Jaws 3 (1983)

At the beginning of 1979, comedian Chevy Chase joked to a couple of junior execs at Universal Pictures, Thom Mount and Sean Daniels, that they should combine their two biggest recent successes and make, “Jaws meets Animal House.” While initially a joke, Mount and Daniels thought that might be a good idea. They mentioned it to their boss, Universal president Ned Tanen, who was intrigued, passing the idea along to Jaws producers Richard Zanuck and David Brown. They loved it.

While at lunch with National Lampoon publisher-turned-movie-producer Matty Simmons, Brown pitched the “Jaws meets Animal House” idea. Simmons’ immediate response was, “I hate it.” Simmons already had a follow-up to Animal House in mind, set six years later, and didn’t want to screw up his franchise by polluting it with another. Brown explained that the film didn’t need to directly tie-in with the characters or story from Animal House, or even Jaws for that matter. Just a Jaws film in the style of National Lampoon.

Simmons played along, riffing on what a Jaws 3 would be like in the hands of National Lampoon, entitling it, Jaws 3, People 0. He envisioned a meta-comedy about a vengeful shark hunting and killing the moviemakers trying to make another entry.  He would have Peter Benchley eaten by a shark in his swimming pool in the opening scene. Steven Spielberg would get different body parts bitten off throughout the movie. The studio heads would play the heavies, and the actors and writers would be the good guys. By the end of the conversation, Simmons ended up loving the idea he hated an hour before, as Simon said he would work out the details from the business side.

Two months later, Universal publicly announced their next big comedy, Jaws 3 – People 0. Simmons would write the initial treatment and produce, Zanuck/Brown would be the executive producers, and National Lampoon editors John Hughes and Tod Carroll would script. Joe Dante got the nod to direct what promised to be his first studio effort. They all bounced wacky ideas off the wall, including the revelation that the sharks are aliens in disguise.

For the star,  Simmons cast comedian Rodger Bumpass (today’s voice of Squidward Tentacles on “Spongebob Squarepants”). Simmons felt Bumpass would become the next big star in the world of comedy. Stephen Furst would appear as a leading man who had let himself go.  Mariette Hartley turned was offered a role as a studio executive but turned it down. At a preview screening of Blake Edwards’ 10, Simmons approached Bo Derek and offered her the lead actress role. Within two days, she agreed to do it. A slew of cameo appearance would be in the film, including Mel Brooks, Jonathan Winters, and Mickey Rooney, as well as those involved in the making of Jaws, MCA president Sid Sheinberg, his wife Lorraine Gary, and Richard Dreyfuss.

At this point, it seemed like a can’t-miss effort. This film would be the third in the top franchise at the time, Jaws, the second film for National Lampoon right after the phenomenal breakthrough with Animal House, and Bo Derek’s next film after becoming an overnight sensation with 10. The next $100 million picture, they all felt. The studio was excited as well, having locations scouted while reconditioning the sharks from Jaws 2. All told, they plunked down about $2-3 million in the pre-development phase.

Zanuck felt the first script was hilarious, but questioned the R-rated humor. The studio was less enthused, thinking the writers were making fun of the people who made Jaws much more so than spoofing the killer-shark genre. After five more passes in trying to make a PG-rated version while reducing obvious connections to real-life people in the business, it lost much of its original flavor.  As it seemed like a lousy marriage fraught with creative differences, Universal nixed it. Years later, Simmons heard that Steven Spielberg was adamantly opposed to the spoof, and Universal canceled it because they didn’t want him to leave them.

Simmons grew incensed, having wasted so much time putting it together for nothing. He wanted out of his Universal contract so he could shop the idea to another studio willing to pay the turnaround costs. Universal consented on the stipulation was that whatever film they made couldn’t have a shark or any other water creature in it. Zanuck and Brown were now free to move to 20th Century Fox, telling Universal that they were available as consultants if they decided to make another Jaws film in the future.

By 1980, overseas theater owners began to demand that another Jaws movie come out due to high audience demand.  With their theatrical film dead in the water, Universal contemplated quickly making a TV film that they could release theatrically in other parts of the world. Alan Landsburg Productions, makers of such TV fare as “That’s Incredible!” and “Gimme a Break!,” bought out the rights from Zanuck and Brown to make their Jaws project for TV with Universal buying international distribution rights.

Guerdon Trueblood, known for made-for-TV nature-run-amok Landsburg flicks, came up with the initial premise.  Trueblood contemplated making it a disaster movie with the title of Jaws ’81, a la the Airport films. He spent several months working out a concept of a shark within a lake that causes deadly problems for local fishers, sending in hunters to root the dangerous shark out. Landsburg had Mel Stuart slotted as the possible director after his stint on The White Lions, and Mickey Rooney, who had done Landsburg’s award-winning TV film, Bill. 

Trueblood’s script didn’t garner Universal’s approval, so Landsburg brought in veteran novelist and screenwriter Richard Matheson. Matheson, coincidentally, worked with Jaws director Steven Spielberg for Duel and Jaws 2 director Jeannot Szwarc for Somewhere in Time, based on his novel, “Bid Time Return.” Matheson was not shown or have any knowledge of Trueblood’s script, receiving only Lansburg’s story outline of a shark in a lagoon.

The delays and changes in personnel drew the attention of execs at MCA. Although Universal did not produce Jaws 3, they intended to distribute it and didn’t want a substandard product. Verna Fields, Universal’s Vice President and editor for the original Jaws, told Joe Alves, the production designer on the first two Jaws films and second-unit director for Jaws 2, to find out what’s going on and to see if he could steer things in the right direction.

Alves immediately saw significant problems. Landsburg felt that they didn’t need mechanical sharks because they could use stock shark footage from “That’s Incredible!” mixed with new footage using half-scale human dummies filled with chum the sharks would eat. Alves knew this would never fly with audiences. Alves passed on the chance to produce but offered to help Matheson scout locations to avoid an expensive and prolonged shoot. Alves recommended a large tank to shoot aquatic scenes. They visited several aquariums and marine parks for ideas. The one that popped out was an immersive underwater exhibit at Marineland of Florida featuring a 23-minute 70mm 3D documentary called Sea Dream by Murray Lerner.

For a tech-head like Alves, this was a revelation. The gears started spinning in his mind that they might be able to produce the same effect in movie theaters within the context of a Jaws movie. It also inspired the aquatic theme park idea because it would be a place where they could have control of the shark and the shooting conditions, something that made the prior two Jaws films run way over schedule and budget. They also would be using a freshwater tank to avoid the corrosive aspects of the salt-water that kept ruining the use of the mechanical shark.

Alves drew the concept art of a shark coming out of the screen at the audience – Jaws 3D. He showed the concept to Landsburg and Sid Sheinberg, who were captivated. After MCA’s other head Lew Wasserman took a look, Landsburg sent a script to Murray Lerner to see if he would be interested in helping with the next Jaws movie in 3D as he did for Sea Dream. As they already had an art director, Lerner wanted no involvement, Wasserman and Landsburg urged Alves to take control and direct what he had in mind, not for television, but theaters in the US.

With Alves in place as director, Landsburg phoned up producer Rupert Hitzig to work as the line producer. Hitzig wanted no part of it, feeling that the Jaws franchise had run its course.  He also mentioned that he had no knowledge of 3D, which is what Landsburg said he wanted because while Alves concentrated on the technical aspects, Hitzig could make sure it stayed on track as a narrative movie. After Hitzig met with Alves and Landsburg, he grew excited about the prospects and signed on board.

Universal execs deemed the script by Matheson to be full of problems. Matheson’s story did not tie in with the first two films. Sid Sheinberg insisted that the main character be Mike, the eldest son of Chief Brody, and to bring in Sean into the story as well. Matheson thought it ridiculous that the Brody family would experience another shark problem in a different part of the country. Even more so, Universal’s request that they use the same shark from Jaws 2 for the mother, all burnt-up. Matheson asserted that audiences would laugh at this twist, so they backed off the idea.

Nevertheless, Landsburg asked Matheson to write in a role specifically for Mickey Rooney as a thank-you for his Emmy and Golden Globe-winning performance in the TV movie Bill, which also won the Golden Globe for Best TV Film. Mickey was to play a clown who entertains the crowd at the park, a role that took back out when Rooney became unavailable. However, Rooney’s co-star in Bill, Dennis Quaid, scored the lead role of Mike Brody. Quaid later called Jaws 3 the worst experience of his life, also claiming that he was sky high on cocaine throughout the shoot.

As for the cast, Alves needed to train actors to handle the underwater drama, not just stunt people, so that they would need training. Dennis Quaid learned to scuba dive and to ride a jet ski. Others learned to ride on the backs of whales, communicate with dolphins, or, in the case of Lea Thompson, water ski in a pyramid formation. Jaws 3 was Thompson’s feature film debut, having been discovered from a Burger King commercial by the casting director, beating out the likes of Jennifer Jason Leigh, hot from Fast Times at Ridgemont High. Dennis Quaid, who was at that time married to actress P.J. Soles, began a romantic relationship with Thompson during the production. After divorcing Soles, Quaid and Thompson became engaged though they never married, calling it quits in 1987.

Simon MacKorkindale got the role of the shark hunter FitzRoyce after David Warner and Peter Firth turned it down.  As for Roy Scheider, he wasn’t even asked, stating in an interview that not even Mephistopheles could have gotten him to do another Jaws film. He went so far as to take the job in Blue Thunder to make sure he wouldn’t be available at the time they were scheduled to shoot Jaws 3.

After Matheson brought in the Brody boys, Alves and Hitzig felt the revised script still needed more work. They brought in Michael Kane to spruce up the dialogue to give it a comedic edge. It again fell short. They wanted the characters to be relatable and their situations to be fun. They brought in Carl Gottlieb, who wrote the final scripts for both of the prior Jaws films, to bring in levity and character touches. As they had already cast the movie, Gottlieb got to know the actors and their personalities. He used that knowledge to work character touches into the script.

Jaws 3 sees the sons of Sheriff Brody now in Florida. Elder son Mike (Quaid) is completing his two-year construction project for an underwater structure in the lagoon at Sea World.  Mike’s younger brother, Sean (Putch) visits from college. Sean suffers from aquaphobia, brought about from his harrowing near-death experiences with sharks from his youth. 

He has reason to fear. A young Great White shark has entered the lagoon through the filtration system, upending the pre-opening day adjustments. When one of the crew ends up viciously chomped, it appears that a much larger shark must have been responsible. They shudder to realize that the young shark’s mother, a massive 35-foot long Great White, has also passed into the park, hungry for the taste of human flesh – and underwater Sea World structures.

Alves brought in some unique ideas for shooting the shark, including a POV shot from inside the shark’s mouth looking out that he originally developed for a scene in the original Jaws where the shark attacks Matt Hooper in a cage. Still, Spielberg felt it distracted rather than enhanced the horror. A 1.6 million gallon tank at Sea World marine-life theme park in Orlando, Fla. Because Orlando is sixty miles inland, additional shoots took place at the Sea World park in San Diego and the Florida Keys for the water skiers.

Though the unpredictability of the weather and ocean traffic were no longer issues, the shoot would be far from easy for Alves. The Arrivision 3D process, a split-lens system that allowed them to use one camera instead of two, was not ready, so they brought in Chris Condon to shoot in Stereovision for a couple of weeks, with mostly unusable results. The Arriflex cameras, once they arrived, were also challenging, requiring extensive pre-planning for each shot. At a $15 million budget, it would be the most expensive 3D film made to that date.

Unlike the prior films, there weren’t any delays due to a malfunctioning mechanical shark, made using the chassis from one of the sharks from Jaws 2. The new shark, designed by Roy Arbogast, had more flexibility in its movement and skin, plus articulation in its gills and its eyes roll back as a real shark does when biting something. There was also another shark represented in its fin and another for its tail section.

Jaws 3D rolled out with no advance screenings for the public or critics. The move to avoid bad press helped, as the 3D gimmick interested audiences enough to set a box office record for the best opening weekend for a Universal film to date. It lingered around long enough to generate a profit, raking in three times its shooting budget at about $45 million, – five times if you factor in its additional $32 million overseas.

The critics were far from kind when they did see the film, proclaiming it as one of the worst films of 1983. It was nominated for five Razzie Awards for Worst Picture, Worst Screenplay, Joe Alves for Worst Director, Lou Gossett Jr. for Worst Supporting Actor (awarded the same year he won an Oscar for An Officer and a Gentleman), and the dolphins playing Cindy and Sandy for Worst New Star(s).

What made the original Jaws effective was the vision and talent of its director, Steven Spielberg. Spielberg utilized his skills and eye for cinema to create one of the best horror-adventure films of all-time.  Jaws 2 was a considerable step-down, mostly because director Jeannot Szwarc didn’t have time or talent to construct anything beyond a workable film.  With Jaws 3, Alves lack of directorial experience shows. He lacks the experience to build adequate tension, terror, or even engaging presentation.  The shark attacks lack suspense, replaced by cheap attempts at shock and gore.  Alves also didn’t understand that the terror of a shark attack comes from what you can’t see more so than what you can, as the shark’s face is often featured quite prominently whenever it makes an appearance, and the scares are diminished by the familiarity. Not only would this be Alves debut as director it would also be his final credit. 

Jaws 3 also lacks a sense of style. Scenes lumber by without visual panache or moments of general interest, merely establishing the thinly defined characters and premise, interspersed by random acts of teethed-fish mayhem.  The only unique visual elements come from the strange presentation. This is because Jaws 3 was a 3-D movie when it was released into theaters, so there are moments when things shoot at or float by the camera.  While these things might seem momentarily cool if you’re watching with 3-D glasses on in a theater, watching this as a 2-D movie leads to awkward moments that take viewers out of the story.  The 3-D process also diminished the picture quality of the film, as Jaws 3 is marred by a murky presentation, out of focus on the edges, with excessive grain, dim lighting, and unnatural colors.  This is an ugly and unappealing movie in many ways.

Even the sound components of the film are substandard.  Gone is the classic John Williams score (except for little bits and pieces), replaced by an unmemorable one by TV composer Alan Parker, his first-ever film work.  None of the music evokes a sense of terror, dread or suspense in the slightest.  Compounding this, the sound effects are just as out of place, as they have now added a low-pitched snarl to the shark that would seem more appropriate for a T-Rex or Brontosaurus rather than a fish because sharks have no vocal cords and should make no sounds. 

Campy performances, cheesy special effects, and awful dialogue contribute to making Jaws 3 a dismal experience for just about everyone.  It’s not only hard to believe that a sequel this downright abominable didn’t kill the franchise, but that it actually would be followed by a movie that was arguably worse — Jaws: the Revenge.

Qwipster’s rating: F

MPAA Rated: PG for some gore, sensuality, and language
Running Time: 98 min. 


Cast: Dennis Quaid, Bess Armstrong, Louis Gossett Jr., Simon MacCorkindale, John Putch, Lea Thompson
Director: Joe Alves
Screenplay: Carl Gottlieb, Michael Kane, Richard Matheson

 

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