Martin Brody of Roy Shader is the perfect protagonist of the film in the 1970s. He is not classically beautiful, but his face tells a story about the hard winters as a Newoujork policeman. It is this person who is uncomfortable looking at the Atlantic Ocean on the lazy summer day; It is the face of a man who knows what the rest of the beach does not do, that there is a shark that lurks in the waters he swore to protect them. And because Brody agreed to remain silent about the presence of the shark on the order of the mayor of trade, he is hypervigiled on this day.

Spielberg hangs us directly in the way Brody thinks with a suspension of Altman-ESK suspension, which uses a dialog that overlaps to lower our guard. As an island police chief, Brody is easily laughing at locals who are looking for favorites or is just disturbing ("it's a bad hat, Harry"), while he activates the hair responds to any cry and visual anomaly in the water. Spielberg is lying to us several times, and Fingino reinforces our anxiety by putting a dog that attracts the stick and a big woman in the water. How can none of the shark resist?

We know it is coming. We simply do not know which of these qualified hot lunches will be swallowed. Spielberg plays a little jazz here. Brody is a bit of a voyeur, erirating the celebration of the beach young and old as the sun fighting with Jef Effe. But Spielberg skillfully changes perspectives. We see Brody watch. After a while, we realize that he worked for nothing. Maybe the mayor was right.

Then it happens. Poor Alex Kintner, whose mother was worried about his garden fingers, became little. A blood geese (I didn't see as a child because I was raised a copy of Betamax from the premiere of the ABC network) Spartans Skyvo. Then, after a quick footage of the people who respond to the attack, Spielberg cuts the perspective of the shark like Alex Gurgles one last scream.

And then deliver Spielberg Dolly zoom (A technique that involves pushing the camera forward while zooming in, creating a disorienting effect).

This is Spielberg's respect for Vertigo, but like many kinefiles of my age, I've never seen anything like it before. I couldn't identify the technique at a young age, but I'm sure hell can feel it. Everything goes aside for Brody at this point. He betrayed his community. And as soon as Mrs Kinnner reproaches him because he killed his son, we should see Brody, a decent man, to be redeemed.

This is a direct line from Hitchcock to Spielberg. It's respect and one -off. And when you process this at a young age, it conveys a sense of aesthetic sophistication. Will your kids affected by a nightmare rush in your room in the middle of the night and quarrel for safety? It is possible. But this is a gift of movies. Taste it. (And look at this With a detailed defect from the aforementioned sequence.)