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Shaw and the Indianapolis: Horror’s Greatest Scene

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Sift through a buffet of classic horror scenes in search of those which elicit the precise viewer reaction and emotion as they had when they first hit theatres, and you’re sure to learn that discovering one would be rare. In fact, it’s likely that rare is insufficient as a descriptor. Nearly nonexistent would probably put a finer point on it.

Nosferatu (Max Schreck) appearing in the bedroom doorway and Norman Bates (Anthony Perkins) creeping up on a showering Marion Crane (Janet Leigh), as well as our first glimpse at Leatherface (Gunnar Hansen) all have a negative impact on our collective blood pressure. While they leave our abdomens fluttering with eager anticipation, they simply cannot replicate the feelings that we experienced upon first laying eyes upon them.

No, that distinction belongs to just one film. And one scene.

Robert Shaw’s Indianapolis monologue from Steven Spielberg’s Jaws (1975).

It goes without saying that one could’ve heard a pin drop in theatres across the nation after Mr. Hooper (Richard Dreyfuss) ceased laughing at his own joke about a “Mother” tattoo, and Quint described the perils that he and his shipmates endured in June, 1945.

Transitioning from a lighthearted exhibition of scars to the gravity of incomprehensible horror, Shaw’s delivery of Peter Benchley and Carl Gottlieb’s words was measured and mesmerizing over the course of three-and-a-half minutes that stop viewers dead in their tracks.

Whether watching alone during a quiet evening at home, with a group of friends or just as you’re working around the house, when the Indianapolis scene surfaces, viewers stop.

They stop surfing their phones, they stop cleaning or working on finances, and groups of loved ones stop talking. It’s silent. For a little over 200 seconds, you are hypnotized. There is nothing else.

Image credit: cdn.quotesgram.com

Quint noted that “The thing about a shark, he’s got lifeless eyes,” but housed within Shaw’s eyes was the haunting beauty of perfection.

With pacing that offered just enough detail to send a shiver down the spine, it was more than a performance, because there was an authenticity to Shaw’s moment, almost as though he were telling the story as it came to him, an incredible feat of believable delivery. It truly felt as though Shaw were recounting an event that he’d lived through. Though only in glimpses, the pain and fear were palpable, which was in keeping with an old school, hardened seaman like Quint. They’re there, however, whenever Quint’s orbs and mind drifted to flashes of what he’d witnessed and heard floating in the ocean. The entire scene captured the very essence of Bertolt Brecht’s “you can’t make a man unsee what he has seen.”

In a magical moment that has stood the test of time, and been repeated on innumerable occasions since, the intense dread displayed by Hooper and Chief Brody (Roy Scheider) were the very feelings experienced by all those who were watching in 1975, and since.

“I’ll never put on a life jacket again” is agonizing and delicious and real.

Quint’s tale of delivering the Hiroshima bomb, when 11-hundred men went into the water and only 316 came out evokes the same, frozen reaction today as it had 42 years ago. And that will never change. Whether you’re seeing it for the first or hundredth time.

Jaws is a classic in every conceivable way, but Robert Shaw’s Indianapolis sermon is more than that, even stretching beyond indelible. It is the single greatest scene and performance not just of horror, but that any genre has ever known.

Feature image credit: youtube.com

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This Horror Film Just Derailed a Record Held by ‘Train to Busan’

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The South Korean supernatural horror film Exhuma is generating buzz. The star-studded movie is setting records, including the derailment of the country’s former top-grosser, Train to Busan.

Movie success in South Korea is measured by “moviegoers” instead of box office returns, and of this writing, it has garnered over 10 million of them which surpasses the 2016 favorite Train to Busan.

India’s current events publication, Outlook reports, “Train to Busan previously held the record with 11,567,816 viewers, but ‘Exhuma’ has now achieved 11,569,310 viewers, marking a significant feat.”

“What’s also interesting to note is that the film achieved the impressive feat of reaching 7 million moviegoers in less than 16 days of its release, surpassing the milestone four days quicker than 12.12: The Day, which held the title of South Korea’s top-grossing box office hit in 2023.”

Exhuma

Exhuma’s plot isn’t exactly original; a curse is unleashed upon the characters, but people seem to love this trope, and dethroning Train to Busan is no small feat so there has to be some merit to the movie. Here’s the logline: “The process of excavating an ominous grave unleashes dreadful consequences buried underneath.”

It also stars some of East Asia’s biggest stars, including Gong Yoo, Jung Yu-mi, Ma Dong-seok, Kim Su-an, Choi Woo-shik, Ahn So-hee and Kim Eui-sung.

Exhuma

Putting it in Western monetary terms, Exhuma has raked in over $91 million at the worldwide box office since its February 22 release, which is almost as much as Ghostbusters: Frozen Empire has earned to date.

Exhuma was released in limited theaters in the United States on March 22. No word yet on when it will make its digital debut.

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Watch ‘Immaculate’ At Home Right Now

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Just when we thought 2024 was going to be a horror movie wasteland, we got a few good ones in succession, Late Night With the Devil and Immaculate. The former will be available on Shudder starting April 19, the latter just had a surprise drop on digital ($19.99) today and will be getting physical on June 11.

The film stars Sydney Sweeney fresh off her success in the rom-com Anyone but You. In Immaculate, she plays a young nun named Cecilia, who travels to Italy to serve in a convent. Once there, she slowly unravels a mystery about the holy place and what role she plays in their methods.

Thanks to word of mouth and some favorable reviews, the movie has earned over $15 million domestically. Sweeney, who also produces, has waited a decade to get the film made. She purchased the rights to the screenplay, reworked it, and made the film we see today.

The movie’s controversial final scene wasn’t in the original screenplay, director Michael Mohan added it later and said, “It is my proudest directorial moment because it is exactly how I pictured it. “

Whether you go out to see it while it’s still in theaters or rent it from the convenience of your couch, let us know what you think of Immaculate and the controversy surrounding it.

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Politician Spooked By ‘First Omen’ Promo Mailer Calls Police

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Incredibly, what some people thought they would get with an Omen prequel turned out to be better than anticipated. Maybe it’s partly due to a good PR campaign. Maybe not. At least it wasn’t for a pro-choice Missouri politician and film blogger Amanda Taylor who received a suspicious mailer from the studio ahead of The First Omen’s theatrical release.

Taylor, a Democrat running for Missouri’s House of Representatives, must be on Disney’s PR list because she received some eerie promo merch from the studio to publicize The First Omen, a direct prequel to the 1975 original. Usually, a good mailer is supposed to pique your interest in a film not send you running to the phone to call the police. 

According to THR, Taylor opened the package and inside were disturbing children’s drawings related to the film that freaked her out. It’s understandable; being a female politician against abortion it’s no telling what kind of threatening hate mail you’re going to get or what might be construed as a threat. 

“I was freaking out. My husband touched it, so I’m screaming at him to wash his hands,” Taylor told THR.

Marshall Weinbaum, who does Disney’s public relations campaigns says he got the idea for the cryptic letters because in the movie, “there are these creepy drawings of little girls with their faces crossed out, so I got this idea to print them out and mail them to the press.”

The studio, maybe realizing the idea wasn’t their best move, sent out a follow-up letter explaining that it was all in good fun to promote The First Omen. “Most people had fun with it,” adds Weinbaum.

While we can understand her initial shock and concern being a politician running on a controversial ticket, we have to wonder as a film enthusiast, why she wouldn’t recognize a crazy PR stunt. 

Perhaps in this day and age, you can’t be too careful. 

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