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Irish Examiner
07-08-2025
- Entertainment
- Irish Examiner
'We're gonna need a bigger cinema': 50 years on from the release of Jaws
It was the troubled movie production that ran months over schedule and by more than twice its budget. It didn't help that problems with its mechanical sharks led to the shooting of Jaws being dubbed 'Flaws' by some crew members. But a young filmmaker named Steven Spielberg, aged 27 and with just one other movie credit to his name, took the shortcomings that plagued his shark thriller and turned them into a movie-making miracle. From its iconic 'dum dum' score by John Williams, to its distinct and colourful characters, to its sense of tension and toying with its audience, Jaws became the most successful movie of all time when it was released in 1975. It set Spielberg on course to become one of the most celebrated filmmakers ever as Jaws became a punctuation point in the history of cinema. On August 29, the tale of a great white shark who plagued the town of Amity will return to Irish cinemas to mark its 50th anniversary. Commonly regarded as the first summer blockbuster and based on Peter Benchley's bestselling novel, Jaws sees the small community turned to chaos when a shark makes its home offshore, munching his way through the local and tourist population. Police chief Brody (Roy Scheider) joins forces with a marine biologist (Richard Dreyfuss) and a shark hunter (Robert Shaw) to find the deadly predator. It shouldn't have worked out this way. On a troubled production that ran massively over budget amid numerous issues, the three mechanical sharks named Bruce would frequently break down. An early suggestion that a live great white would be trained for the film had long been dismissed and shelved, but Bruce's mechanical challenges would frequently delay production. Spielberg's decision to bring authenticity by filming in open waters also proved a nightmare. Seasickness plagued the cast and crew, the unpredictable weather was a continuity challenge, and other boats not connected to the film would drift into shots. The advertisement for Jaws at the Capitol cinema in Cork in the Evening Echo in March 1976. Stressed but determined, Spielberg turned to the growing movie-making skills and instincts that would later endear him to worldwide audiences through films including Close Encounters, ET and Saving Private Ryan. It was a massive gamble that somehow worked, says Dr Barry Monahan, senior lecturer in the Department of Film and Screen Media at UCC. 'Some people say, if the shark had worked, it would have been a hopeless film, because it was the fact that we couldn't see it that left it to the imagination,' says Monahan. 'Without that footage, the suggestion of what the terror was was far more potent than what it would have been if we'd seen the rubber shark. That might be true, but still you had to know where to cut, and still you had to know how much of that you could get away with without satisfying some itch that the audience has.' What the young filmmaker brought to the movie, he adds, was an innate gift for knowing how to engage an audience. 'He had a sense of story. Like every great storyteller, he could put himself in the audience's shoes and know what the audience was hoping to see next. And once you're there, you're on to a winner. If you know what your spectator wants to see next, you can either give it to them, or you can deny them that, and they are eating out of your hands, depending on which of those, the postponement of satisfaction or the delivery of a satisfaction, keeps them enticed enough.' Instead of disaster, the film that ran more than 100 days and more than twice the budget over its production schedule resonated massively with audiences - and still feels fresh as its 50th anniversary release date in Irish cinemas approaches. Spielberg, aided and abetted by the brilliant work of film editor Verna Fields and the cast and production team, pulled the challenging production from the jaws of defeat and used their skills to build a sense of intensity and tension that still works on screen today. Leaning into the playbook of filmmakers like Alfred Hitchcock while bringing their own creativity to the table, the filmmakers used clever editing and strong performances to deliver a true original, spooking audiences with glimpses of a shark fin in the water. 'They didn't get the shots they needed on a day-by-day basis,' says Monahan, adding that Fields' collaboration with Spielberg is one of the film's great victories. 'Everything she did, everything that's praised about that film, from the music, which follows an editing rhythm, from the sequential development of characters that is entirely about the editing development, from the the use of shock-factor shots and the development of tension, a la Hitchcock, all of that was Verna Fields.' Steven Spielberg had plenty teething problems during the making of Jaws. (Photo by Evening Standard/) Released in US cinemas in June 1975, Jaws was in uncharted waters in a world where the summer blockbuster hadn't yet become a trend with audiences. But Universal Pictures pushed awareness of the film through a robust marketing campaign and gave Jaws a wide release, allowing audiences to recommend it through word of mouth. Peppered with great one-liners including 'you're gonna need a bigger boat' and 'you open the beaches on the 4th of July, it's like ringing the dinner bell for Christ's sakes', the movie started resonating with film fans as soon as it hit the big screen. Back in the days when film companies had to physically transport film reels across the Atlantic, the blockbuster finally made its way to Cork in March 1976 when it opened at the Capitol cinema. Jaws captured the public zeitgeist and became the biggest film in box-office history, taking an enormous $260 million on its initial release. It made studios realise that an event movie could capture a wide audience, and the summer blockbuster was born. 'One of the big things that the blockbusters brought back, that the young directors like Scorsese and Coppola and Spielberg and Lucas started peddling, was the thrill and the fun,' observes Monahan. 'People would come out of the cinema and tell people that this was worth seeing for the right kind of reasons, with the right kind of enthusiasm, and that's what shaped the things that we would later call blockbusters as we moved into the late '70s and '80s.' Speaking in a new documentary for National Geographic called Jaws@50: The Definitive Inside Story, Spielberg still recalls the sense of stress he felt during the production. 'We didn't have the words PTSD in those days, and I had consistent nightmares about directing Jaws for years afterwards. It was, logistically, I think the most difficult movie I think I'll ever make,' he says. But seeing how it still enthrals audiences 50 years later, he spoke of his delight at the public response at the documentary's premiere. 'Fifty years after its initial release, making Jaws remains a seminal experience for every single one of us, and five decades has done nothing to dim the memories of what remains one of the most overwhelming, exciting, terrifying and rewarding experiences of my entire career.' Jaws returns to Irish cinemas on August 29
Irish Examiner
17-07-2025
- Entertainment
- Irish Examiner
The story of Barry Lyndon: 50 years since Stanley Kubrick made his epic in Ireland
It's the lavish, lauded and lovingly lit period drama centred around the rise and fall of a charming scoundrel and social climber. Shot across a variety of Irish locations including Dublin Castle, Powerscourt, Waterford and Cahir. Barry Lyndon brought cutting-edge technology and storytelling to our screens when it was released in 1975. Now, Stanley Kubrick's adaptation of William Thackeray's novel returns to Irish cinema screens in a new 4K restoration to mark its 50th anniversary. The Triskel and Cork Omniplex are among the cinemas bringing it to the big screen. Fresh from making such beloved movies as 2001: A Space Odyssey and Dr Strangelove, British filmmaker Kubrick travelled to Ireland to make his period epic, starring Ryan O'Neill in the title role and Marisa Berenson as his wife. The movie revolves around a young 18th-century Irishman who, following a series of setbacks, goes to great lengths to advance himself. But there was a dramatic ending to the shoot - approximately nine months after filming on the ambitious movie began in late 1973, Kubrick would beat a hasty retreat out of Ireland amid reported threats and complicating factors connected with The Troubles. Ryan O'Neill and Marisa Berenson in Barry Lyndon. Nevertheless, Barry Lyndon is regarded as a memorable time in Ireland's screen history - coming as it did at a time of growing momentum for the then-tiny Irish film industry. Kubrick, one of cinema's best known and most admired filmmakers following a string of critical hits, would go on to shoot only three more movies - The Shining, Full Metal Jacket and Eyes Wide Shut, before his sudden death at the age of 70, just days after delivering his final film. Barry Lyndon is a film that has become more loved with time, believes Dr Barry Monahan, senior lecturer in the Department of Film and Screen Media at UCC - and its re-release this week is an opportunity to embrace its many qualities. 'You can drill into it and find magnificent little moments, and then see the whole thing weave together,' says Monahan, adding that Kubrick always liked to add a heightened feel to his films. 'Everything had to be epic. That's exactly what he leaned into with Barry Lyndon - its sheer scope, its complexity, is incredibly admirable.' Remarkably, Kubrick - who wanted to film many of Barry Lyndon's striking scenes by candlelight - used a lens initially developed for NASA that enabled him to do so. 'He wanted to shoot the interiors with candlelight predominantly, or natural light coming in through windows,' says Monahan. 'That's one of the big technical feats, and that really was a big thing.' The ZEISS lens - known as one of the fastest lenses ever developed - could film with very low light and without artificial light and only a small number of them were ever developed. They were originally used for lunar exploration. The advertisement in the Cork Examiner in May 1976 for Barry Lyndon showing at the Capitol cinema. Barry Lyndon was shot here at a time when Ireland's film industry had yet to build indigenously to become the internationally respected industry it is today. It would be another number of years before the act to establish The Film Board (now Screen Ireland) was passed in 1980. There had been efforts to build a screen industry here for many decades before, but the arrival of such a prolific filmmaker helped showcase Ireland's beauty as a location, says Monahan, at a time there had long been a growing desire to develop more of a film culture in Ireland. 'As a venue, as a place that could really dress up as a period piece very well, that was beautiful, it had the kind of backdrops that producers would need in a reasonably accessible and reasonably low-budget way. And Kubrick's name associated with a project like that was just magnificent.' Film academics Dr Maria Pramaggiore and Dr Barry Monahan. The shoot also brought a top US heartthrob to these shores in the form of the late Ryan O'Neal. Having recently filmed the Hollywood hit, Love Story, and starred opposite his daughter Tatum in Paper Moon, the period epic marked something of a departure for the star. In fact, the film marked a new adventure for both its leading man and its director, says Dr Maria Pramaggiore, author of Making Time in Stanley Kubrick's Barry Lyndon: Art, History, and Empire. 'Kubrick's overall body of work is small and much beloved by an intense fan and critical following,' says Pramaggiore. 'My interest in Barry Lyndon and my approach to it were motivated by my interest in Irish cinema,' adds the US writer and academic, who was based in Ireland for several years. 'It is arguable - some people might not characterise or categorise Barry Lyndon as Irish cinema.' She feels that the film has been historically underloved - but that that has changed. 'I thought it was quite interesting that Kubrick chose this project. He lived so very long in Britain, and saw himself as stepping outside of the Hollywood system to make his films. It was never going to suit him, because he wanted so much authority over the projects that he was never going to sit comfortably in the Hollywood system, and yet he used Hollywood studios to release his work.' While writing her book, Pramaggiore aimed to delve deeper into the circumstances behind the sudden departure of Kubrick and his production from these shores after several months of filming here. It was a shoot that didn't end conventionally, amid claims that Kubrick had come under IRA threat. Has she been able to piece together the final dramatic days of the production? 'I remain with question marks. It is a mystery. It speaks to, in some ways, both politics that could not be escaped at that time and in that place, Dublin in 1973 with the IRA campaign moving across the border. And also to the industry side of film - the debate about how the production ended was based on reports that there had been a bombing in the Phoenix Park on a day production was due to film there, and they did not film that day. And then there were reported phone calls to Kubrick: 'You better leave, or else; people are in danger'. It's always been reported threats. It took a very long time after they left - two more years - to finish production.' A scene from Barry Lyndon. As the richly detailed film - regarded by many as a masterpiece - returns to our screens, Pramaggiore feels its uniqueness continues to resonate with new and returning audiences. 'It was rolled out in very much an art film, masterpiece mode. It's a period drama. Fans of Ryan O'Neal might have been surprised, coming off of Love Story and Paper Moon. If you were a fan of Ryan O'Neal, and you rocked up to Barry Lyndon at three hours and 14 minutes with an intermission and the voice over and the inter-titles, you would have been confused.' Likewise, she feels that even Kubrick fans mightn't have been expecting Barry Lyndon at this time in the filmmaker's career. 'I would venture that Kubrick fans coming from 2001, A Clockwork Orange, Doctor Strangelove, they would not be expecting what I would call the sort of toxic masculinity that Kubrick did so well. He wouldn't have called it that, probably! He was very keenly aware of the problems of masculinity and warfare, so often a theme in his work.' Barry Lyndon returns to select cinemas from July 18
