Steven Spielberg left correctly the worst part of the original novel

Looking back at its fiftieth anniversary, it’s hard to imagine slipping anything extra to “Jaws.” To suggest even add anything to Steven Spielberg’s perfect movie (not to mention, one of the best movies ever made) It would be like a nail on a chalkboard. And yet, there is a significant lower -blot of Peter Benchley’s original book, on which the film is based, which Spielberg omitted quite well. In addition to the battle between the three leaders of the film and a human dining machine, Benchley’s novel contained something much more disgraceful and sordid-something he has never suggested in the film version. It is a threat that creeps up the beaches of Amity Island and on to the doorstep of the main brody (Roy Scheider in Spielberg’s film): a romantic relationship between his wife and outside the outside of Hooper (Richard Dreyfuss).

Initially, in Benchley’s version of the story, the obvious social division between brody and amity business owners on the beach contrasts with his simple interaction with his wife Ellen (Lorraine Gary). At the same time, Ellen is emerging as a more advanced character that addresses her own challenges. Trapped on the island and longing for life beyond its shores, Ellen is immediately drawn to Hooper, a young, spectacular ichthyologist and a man’s brother who dated before meeting her husband. Ultimately, the pair even has a secret rendezvous, which goes on to play a vital role in the rest of the narrative. By the end, however, both of the problems of Brody are lost to the sea when the boss emerges as the sole survivor in the last fight between humanity and shark type.

Back in 1975, Benchley’s novel fans might have already been thrown out for an inflatable link when the relationship that was such a core part of the original story was nowhere in the Spielberg film adaptation. The surprise would then have continued when The end of the book, could not have been more different from Spielberg’s versionWithout making the cut, seeing that brody is not alone when he swims back to shore.

Benchley, in all his wisdom writing, killed off Hooper when he took his bold dip in the anti-Shark cage. Instead of narrowly escaping the mouth of death as it makes it a Spielberg film, it is caught in their grip and dies a bloody death similar to Quint’s (Robert Shaw) in the film version of “Jaws.” In terms of the spent fisherman, Quint makes a less angry exit in Benchley’s book when, after hitting the title fish with a harp, he is foot in the rope he is attached and dragged down to the depths by exactly what he has obsessed with killing.

Ultimately, Brody only returns from the Sning of the Orca in Benchley’s source material. It is a much simpler ending, but one that would not have worked in the film that Spielberg made in the end. Not only does he have the bloody bomast and terrorism that the director clearly aimed for, but Spielberg’s film is also populated by characters who are far more dear than their counterparts on the printed page. That includes Hooper, which, thanks to the Dreyfuss performance (along with some rewrite), proves to be a significantly kinder man in the film’s “Jaws”.

While it would be credible Hooper would have finished sleeping with the fish in Spielberg’s movie if he had not been happy accident during filming cage sceneHe also helped that Hooper was a person who was otherwise well and deliberately in the film. Benchley’s version of the character, by comparison, turns out to be a home homeowner who ultimately gets it contrary to brody after the latter, quite easily, to deduct what has been happening behind his back. This makes Hooper’s death in the book more punishment and one that is perhaps suitable for the path it has chosen to take.

On the other hand, an academic who wears Dreyfuss’s double, on the other hand, is just as investing and sincerely for stopping the big eponymous white shark as brody is. His only interaction with Ellen is a Spielberg film (when Hooper Sorta accidents the Somber Family Somber dinner accidents after the shark claimed his second victim) is just as charming and innocent. Getting it would spoil the way it does in the book had felt unnecessary in Forbid and seriously unnecessarily.

Above all, though, Spielberg clearly wanted to give Brody something to fight for, and that includes the family of Brody, which is clearly loving and far from the broken unit depicted in Benchley’s novel. Indeed, the insight we get from Brody interacts with his young sons (“Give us a kiss”) and his wife proves that there is a lot of affection between them. Having included Ellen-Hooper’s relationship would have led to a very different story-one that would not have been almost as satisfactory as the one we had instead.