantasm (1979)
#13) Evil Dead 2 (1985)
#12) Creature from the Black Lagoon (1954) 
#11) The Descent (2005)
#10) Fright Night (1985)
#9) Halloween (1978)
#8) Return of the Living Dead (1985) 
#7) An American Werewolf in London (1981)
#6) Deep Red (1975)
#5) The Shining (1980) 
#4) Dawn of the Dead (1978)
#3) The Thing (1982)

As we near the end of this list, it's time to break down a pair of exceptional movies based on novels that I hold near and dear to my heart.  First up, we've got my favorite movie of all time.

Top 20 Horror Movies - #2) Jaws (1975)

Steven Spielberg's efforts as a filmmaker have yielded an amazing filmography, but the thrilling motion picture that put him on the map remains his finest offering.  Working from Peter Benchley's stellar novel, Spielberg fashioned a tale of terror that continues to scare moviegoers away from the beach better than 40 years after it gave birth to the summer blockbuster.  At the end of the day, this is a horror movie that nearly matches Benchley's ability to convey the might and fury of a great white shark, driving home the terror that encountering such a creature in its natural environment would generate.  There are some brutal moments in this vibrant shocker, and yet the warmth and drama that propels the film toward a grand finale do make it seem a bit too adventurous for the genre at times.  The three leads take a fabulous script and run wild with it, with Roy Scheider and Richard Dreyfuss both doing a tremendous job while Robert Shaw dominates the screen with one of the richest performances in the history of the cinema.  The score from John Williams is as simple as it is iconic, the effects are far better than the mechanical sharks' place in film history would have you believe, and Spielberg's gifts have never been so evident.  There are big scares, big laughs, and even when things settle down, Jaws is ten times more enchanting than most movies.  This is my favorite movie, and if we were talking about movies in general, I would surely put it atop my list.  Yet I did elect to place it at #2 on my list because I cannot fathom putting anything other than the scariest movie ever made at #1.  Having said that, second place here is no small prize, and I hope I have made my affection for this grand voyage into horror on the high seas evident. 

Jaws has inspired numerous imitations, yet 40 years later it still reigns supreme.

Roy Scheider and Richard Dreyfuss shine only to be blown away by Robert Shaw as Quint.

Top 20 Horror Novels - #3) Jaws by Peter Benchley (from 1974)

Not only am I ranking my Top 20 Horror Movies for you this October, but I'm doing likewise with the scary books that I hold near and dear.  As with the movies that I'm discussing in that Top 20, I'm not attempting to rank these novels based on their place in pop culture, but rather their place in my heart.  Isn't that sweet?  Seriously, there are some fine books that didn't make the cut here because there just wasn't room, and there are definitely some well-regarded books that didn't make the cut because I don't really like them.  That also means there are some personal favorites of mine on this list that you may not have heard of.  If that's the case, I promise that I'll reward your trust with a gnarly tale if you give one of them a spin.  Finally, I may have shortchanged some of the titans in the genre (hey there, Stephen King) as I didn't want to overload this list with titles by the same author, though Uncle Stevie did manage to score three direct hits on my list.

The list thus far:

#20) Amok by George Fox (from 1980) 
#19) Manstopper by Douglas Borton (from 1988)
#18) Intensity by Dean Koontz (from 1995)
#17) The Terror by Dan Simmons (from 2007) 
#16) The Snake by John Godey (from 1978)
#15) Son of the Endless Night by John Farris (from 1985)
#14) Rockinghorse by William W. Johnstone (from 1986) 
#13) Vampire$ by John Steakley (from 1990)
#12) Falling Angel by William Hjortsberg (from 1978)
#11) Christine by Stephen King (from 1983)
#10) The Manitou by Graham Masterton (from 1975)
#9) At the Mountains of Madness by H.P. Lovecraft (from 1936)
#8) All Heads Turn When the Hunt Goes By by John Farris (from 1977)
#7) Hell House by Richard Matheson (from 1971)
#6) The Exorcist by William Peter Blatty (from 1971)
#5) I Am Legend by Richard Matheson (from 1954)
#4) The Stand by Stephen King (from 1978)

Top 20 Horror Novels - #3) Jaws by Peter Benchley (from 1974)

Jaws is a different kind of horror novel, but that's precisely what makes it so powerful.  There are no supernatural entities or terrifying madman on the loose, merely a big fish that Peter Benchley presents as a deadly force of nature.  Any allusions to this actual sea monster's intelligence or nature are slight enough that we're never asked to believe that it is on a diabolical rampage.  It's just a really big shark with a really big appetite that decides to camp out in the same area for a little while.  Benchley's considerable knowledge and experience gave him the authority to present a believable account of what might happen if such a predator were to linger in the waters off a quaint little seaside community.  It's that realism that makes his novel so terrifying.  I love Dracula, but I'm not afraid of vampires because they don't really exist.  Yet, like many, though I enjoy the ocean greatly, I do fear that one day a shark might decide to see what I taste like.  It's an awful prospect, and Benchley had the talent to match his expertise--his brisk writing paints a vivid picture of the awful carnage that a massive great white shark could inflict on a human being.  Benchley also gave us a wonderful setting for his tale, the lovable town of Amity, and his characters spring to life as we sink deeper and deeper into his robust tale.  Those who know the movie well but have never experienced the book will discover a pair of exciting subplots that didn't make it to the screen, namely the stubborn mayor's ties to the mob and Ellen Brody's fling with Hooper.  Chief Brody is never certain of his wife's infidelity, but he knows something is amiss, and this particular subplot creates a wealth of tension when he and Hooper take to the sea alongside the salty sailor Quint in a rousing third act.  Primary characters who survived the movie perish in the novel, and the conclusion of the book is far different (and vastly superior) to the exciting climax that Spielberg chose for his film.  There's also a lot of warmth and character development that serves to keep readers thoroughly invested.  Honestly, my favorite scene in the book is a dinner party where Brody has a bit too much to drink.  In closing, Jaws is one of the best books ever written, and it still has enough bite to scare people away from the ocean. 

Jaws by Peter Benchley

I'm reading Jaws.  Again.

Seriously, my paperback is held together by scotch tape and love at this point.  I have a hard time deciding which of the books I hold so dear is actually my favorite.  It's probably the book you've read the most, right?  If that's true, it's either Jaws or 'Salem's Lot.  Either way, the heat of summer is here and I'm hanging with Brody and Quint once again.  I'm happy to hang with Hooper whenever I watch the movie, but he's kind of a prick in the book.  For those who don't know, I'm not offering up any spoilers (unless Hooper being a dick counts) but the book is rather different from the movie.  There are more deaths, there are entire subplots that didn't make it to the cinema, different characterizations, and most importantly, a completely different (and superior) climax.

Recently, I concluded a review of Dan Brown's Inferno by noting that Inferno = Shitburger.  That was accurate.  On a similar note, Jaws = Goldburger.

Which Jaws has the bigger bite?

While I'm resurrecting old bits, here's the first piece I published in RVA Magazine.  It's a comparison of Steven Spielberg's film and Peter Benchley's book.  It's brief, but since that there are few (if any) tales that I enjoy more, it's something I had a lot of fun with.  Enjoy!

Which Jaws has the bigger bite?

It’s a true anomaly: a stellar book is optioned by Hollywood and brought to the screen in epic fashion, surpassing the source text in the eyes of many.  For once, fans of either format can sit and ponder the merits of these beloved blockbusters, engaged in a difficult debate.  Which version has the sharpest teeth? 

            When Peter Benchley wrote his signature novel, he ignited the literary world with a gripping “Man vs. Nature” opus that plunges the reader into a marine nightmare on the first page and never looks back.  Benchley based his work on an actual series of attacks on the East Coast attributed to a single shark and this gives his plot a potent dose of realism.  The characters are well drawn, the setting is perfect, and the prose is both rhythmic and knowledgeable, a delicate balancing act performed to perfection here.

            Steven Spielberg took Benchley’s book to tinseltown and frightened audiences across the country out of the water with his amped-up approach and an explosively different climax (literally) that won the author over despite some initial conflict.  Young Spielberg was willing to take more chances and it shows, this stark and scary picture is a far cry from the family fare the director is also known for.  Here, his ambition and ability join forces with an exceptional cast to land an instant classic.  Give an assist to John Williams, the famed film composer who supplied one of cinema’s grandest scores.

            Since there can be no doubt that both versions of this tale have touched countless lives, a prominent question arises: which is the better fishing trip to go on?  Unfortunately, this is a query that simply cannot be answered.  The two visions vary enough that it simply will not work if one attempts to compare and contrast them.  Prominent characters and subplots within the novel didn’t make it before the cameras, most notably an extramarital sexual encounter between Matt Hooper and Ellen Brody that charges the third act of the book with blistering tension as three men take to the sea in pursuit of one of nature’s most violent killers.  Alas, who can forget Robert Shaw’s incredible monologue regarding his service on the Indianapolis, a plot device Spielberg originated and a setpiece the actor ran wild with.  There is also the conclusion to consider, as well as the fact that a primary character who survives on celluloid perishes in print.

            This is all a blessing, as those who know and love the story have two separate experiences to enjoy, both of which are frequently cited as favorites by bookworms and film buffs alike.