kvarter Volume 07 • 2013 akademiskacademic quarter
Blockbuster Remakes
Constantine Verevis Ph.D., Associate Professor in Film and Television Studies at Monash University, Melbourne. He is author of Film Remakes (Edinburgh UP, 2006) and co-author of Australian Film Theory and Criti- cism, Vol. I: Critical Positions (Intellect, 2013). His co-edited vol- umes include: Second Takes: Critical Approaches to the Film Sequel (SUNY P, 2010), After Taste: Cultural Value and the Moving Image (Routledge, 2011), Film Trilogies: New Critical Approaches (Palgrave-Macmillan, 2012), Film Remakes, Adap- tations and Fan Productions: Remake/Remodel (Palgrave- Macmillan, 2012), and B Is for Bad Cinema: Aesthetics, Politics and Cultural Value (SUNY P, 2014).
Abstract Like the term “blockbuster,” the phrase “blockbuster remake” can mean different things. Typically, blockbuster remake is an industrial term, one that refers to the production of large-scale movies adapted from previously filmed properties. In this definition, modest (cult) properties – such as, Planet of the Apes (1968, 2001), King Kong (1933, 1976, 2005), and War of the Worlds (1954, 2005) – are revived through massive production budgets as cultural juggernauts, with strong marketing campaigns and merchandising tie-ins. Less typical is a description that accounts for the way in which a blockbuster movie is itself remade: that is, a definition in which a blockbuster becomes the cornerstone for the entire architecture of a blockbuster cycle. This article explores the idea of a blockbuster remake, and blockbuster initiated cycle, in and through a case study of the prototype of all modern blockbusters: Steven Spielberg’s Jaws (1975). Specifically, the article interrogates the way in which “Bruce,” the great white shark of Jaws, initiated a rogue animal cycle consisting in the first instance of the Jaws franchise – Jaws 2 (1978), Jaws 3-D (1983) and Jaws 4: The Revenge (1987) – and also a series of replicas that included Grizzly (1976), Orca (1977), and Piranha (1978).
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, ------Jaws 264 disaster Godzilla
(Merian C. (Jack Arnold, (Jack Constantine Verevis Constantine Blockbuster Remakes Blockbuster Volume 07 King Kong remade, not only in its licensed remade, itself blockbuster cycle – but also through its blockbuster cycle – but also through (Franklin J. Schaffner, 1968; Tim Burton, Tim 1968; Schaffner, J. (Franklin (Ishiro Honda, 1954; Roland Emmerich, – is Creature from the Black Lagoon from Creature revenge-of-nature” films), and additionally and films), revenge-of-nature” Jaws Jaws Godzilla to their audience because viewers are assumed to assumed to their audience because viewers are Blockbusters, Film remakes, Film cycles, Rogue animal remakes, Blockbusters, Film Planet of the Apes . pre-sold
Jaws is based on Peter Benchley’s best-selling novel (1975), the film Like the term “blockbuster movie” the phrase “blockbuster re Like the term “blockbuster movie” have some prior experience with, or knowledge of, the original have some prior experience with, or knowledge of, the original story – an earlier film, literary or other property – before engaging in its particular re-telling (see King, 2002, p. 55; 1994, Wyatt, pp. 113–17). Remakes of cult movies such as 1998), and 1998), 2001) are revived through massive production budgets as cultural and merchandising marketing campaigns juggernauts, with strong such as 2006, p. 3). Existing properties, tie-ins (see Verevis, not only because of their cul selected for blockbuster remaking are and international markets, in local and currency tural circulation, spectacular and so suited to the inherently but also because they are developing technological powers of digital film. Roland Emmer sional” definition of blockbusters in Neale, 2001, pp.Typi 47–60). to the is an industrial term, one that refers blockbuster remake cally, pre from remade movies adapted and/or of large-scale production viously filmed properties. In a commercial context, blockbusterre makes are Cooper and Ernest B. Schoedsack, 1933; John Guillermin, 1976; Pe ter Jackson, 2005), occupies a broader discursive space with a cycle of 1970s “ of sub-set (and movies invites comparison with 1954), a film that it loosely Attendingremakes. in the first instance is essay the properties, film existing of remakes blockbuster-scale to blockbustera which in way the demonstrate to concerned mainly movie – specifically, sequel and series – the and imitations. many unauthorized replicas a “multidimen things (see, for example, make” can mean different Keywords films, remake The blockbuster of the “block the contemporary phenomenon This essay assesses of the industrial and a case study in and through buster remake” blockbuster prototype, cultural impact of Steven Spielberg’s (1975), and its various official and unofficial remakings. Although Jaws quarter
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, Roy Neary Godzilla Jaws Godzilla Godzilla Constantine Verevis Constantine recalls the nature the nature recalls – but then revived revived then but – Blockbuster Remakes Blockbuster Volume 07 Independence Day War of the Worlds War [1977]), helping establish helping [1977]), War of the Worlds War War of the Worlds the of War remake is said to be as “huge and relentless” as and relentless” is said to be as “huge remake (2005) invests in elaborate set pieces and extrava , Steven Spielberg’s massive $128 million version of remake] began remake] to make sense more to me, that it could as a type of authorial remake (see Newman, 2005, p. 83). p. 2005, Newman, (see remake authorial of type a as Godzilla Godzilla Close Encounters of the Third Kind Like Wells’s book (which it sometimes closely follows) while making nec making while follows) closely sometimes it (which book Wells’s essary changes (consolidating characters, altering period and lo cation, updating the story’s technology) and alluding to Byron ways, these In 67–71). pp. 2006, Vest, Haskin’s (see version film 1954 critique overt and – story apocalyptic Wells’ “re-imagines” Spielberg an reach to themes auteur through it filtering – colonialism British of American (and international) audience still dealing with the events 2001. of September 11, – itself a modernized version of version modernized a itself – in the shadow of September Spielberg says: 11. “post it 9/11 [a Worlds the of emotional story as well as a very entertaining one, be a tremendous and have some kind of current relevance” (Baughan and Sloane, 2005, p. 64). Cruise’s conflicted, every-guy lead (Roy Ferrier) and complicated family situation in from Brody (Chief types Spielbergian of milieu and from Worlds the of At the same time, Spielberg’s version echoes the dynamics of H.G. million plus budget demands a gargantuan audience, leaving noth million plus budget demands a gargantuan it’s movie; adult good a not is] “[Godzilla age: any for interest of ing mov [even] a not it’s movie; good a not it’s movie; kid’s good a not 27).ie. It’s an Event” (Solman, 1998, p. of the Worlds War but it ad to deliver big on spectacle and genre, gant digital effects number Hollywood’s for reunion) (and vehicle a provides ditionally Spielberg Spielberg). Steven (in director and Cruise) Tom (in star one to remake states that his long-term desire on hold with the appearance of Emmerich’s ich’s 1998 instances other in as – but 42), p. 1998, (Medhurst, itself creature the “supersized” – critics lament has been a small cult property where the aesthetic departs from the digital makeover immediately that Studio’s 1954 and iconographic tradition of Toho New and Hollings (see followed have that films 30 almost of series onslaught “The it: describes reviewer one As 20–23). pp. 1998, man, removes effectively of exploitative digital effects world of juvenile pleasure” (Solman, 1998, p. 27). quarter
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itself [2001]) – seek to Constantine Verevis Constantine Blockbuster Remakes Blockbuster Volume 07 – can be understood post-production The Girl with the Dragon The Girl with the Dragon (Stephen Sommers, 1999; Sommers, (Stephen War of the Worlds the of War – of the movie spinning out Ocean’s Eleven Ocean’s and Godzilla (see Bourriaud, 2002, pp. 13–20). In The Mummy War of the Worlds War [2005], Godzilla (see Lewis, 2001, p. 66). This is not simply – and about blockbuster themes – “world war, – and about blockbuster themes – “world war, putting it to use to it putting Batman Begins multiplication -auteurs such as David Christopher Fincher, Nolan, and [2011], and Planet of the Apes post More could be said about blockbuster remakes adapted from pre adapted from could be said about blockbuster remakes More the cornerstone for the entire architecture of a blockbuster cycle. architecture the cornerstone for the entire which the blockbuster is attends to the way in This type of approach strategies of marketplace through positioned within a larger zation the case – as in the example of and additional install an animated TV series, video games, through ments in the Japanese film series – but also the way in which block – for example, buster remakes habiting it, and it, habiting and remodeled, remade are a global marketplace, available forms – in sequels, series, and cy and then “serialized” and “multiplied” expanding territories and media platforms. cles – across – properties filmed viously and death- holocaust, [beyond], from monster planet, the of end disaster, battle in the galaxy” (Elsaesser, 2011, p. 276). Another approach, in which the blockbuster examines the way however, becomes blockbuster movie a which in cases those that is, made”: objects (DVDs, soundtracks, and books), and the occasion for com attractions)park theme and rides, (exhibitions, experiences modity pp. (see 2011, 283–85, Elsaesser, Thompson, Extending 2011). this one can describe the way in which new millennial line of argument, filmmakers – not only new Hollywood auteurs such as Spielberg, but Steven Soderbergh (in examples such as Tattoo me and film global of flows innumerable the into themselves insert that is new something not by setting out to create dia production, (original) but rather by re-making that which exists: revising it, in The era of postproduction If one accepts Thomas Elsaesser’s suggestion that global Holly or franchise era of a digital wood has entered Spielberg’s blockbuster – like or film pre-existing a which in instance an product,” “signature a as property no longer provides a (closed) narrative model but rather and the blockbuster re functions as a blueprint for “remediation,” make becomes (ideally) and a basis prototype for the generation of serial forms (sequels, series, and cycles), of the tangibleproduction quarter
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) that reaches reaches that ) – and to the idea cycle Constantine Verevis Constantine Blockbuster Remakes Blockbuster Volume Romancing the Stone 07 Jaws (Lewis Teague, 1985), Teague, (Lewis Raiders of the Lost Ark Indiana Jones and Kingdom ofKingdom and Jones Indiana (Simon West, 2001) and (Simon West, The Mummy Returns ) period in and through the le Jaws Jewel of the Nile , Amanda Ann Klein writes that cycles are are cycles that writes Klein Ann Amanda , (Jan de Bont, 2003) to . (2008). To consider this phenomenon of blockbusterof phenomenon this consider To (2008). Lara Croft: Tomb Raider Tomb Lara Croft: American Film Cycles blockbuster cycle In his account of a “momentous,” decade-long period of (new) In generic claims have never really constituted a substantial portion of constituted generic claims have never really another on capitalize to seeking (unless campaigns publicity studio studio’s success), and that this strategy (of exclusivity) continues into the post-classical (or post- and brands that initi characters gally sanctioned use of proprietary (1990, pp. 115–21). (or franchises) ate series-oriented production Hollywood filmmaking – the years 1975 to 1985 – Jim Hoberman cycles in the Hollywood process studioof genre formation. Taking and imi that by analyzing Altman argues era films as his example, tating their most lucrative films, studios seek to establish cycles stu that to exclusive and exploitable, and proprietary are that (sets) dio. He writes, when conditions are favorable, single studio cycles in ex can become sharable industry-wide patterns, and play a role hibition and reception, but this movement toward genre (sharabil initiated that studio the of interests economic the against works ity) a are cycles that – description This 59–61). pp. (1990, cycle the films associated with a single studio and which contain easily ex Altman’s assertion that ploitable characteristics – is consistent with sequelization it is instructive to turn to the “prototype of all modern to turn to the “prototype sequelization it is instructive is, that – 278) p. 2011, (Elsaesser, blockbusters” of a like film genres in so far as they are “a series [a set] of films associ settings, characters, images, shared ated with each other through plots, or themes” pp. (2011, 3–4). But, she adds, “while film genres primarily definedare repetition by of the key images (their seman defined primarily by are cycles film syntax), (their themes and tics) foun work In 3–4). pp. (2011, pragmatics)” (their used are they how dational to Klein’s, Rick Altman describes the role played by film Karl Freund, 1932) and its sequel, (or series a in positioned be can – 2001) Sommers, back, through The Cradle of Life Croft: and 1984) Zemeckis, (Robert was initiated by a to the Indiana Jones series that and then on back in prototype key blockbuster and genre ven Spielberg, 1981) and culminates in the Crystal Skull quarter
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Lost Illusions (John Guiller Constantine Verevis Constantine Nashville Blockbuster Remakes Blockbuster Volume 07 is typically attributed to ” (2000, pp. 255). – “imploded” the disaster – “imploded” the disaster Jaws (Ronald Neame, 1972), Jaws Jaws The Towering Inferno The Towering consciousness” (Cook, 2000, pp. 41–43; pp. 2000, (Cook, consciousness” (Robert Altman, 1975) – “exploded” the Jaws Nashville in 1975 (like everything else in American cinema) The Poseidon Adventure mutated (Mark Robson, 1974), and is representative of a cycle of American films made “in the can be seen as part of a specific set – the disaster movie (genre The massive commercial success of The massive commercial with the appearance of Universal’s as described Wasserman) Lew boss, its (and Studios Universal what the establishment of a “ 2001, Gomery, pp. 74–77), one facilitated through a saturation ad vertising campaign and a wide opening pattern of theatrical release (see Andrews, 1999, also Schatz, p. 1993, 114; p. Although 18). was a multi-million dollar summer blockbuster based on Peter the 1970s. As identified in the sub-title of David Cook’s David of sub-title the in identified As 1970s. the Jaws shadow and of a Vietnam”: Watergate set of films that is either im plicitly or explicitly critical of American society ( or powerlessness of fear a “expresses that one and case), limit the bly at every level of society … at a time when leadership loss of control Cook, by described As 251). pp. (2000, wanting” be to believed [was] the disaster film ofthe 1970s was a commercial form “rich in possi bilities” – one that remained popular throughout the decade (and the but – markets international into well translated that and beyond) cycle “ second film – Steven Spielberg’s film, paring the narrative and effects of the disaster cycle back to “pure mechanism,” and – as the (then) top-grossing movie of all blockbust Hollywood concept, high of era new a in ushered – time p. 35).ers and franchises (Hoberman, 1985, The high concept blockbuster Jaws were the real life or disas cycle) – and in Watergate which Vietnam ters (see Heath, 1976; King, 2000, pp. 143–73; Roddick, 1980), but at the same time it is part of a set larger (or periodization): the films of begins by describing a particular type of set. He says that June 1975 June that says He set. of type particular a describing by begins awas way own its in which movies,” each of “key two up offered “brilliant modification of the current disaster cycle that had itsre (1985, p. 35). The and Watergate” al-world equivalents in Vietnam firstof these – format” of disaster mounting-doom, intersecting-plot “multi-star, films such as quake min, 1974) to elaborate and politicize the cycle. By contrast, the quarter
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is at once a is at once a “sequel” to the Jaws Constantine Verevis Constantine conspiracy thriller conspiracy Blockbuster Remakes Blockbuster Volume 07 new kind of disaster film disaster of kind new ) – find Spanish treasure treasure Spanish find – ) immediate (Peter Yates, 1977), an ac (Peter Yates, mentality, mentality, Jaws
film and a ) which depicted a near naked The Deep Jaws sets to create a create to sets in the disaster movie cycle because it it in the disaster movie cycle because several action-adventure was produced by Peter Guber for a for Guber Peter by produced was , one that associates new types of material with, one that associates new types of aberration grossed $7.061 million in its opening weekend) was, however, was, however, Jaws Jaws The Deep event film is a prototype or blueprint for a new set – the high concept is a prototype exploitation product: that is, it was “hyped for a quick week that exploitation product: novel, is an Jaws lication of the book, and promoted through its merchandising and its merchandising through lication of the book, and promoted a $3 million advertising campaign that featured a vertical poster design (modeled on the one for a horizontal sea toward deep blue female diver rising up through surface logo (see Cook, 2000, pp. 45–46; Combs, 1977, pp. 257–58; record the sustain to unable Although 213). p. 2010, Neale, and Hall that – weekend long opening its of takings million) ($8.124 breaking is, it was a film whose “marketability” exceeded its “playability” displayed Amity signage and welcomed back over 25 members of screenwriter – including Peter Benchley, the original cast and crew of weekend a for – Alves Joe designer production and Gottlieb, Carl celebrations (Jaws Fest, 2005). The most blockbuster tion-adventure story about a couple, David Sanders (Nick Nolte) and Gail Berke (Jacqueline Bisset), who – with the help of local ex from Shaw, (Robert Treece Romer pert when diving near Bermuda. Based on Peter Benchley’s first post- Jaws to coincide with the paperback pub released in Columbia Pictures, film that combines elements of monster movies (with a revenge-of- a (with movies monster of elements combines that film subtext), slasher high films, homo-socialnature gore westerns, and 1993, p. 18).so on (see Cook, 2000, p. 256; Schatz, through extended later was property The film. event or blockbuster its 1976 theatrical and reissue several official sequels, and has been events such through release) initial its beyond (decades maintained as the thirtieth anniversary “Jaws Fest” (June 3–5, 2005), during again once shoot) original the of (location Vineyard Martha’s which Jaws an genre: existing an Benchley’s best-selling novel, produced at a negative cost of around around of negative cost a at produced novel, Benchley’s best-selling $12 million and with a promotional budget of more than $2.5 mil lion (Cook, 2000, p. 41), the film was distributed and marketed it were end’s profit ( and sold on the basis of a single sensational image” (Cook, 2000, p. 43). A film crucial to the blockbuster landmark and an from motifs combines quarter
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Creature from from Creature Frogs , and on to laterto on and , Empire of the Ants Empire (John ‘’Bud’ Car Constantine Verevis Constantine review headline – headline review Jaws Blockbuster Remakes Blockbuster Volume 07 generically nonetheless begins to nonetheless begins through through – The Deep Creature from the Black Lagoon from Creature (William F. Claxton, (William F. 1972), and New York Times New York (William Girdler, 1976), a Girdler, (William ’ family resemblance leads most di ’ family resemblance Kingdom of the Spiders Jaws (Jeff Lieberman, 1976), Grizzly ” (qtd. in Andrews, 1999, p. 63). Andrews, ” (qtd. in (Merian C. Cooper and Ernest B. Schoed is [not just] of being eaten…. The phobia [of] Jaws Squirm also has much in common with B-movie sci-fi/ ’ co-producer David Brown’s comment (itself a Night of the Lepus Jaws (and its sequels), and before that to its structural Jaws Jaws King Kong (Bernard L. Kowalski, 1973) Kowalski, L. (Bernard (Jeannot Szwarc, 1975) (see Andrews, 1999, p. This 117). ’ most exploitable feature – a primal fear of being eaten – was – a primal fear of ’ most exploitable feature Bug speaking … goes right back to the moment when marine life left the sea is an aberration and a mutant: an A-list action-adventure film Jaws part-paraphrase of the prologue to part-paraphrase of the prologue that: “The fear in Jaws very primal fear and you legs to stand on land…. It is a and grew feelto coastline shark-infested a with country a in be to need don’t yourself involved in immediately taken up in Spielberg’s Spielberg’s film withWilliam producer Castle’s low budget swarm film, SSSSnake 1970s films such as (Bert I. Gordon, 1977), and dos, 1977) (see Cook, 2000, pp. 2003, 255–56; pp. Yacowar, 277–78). Again, this classification is consistent with disaster cycle sub-sets, but it ignores “Jaws and Bug – The only is Difference the Hype” – which equates type of remark enables some commentators to draw a line from ear enables some commentators to draw a line from type of remark lier 1970s films“revenge-of-nature” – titles such as McCowan, 1972), horror and exploitation films of the 1950s (see Hunter, 2009). As a 2009). and exploitation films of the 1950shorror (see Hunter, Universal Studios picture, back to rectly Universal International’s 1954 release, Lagoon the Black analogue in sack,1933) (see 2012, Verevis, p. 85). The identification of part of a or creature-feature revenge-of-nature cycle (set) is consist andattack natural – sub-sets movie disaster in position its with ent ecology of the elements (see Roddick, 1980, pp. 247–49) – and is, for instance, further supported by a (Lewis, 2001, p. 69) – the example of example the – 69) p. 2001, (Lewis, position a way in which strategies of serialization demonstrate the marketplace.blockbuster in the resemblances Family Jaws which goes on to have an enormous impact on films of the later but 256), p. 2000, Cook, (see beyond and 1970s cally quarter
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( Jaws 4 Constantine Verevis Constantine aka Blockbuster Remakes Blockbuster Volume 07 , the scenario is famil The Exorcist (Jeannot Szwarc, 1978), – is often described as a as often described is – was immediately recog immediately was was directed by William Jaws Dents de Mer la (1978), a film in which vet (1974), a version of another – Jaws 2 Jaws 2 Grizzly : – “Jaws with Claws” – but was a Grizzly , Abby Jaws Jaws: The Revenge is understood as a prototype for a for a is understood as a prototype Jaws Jaws prototype perfectly, as does Nigel An as does Nigel perfectly, prototype – by a great white shark. In the film’s Jaws started it all. The role of teeth as a Viet started it all. The role Jaws again Day of the Animals , a film in Amity which Is the community of Jaws proprietary series proprietary Jaws of films to follow (Joe Alves, 1983) and 1983) Alves, (Joe – understands the
) The French-language title for The French-language into shaper focus when calqued set, the Jaws 3-D Sargent, 1987). The first of these – sive” theme through sive” theme through eran guide Steve Buckner (Christopher again) George, leads holi day makers through the High Sierra’s where they are attacked by – grizzlies coyotes, rattle snakes, and – again of prey, wolves, birds (see Pulleine, 1977, pp. 166–67). Sea gremlins aliens, do [as] teeth have “Sharks writes: he when drews and werewolves…. weapon concealed guerilla war symbolism – deadly nam-inspired behind soft beguiling body part” (1999, pp. 105–07). This comes nized as an obvious rip-off of nized as an obvious rip-off Friedkin, 1973). Girdler later extended the “nature-on-the offen virtual remake – land is threatened climactic sea chase, Chief Martin Brody (Roy Scheider) comes to shark, rogue the dispatches again) (once and sons his of rescue the holiday campers leads to further attacks. One of the first in a set of animal rogue film whose semantics substantially differed enough from knock- A legal department. avoid incurring the wrath of Universal’s International, a production Atlanta-based Film Ventures from off ineptly-executed imitations” ofhouse which specialized in “cheap, blockbusters (Sege, 1976, p. 18), who had made already Girdler, in graphic and sensationalist blockbuster replica which opens with two young female campers eaten alive by two young female campers eaten which opens with replica For viewers of bear. a mammoth grizzly iar: Park ranger Michael Kelly (played by Christopher George) is called in to investigate he dis the girls’ disappearance and when covers the teenagers’ half-eaten remains Kelly is joined in his in vestigation by naturalist Arthur Scott (Richard Jaeckel) who ex plains that the bear is the survivor of a prehistoric breed. Kelly’s by park hindered is, however, endeavor to track and kill the bear to park the close to refusal whose Dorsey), (Joe Kittridge supervisor quarter
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), then Uti/ set (Jaws 1–4) and (especially) and Constantine Verevis Constantine Jaws Blockbuster Remakes Blockbuster Volume (of sequelization) is 07 franchise
generic rogue animal set generic rogue Jaws 2 follows local shark ex : “just when you thought L’Ultimo Squalo L’Ultimo ( exemplifies that instance in : it is “identified with only a Jaws 2 continuation , and (with rentals of $50.4 million) The Last Shark : of characters and actors, plots and sce : of characters and actors, plots and Jaws The Last Shark The Last Shark that Universal Studios insisted be withdrawn repetition ’ success for Universal exemplifies the strategy of strategy the exemplifies Universal for success ’ Jaws prototype and set (Altman, 1990, p. 59). The limit Jaws restricted blockbuster cycle restricted , one that, “anxious to benefit from thesuccess of the Jaws and its progeny constitute a set, advertized as a propri and its progeny ) and associated merchandise (a Jaws Jaws (Enzo G. Castellari,1981), an unacknowledged remake and cycle As the official sequel to pert Peter Benton (James Franciscus) and veteran fisherman Ron white great a capture to endeavor whose Morrow), (Vic Hammer up the town’s centen town in a lead shark that is menacing a resort (Josh Wells by nial local celebrations politician is William retarded If Sinclair). ua films of set a sell to which through product” “signature a producing (a Horizon Productions’ it was safe to go back in the water…” – and based on characters, characters, on based and water…” – go back in the to safe it was set overlaps with a second, plot and stars of the blueprint. This authorized set a – films similar produces cycle,” proprietary – and seeks to advertize or have the films associated with the suc cess of the case would appear to be White “carbon copy” of Spe 138). p. 1982, Combs, (see copyright of breach for theaters from the Italian-produced cifically, demonstrates that the process of demonstrates that the process always also one of narios, themes and styles, and importantly title terms (see Perkins 2012, the pp. 2–3). and More pointedly, Verevis, constitutes a single studio” and “retain[s] one or more apparent money-making if even success” previous [the] from features subsequent sequels immediately fall into so “fully imitable [a] pat 1990, (Altman, sustainability commercial cycle’s the limit to as tern” p. 59). etary cycle – the famous tagline for this time by causing it to bite through a high voltage underwater a this time by it to bite causing through cable. However (as noted by reviewers at the time), the fact that the events – the shark attacks – of arethe acknowledged first film (sequelized) makes the (Murray refusal of Ham Mayor Vaughan ilton) to act on Chief Brody’s warning a second time around ap dramatic interest sabotages any real that degree pear idiotic to a (Pulleine,1982, p. 330). the fifth-highest grossing film of 1978 (Cook, 2000, p. 501), quarter
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The Exorcist – the octopus – is killed by a follows reporter follows reporter Constantine Verevis Constantine Jaws 2 Blockbuster Remakes Blockbuster Volume 07 Jaws 2 Tentacles and 1974) – and would follow Jaws is drawn out most evidently in is drawn out most evidently in – in which Chief Brody’s son Sean, – in which Chief Brody’s Tentacles (James Cameron, 1981). Variously described asdescribed Variously 1981). Cameron, (James The Revenge , 1976), an American International Pictures-Esse Chi Sei?/Who Are You? Chi Sei?/Who Are is (arguably) no less a “cod homage” than a film (Codfish, Adriano Stuart, 1975), the Brazilian mov Brazilian the 1975), Stuart, Adriano (Codfish, ( opus” (Pit, 1977, p. 20) and “devastatingly silly rehash formula” (Milne, 1977, p. 129), p. 1977, (Milne, formula” Tentacoli ( with another “nature-on-the offensive” production in production offensive” with another “nature-on-the Jaws Bacalhau – sub-titled, Jaws
The revenge motif of The revenge The Last Shark the survivor of shark attacks in both (Lorraine Ellen widow Brody’s Chief convincing shark, white great leads which family her against grudge a has creature the that Gary) her finally (like her late husband, and with the help of eldest son, turn in is motif revenge The shark. the kill and confront to Michael) bow and arrow (see Vieira and Stam, 1985, pp. 31–36). Another was Another 31–36). pp. 1985, Stam, and Vieira (see arrow and bow Tentacles Ci Cinematografica co-production, produced and directed (under exploi an Assonitis, G. Ovidio by Hellman) Oliver pseudonym the tation filmmaker who had made already a version of Beyond the Door Tentacles nha II: The Spawning a “post- of the which it is lucrative “more simply to steal a [blockbuster] property studio” (Altman, 1990, p. 121). developed by another already such as ie (hastily released to cash in on the Jaws consciousness) which re- imagined police chief Brody (Roy Scheider) as the distinctly unhe roic Breda, Matt Hooper (Richard Dreyfus) as the Portuguese oceanographer Matos, and Quint (Robert Shaw) as the Brazilian fisherman Quico, whoattempts to kill the codfishwith anarchaic trained Orcas (killer whales) to help him destroy the monster. (killer whales) to help him destroy trained Orcas Jaws 4 Hopkins), who find themselves drawn into the investigation of sev of investigation the into drawn themselves find who Hopkins), town. Turner harbor-side eral mysterious deaths at a Californian tunnel to testing for an underwater related believes the deaths are and Gleason gradually realizes they are dealing with a giant (pre historic) octopus that has been disturbed by accelerated underwa (Hen Whitehead industrialist wealthy by authorized tunneling ter to gifted apparently scene a in – Later Fonda). ry young nephew is a par in which Turner’s attacks a sailing regatta (De Vicky wife whose – Gleason confrontation, final the In ticipant. lia Boccardo), along with husband her Don, sister and Judy, friend his two Chuck have all been taken by the giant octopus – implores Ned Turner Ned (John Turner Huston) and marine specialist Will Gleason (Bo quarter
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– investing in Jaws reinvents) itself reinvents) , Newfoundland or Constantine Verevis Constantine Jaws begins with the in Blockbuster Remakes Blockbuster Volume 07 Orca (Michael Anderson, Piranha , as a “pizza version of as a “pizza version Grizzly has been described as “another en “another as described been has Orca Orca: Killer Whale Orca: Variety shadows the plotline of is a film “that attempts to at go one better, Orca , Piranha remake), stakes,” but unlike the low rent examples of stakes,” but unlike the low rent ” At (Murf, the 1977, start p.18). of Jaws in Dino De Lauretiis’ epic production (and follow up to histo up follow (and production epic Lauretiis’ De Dino in Jaws King Kong The Last Shark Perhaps the most enduring recalibration of the the most enduring recalibration Perhaps thy), who explains that he was employed during the Vietnam War to War Vietnam the during employed was he that explains who thy), Vietnam’s North pollute to piranha of strain man-eating a develop released accidentally been have fish the that transpires It waterways. to officials local of failure the to due part in – where waters local into heed the warning – the killer fish attack summer a children’s camp, the in own which daughter is Grogan’s attending. Like other films animal set, rogue in this case small sea borne creatures, a vicious cycle of marauding ecological” (Glaessner, 1977, p. 171). ecological” (Glaessner, ( exhausts cycle the which at point the also maybe of production ($676,000) Corman’s Roger of example the is – (1978), written by John Sayles and directed by Joe Dante (see Alex 1999). Like 2010; Warren, ander, vestigation of the disappearance of two teenage hikers. Private detective Maggie McKeown (Heather enlists Waxman) recently di vorced recluse Paul Grogan (Bradford Dillman) as her guide, and at a disused couple has gone missing that the teenage discovers McCar (Kevin Hoak Robert Dr find they site, the At facility. military cess Nolan accidently harpoons its mate, killing both the female its mate, killing both the female cess Nolan accidently harpoons as the aggres Nolan recognizes and the unborn calf. The male orca sor and begins to seek vengeance, assailing the local fishing village they duel to Nolan out to sea, and then north where until it can lure ocean. frozen the on death try in the and a killer not only by centering its action around or bigger,” least whale, but also by investing in international stars (Harris, Ram pling), a swelling Ennio Morricone soundtrack, and – in “both epic and – themes that are its portentous prologue through and inverted 1976 1977), a film headlined in out of boat captain Nolan (Richard Harris) realizes the commercial value white shark a great when he witnesses one repel of a killer whale Although marine biologist Rachel the life of a diver. that threatens Bedrod (Charlotte Rampling) tries to dissuade him, Nolan under for a marine park, but in the pro male orca a large takes to capture quarter
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,” but then –then but ,” 1 does this right Godzilla (1972), and the Jaws Constantine Verevis Constantine – is “a family film family “a is – doesn’t get doesn’t rip-off or bizarre or bizarre rip-off Blockbuster Remakes Blockbuster Volume 07 : a sequel, Deep Blue Sea Jaws Piranha Jaws (1999), looks in on an , Renny Harlin’s (estimat Harlin’s Renny , entry into the exploitationthe into entry ’s horror-science fiction ele ’s horror-science new set s (James Cameron, 1986), and Jaws is ultimately more of a disaster a of more ultimately is ’ genealogy and intertextual re knowing Piranha Alien (1981); a $24 million theatrically-re Jaws , Deep Blue Sea itself emerged. itself emerged. The Poseidon Adventure dips into its gene pool, not only through dips into its gene pool, not only through Jaws (Alexandre Aja, 2010); and a sequel to the to sequel a and 2010); Aja, (Alexandre Jaws Deep Blue Sea Deep (John Gulager, 2012). (John Gulager, imitation endorsed by Spielberg, Flying Killers realm of realm Jaws Piranha 3D before it – or the contemporaneous before Deep Blue Sea aka (Steven Spielberg, 1993) rogue animal film. Curious – Piranha 3DD prologue” (with the twist that the shark the that twist the (with prologue” Piranha Jaws disaster movie – goes on to say: “ say: goes on to –
Like lay movie teetering on ‘B’-movie legs than a 41–42). hybrid” (Graham, 1999, pp. slasher-film from bite takes its which Jurassic Park its “ ni-clad girl), but also the fact that the three Mako sharks are killed the facility trapping a team of researchers led by Dr Susan McAl ester (Saffron Burrows) three stories under the surface and un to stalk and kill their makers.leashing the sharks which undertake compound’sthe through descend must scientists that the fact The to ascending to surface safety is a return levels before submerged the make genetic engineering and digital effects Jurassic Park featur film any that inevitable is “It writes: reviewer one that then to compared be will sharks man-eating giant ing somehow failing to recognize Conclusion after years twenty-five conclude, To experi the coast of Mexico, where center off underwater research infeet forty to grow them seen have sharks Mako three on ments floods storm violent A behavior. intelligent demonstrate and length well enough commercially to initiate a well enough commercially The Spawning leased, remake remake, ed) $78 million blockbuster, and multiple – to deliver another deliver to – multiple and which movie set from from to the Creature character referring the outset, with one from labeled “Jaws.” and another playing a video game the Black Lagoon, The film’s humormediates both and aggressive commentary of corporate greed ments and its social like again, – that film a produce to militarism inexplicably floundering with an ‘X’ certificate”(Forbes, 1976, p. 224). The only quarter
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Jaws 3 , 45, p. 224. Constantine Verevis Constantine Monthly Film Bul Film Review . , and Blockbuster Remakes Blockbuster Volume 07 Monthly Film Bulletin . London: Routledge. . Jaws 2 . History of the American . Bloomsbury Movie Guide Movie Bloomsbury . , Monthly Film Bulletin Jaws . . New York: Lukas and Sternberg. and Lukas York: New . Monthly Film Bulletin . . London: BFI. Orca: Killer Whale Orca: The Deep L’Ultimo Squalo (Shark) L’Ultimo is not a closed set of image-sounds to be is not a closed set of image-sounds and its progeny – legitimate and otherwise and its progeny Piranha Lost Illusions: American Vinema in the Shadow Lost Illusions: American Vinema . London: Pan. (Kimble Rendall, 2012) – an open whole, one Postproduction Jaws Jaws Nigel Andrews on Jaws Nigel Andrews The Persistence of Hollywood Jaws Film/Genre Bait , functions not just as a cornerstone for a revenge-of- a for cornerstone a as just not functions , Jaws seems to indicate once again the way in which Spielberg’s Spielberg’s which in way the again once indicate to seems , 49, p. 138. , 296, (September), pp. 50–56. of Watergate and Vietnam, 1970–1979 and Vietnam, of Watergate Charles Scribner’s Sons. York: 9. New Cinema, Vol. 44, p. 171. No. 5. New York: Bloomsbury. York: No. 5. New pp. 60–70. 257–58. letin ria Glaessner, V., 1977. Rev. of 1977. Rev. V., Glaessner, Bourriaud, N., 2002. N., Bourriaud, Combs, R., of 1977. Rev. that is endlessly remade and remodeled. that is endlessly remade References Beach. the Cleared Corman Roger When 2010. C., Alexander, Elsaesser, T., 2011. 2011. T., Elsaesser, of Forbes, J., 1976. Rev. Andrews, N., 1999. N., Andrews, War. of Art The 2005. J., Sloane, and N. Baughan, 1975. P., Benchley, Combs, of R., 1982. Rev. A., 2000. Cook, David – serialized and multiplied – in a global marketplace and media- – serialized and multiplied – in Ultimately, sphere. of the tsuna example but – as is evidenced in the recent repeated, mi-shark movie, Altman, R., 1990. in the same ways as the sharks in in the same ways blown up, and (respectively) incinerated electrocuted (see Koehler, of example the millennium, the of tip the at Poised 18). p. 1999, Sea Blue prototype, (El manual” “operational an as also but set animal rogue or nature p. 287) 2011, for all saesser, modern As blockbusters. this essay has sought to establish, is positioned property – suggest the way in which the blockbuster quarter
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. , - - - - - , 44, Scope . 277 , 4, pp. . Detroit: Detroit: . Sight and . London:.
. New York: . New York: , 9, (Novem American Film , (August), pp. Framework Constantine Verevis Constantine Movie Blockbusters Blockbuster Remakes Blockbuster Volume 07 , 138, p. 18. . Austin: University Austin: University of . Monthly Film Bulletin Film Monthly . London: Routledge. pp. . Movie Blockbusters Movie Sight and Sound Sight Variety . . Sight and Sound and Sight . , 13 July, p. 18. , 13 July, Godzilla Epics, Spectacles and Blockbusters Epics, Spectacles and Variety Deep Blue Sea Blue Deep Deep Blue Sea . Movie blockbusters Tentacoli (Tentacles) Tentacoli , Ideology and Film theory, , Ideology and Film theory, Orca American Film Cycles: Reframing Genres, Screening Screening American Film Cycles: Reframing Genres, Jaws Accessed 23 December 2011]. New Hollywood Cinema: an Introduction New Hollywood Spectacular Narratives: Hollywood in the Age of the Block Spectacular Narratives: Hollywood in , (July), pp. 20–23. . New York: I. B. Tauris. York: . New A. A., 2011.
and Practices. In: J. Stringer, ed. 2001. ed. Stringer, J. In: Practices. and Routledge. pp. 72–83. State University Press. Wayne 25–27. 42–44. pp. 129–30. J. ed. Stringer, 2001. 47–60. Columbia University Press. buster Social Problems, and Defining Subcultures Press. Texas pany Some Town: Notes on the Political Economy of the Hol lywood Blockbuster. In: J. Stringer, ed. 2001. London: Routledge. pp. 61–71. 10, (June), pp. 34–59. Sound transformation reworking, appropriation, Cultural borrowings: [e-book]
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, (July/Au , , 49, p. 330. , 187, (October), 187, , . [Online]. Avail War of the Worlds War Constantine Verevis Constantine . Austin: . University Blockbuster Remakes Blockbuster Volume 07 Monthly Film Bulletin Sight and Sound . . Fangoria Film Comment Film Trilogies: New Critical Trilogies: Film Film Trilogies: New Critical New Trilogies: Film , 26 May, p. 18. , 26 May, , 15 June, p. 20. , 28, pp. 20–49. Monthly Film Bulletin . Edinburgh: Edinburgh University Edinburgh Edinburgh: . . eds. 2012. eds.
Film Theory Goes to the Movies the Theory Goes to Film Film Genre Reader III Film Genre War of the Worlds War Variety Variety , 36(1), pp. 67–71. . Day of the Animals . Jaws 2 : A Killer Fish Story. Story. Fish Killer A : Don’t Knock the Blockbusters Knock Don’t Framework Grizzly Film Remakes Film Tentacles Piranha High Concept: Movies and Marketing in Hollywood . Basingstoke: Palgrave-Macmillan. pp. 68–87. . Basingstoke: Palgrave-Macmillan. pp. 1–31. . Basingstoke: Palgrave-Macmillan. Film and History Approaches Approaches Brazilian Cinema. pp. 14–21, 37. Press. Austin: University of Texas In: B. K. Grant, ed. 2003. pp. 277–95. Press. of Texas able at:
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Constantine Verevis Constantine Blockbuster Remakes Blockbuster Volume 07 ), 1974. [Film] Directed by , 1977. [Film] Directed by Steven , 2011. [Film] Directed by David Kimble Rendall. Australia, Singapore: Singapore: Australia, Rendall. Kimble , 1954. [Film] Directed by Jack Arnold. Jack by Directed [Film] 1954. ,
, 1978. [Film] Directed by USA: William Girdler. , 1977. [Film] Directed by Bert I. Gordon. USA: Chi Sei?/Who Are You? Chi Sei?/Who Are ( , 2005. [Film] Directed by Christopher Nolan. USA, , 1999. [Film] Directed by Renny Harlin. USA, Aus [Film] Directed [Film] by Directed James USA, Cameron. UK: Twenti
, 1973. [Film] Directed by William Friedkin. USA: Warn USA: Friedkin. William by Directed [Film] 1973. , , 1974. [Film] Directed by Mark Robson. USA: Universal , 1977. [Film] Directed by Peter Yates. USA: , Columbia 1977. Pic [Film] Directed by Peter Yates. (Codfish), 1975. [Film] Adriano Directed by Stuart. Brazil: , 1954. [Film] Directed by Ishiro Honda. Film Japan: Toho , 1972. [Film] Directed by George McCowan. USA: American s, 1986. , American 1974. USA: In [Film] Directed by Girdler. William 2012. [Film] Directed by Directed [Film] 2012. , 1975. [Film] Directed by Jeannot Szwarc. USA: Paramount Pic Paramount USA: Szwarc. Jeannot by Directed [Film] 1975. , er Bros. International Pictures. Metro- and Columbia Pictures USA, Sweden, Norway: Fincher. Goldwyn-Mayer. Co. Film Ventures International. Film Ventures tures. Bros. tralia: Warner Pictures. American International Pictures. UK: Warner Bros. UK: Warner Amer and Cinematografica Esse USA: Italy, Assonitis. G. Ovidio ican International Pictures. tures. USA: Columbia Pictures. Spielberg. USA: Universal International. ternational Pictures. eth Century Fox. Omega Filmes. Authority. and Media Development Bait Productions Frogs Tattoo Dragon the The Girl With Godzilla Day of the Animals The Deep Deep Blue Sea Earthquake of the Ants Empire The Exorcist Batman Begins Beyond the Door Bug the Third Kind Close Encounters of the Black Lagoon from Creature Film References Film Abby Alien Bacalhau Bait, quarter
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Constantine Verevis Constantine Blockbuster Remakes Blockbuster Volume 07 , 1981. [Film] Direct [Film] 1981. , , 2008. [Film] Directed Great White Great ) aka ) , 1987. [Film] Directed by Joseph Sar , 1987. [Film] Directed , 2003. [Film] Directed by Jan de Bont. Jaws 4 , 2001. [Film] Directed by USA, Simon West. , 1977. [Film] by Directed John ‘’Bud’ Cardos. aka , 1996. [Film] Directed by Roland Emmerich. USA: Emmerich. Roland by Directed [Film] 1996. , L’Ultimo Squalo L’Ultimo , 1985. [Film] Directed by Lewis Teague. USA: Twen USA: Teague. Lewis by Directed [Film] 1985. , ( , 1993. [Film] Directed by Steven Spielberg. USA: Uni , 1932. [Film] by Directed Karl USA: Freund. Universal , 1999. [Film] Directed by Stephen Sommers. USA: Uni USA: Sommers. Stephen by Directed [Film] 1999. , , 2005. [Film] Directed by Peter Jackson. USA, New Zea , 1976. [Film] Directed by John Guillermin. USA: Dino De Dino USA: Guillermin. John by Directed [Film] 1976. , , 1933. [Film] Directed by Merian C. Cooper and Ernest B. Ernest and Cooper C. Merian by Directed [Film] 1933. , , 1983. [Film] Directed by Joe Alves. USA: Universal Pic , 1998. [Film] Directed by Roland Emmerich, USA, Japan: , 1976. [Film] Directed by William Girdler. USA: Film Ven Film USA: Girdler. William by Directed [Film] 1976. , , 1978. [Film] Directed by Jeannot Szwarc. USA: Universal , 1975. [Film] Directed by Steven Spielberg. USA: Universal Pic Universal USA: Spielberg. Steven by Directed [Film] 1975. , USA, UK, Japan, Germany: Paramount Pictures. and Productions Uti/Horizon Italy: Castellari. G. Enzo by ed International. Film Ventures Pictures. versal Pictures. USA: Dimension Pictures. Schoedsack. USA: RKO Radio Pictures. Company. Laurentiis land, Germany: Universal Pictures. UK, Japan, Germany: Paramount Pictures. tures. Pictures. tures. gent, USA: Universal Pictures. tieth Century Fox. versal Pictures. TriStar Pictures. TriStar International. tures Century Fox. Twentieth USA: Paramount Pictures. by Steven Spielberg. The Last Shark The Mummy Mummy The Kingdom of the Spiders King Kong King Kong Kong King Raider Tomb Lara Croft: The Cradle of Life Lara Croft: Jaws 2 Jaws 3-D Jaws: The Revenge Nile the of Jewel Jurassic Park Godzilla Grizzly Independence Day Skull Indiana Jones and Kingdom of the Crystal Jaws quarter
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USA: Dimen Constantine Verevis Constantine Blockbuster Remakes Blockbuster Volume 07 , 1981. [Film] Directed by Flying Killers aka , 1972. [Film] Directed by Ronald Neame. , 1981. [Film] Directed by Steven Spielberg. , 1974. [Film] Directed by John Guillermin. , 1984. [Film] Directed by Robert Zemeckis. , 2001. [Film] Directed by Stephen Sommers. [Film] Directed by John USA: Gulager. Dimen . ), 1976. [Film] Directed by Oliver Hellman. Italy: , 1968. [Film] Directed by Franklin J. Schaffner. , 1977. [Film] Directed by Michael Anderson. USA: Anderson. Michael by Directed [Film] 1977. , , 1972. [Film] Directed by William F. Claxton. A. C. A. Claxton. F. William by Directed [Film] 1972. , , 1954. [Film] Directed by Byron Haskin. USA: Par USA: Haskin. Byron by Directed [Film] 1954. , , 2001. [Film] Directed by Tim Burton. USA: Twen by Tim , 2001. [Film] Directed [Film] Directed by Bernard L. Kowalski. USA: Uni USA: Kowalski. L. Bernard by Directed [Film] . , 2001. [Film] Directed by Steven Soderbergh. USA: 2012 , 2010. [Film] Directed by Alexandre Aja. 1973 Tentacoli , 1975. [Film] Directed by Altman. Robert ABC USA: En ( , 1978. [Film] Directed by Joe Dante. USA: New Pic World , 1976. [Film] Directed by Jeff Lieberman. USA: American In American USA: Lieberman. Jeff by Directed [Film] 1976. , versal Pictures. American International Pictures. Esse Cinematografica and Century Fox. USA: and Twentieth Bros. Warner amount Pictures. USA: Twentieth Century Fox. USA: Twentieth tieth Century Fox. Century Fox. USA: Twentieth USA: Paramount Pictures. Century Fox. USA: Twentieth ternational Pictures. Dino De Laurentiis Company. Dino De Laurentiis tures. In Netherlands: Brouwersgracht USA, Italy, James Cameron. vestments and Chako Film Co. sion Films. sion Films. USA: Universal Pictures. tertainment. Productions. Lyles Bros. Warner SSSSnake, Tentacles Inferno The Towering of the Worlds War Planet of the Apes The Poseidon Adventure the Lost Ark Raiders of Stone the Romancing Squirm Piranha Piranha II: The Spawning Piranha 3D Piranha 3DD, Planet of the Apes The Mummy Returns Nashville Lepus the of Night Eleven Ocean’s Killer Whale Orca: quarter
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Constantine Verevis Constantine Blockbuster Remakes Blockbuster Volume 07 quotes Spielberg: “the best film “the best film quotes Spielberg: Piranha ].” Hajen [ , 2005. [Film] Directed by Steven Spielberg. USA: Jaws Paramount Pictures. The Swedish poster for The Swedish poster inspired by inspired War of the Worlds War Notes 1 quarter
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