Martha’s Vineyard, 1974: shooting on ‘Jaws’ has stalled. The film’s lead actors – Robert Shaw, Roy Scheider and Richard Dreyfuss – are stuck on a boat, at the mercy of foul weather and a faulty mechanical co-star. Awash with alcohol and ambition, three hammered sharks start to bare their teeth…Directed by Guy Masterson, THE SHARK IS BROKEN reveals the hilarious behind-the-scenes drama on one of Hollywood’s biggest blockbusters.
Eventually, we get to the last day of filming and the final farewells. Not surprisingly, Scheider proffers his hand to the other two: 'I gotta say, I feel kind of sad. It's been a pleasure, gentlemen.' And true to form, Shaw and Dreyfuss say goodbye by trading sarcastic barbs. I hate to carp, but while Jaws may be the ultimate fish story, The Shark Is Broken flounders to the end, with neither an engaging hook nor a line of compelling dialog to keep it afloat.
The problem is that I’ve just essentially described the plot of the film itself, which makes watching this somewhat of an exercise in cinematic foreplay: I couldn’t wait to go home and watch Spielberg’s masterpiece. Here, art imitating life imitating art is a hindrance. The performances are great, Duncan Henderson’s recreation of the Orca fishing boat visually compelling, and Guy Masterson’s direction is lively enough. But, like the shark itself, the play’s essential functions scarcely work — save for the few scenes in which the three men, caught in an epochal shift in acting and celebrity, wax poetic about the fall of fathers, the impotence of sons, and the rolling tides of art. That’s when the play finds its bite. Otherwise, with its slavish recreations of the production’s details and Brightman’s (as required) over-hamming, it feels like an SNL skit waiting for its punchline.
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