The Most Underrated Scene In Jaws Inspired Another Steven Spielberg Masterpiece

As his second major theatrical feature, "Jaws" was one of the first times that Steven Spielberg worked with children, which would become one of his directorial hallmarks. His stories have frequently been told through the eyes of a child ever since, whether they're enduring a World War II prison camp, fleeing from aliens, encountering dinosaurs, or searching for the Blue Fairy to become human and earn a mother's love. Similarly, in "Jaws," 6-year-old Jay Mello and 12-year-old Chris Rebello play Chief Brody's (Roy Scheider) sons, Sean and Michael. They appear throughout the film initially enjoying the summer season of Amity island, especially since Michael got a little boat of his own.

Laurent Bouzereau's book "Spielberg: The First Ten Years" highlights a tiny scene from "Jaws" that features these adorable kids. (The book is a collection of film analysis and in-depth interviews that explores how the young director reinvented cinema in just one short decade — from his start with "The Sugarland Express" to "E.T. the Extra-Terrestrial.") The moment in question may not have the shock value of the movie's scariest scenes, like the sight of blood spurting out of the water next to Alex Kintner's (Jeffrey Voorhees) tattered life raft or Ben Gardner's (Craig Kingsbury) head suddenly floating into view, and it may not make most rankings of the greatest scenes in "Jaws," but it's nevertheless a perfect example of what makes Spielberg such an intuitive filmmaker. Indeed, it's a smaller, more human beat among all the carnage.

The scene in question finds Chief Brody emotionally distraught. He's just been slapped by Alex Kintner's mother (Lee Fierro) in front of half the town for leaving the beaches open, even though he was trying to do the right thing all along. Brody sits at the dinner table with his head in his hands. When he takes a sip from his glass, so does his little boy, Sean. When Brody puts his hands together in a prayer gesture, Sean mimics him with his chubby little fingers. They finish their copycat game by exchanging monster-like glares, scrunching their faces and snarling, with Sean baring his missing teeth. A choked-up Mrs. Brody (Lorraine Gary) turns away from their playful exchange, knowing that another little boy has just lost his life. 

Bouzereau's book quotes Spielberg as saying the following about this scene:

"Exploration of human behavior fascinates me. I think we improvised that moment on the day — I wanted Roy to show he was depressed, and his son imitates him. It lightens up the mood, and Brody can see that he does have a life outside his job, that he has children and a family."

On the surface, this brief moment of silent comedy and heartwarming family dynamics does nothing to push the plot forward, but that's what makes it special. It's hard to imagine a modern blockbuster taking the time to pause the action for such a tender character study. The big screen heroes of today are too often impossibly good-looking and shallow; we get little insight into who they are outside of their ability to save the day. Scheider as Brody, who delivers one of the best performances in a Spielberg movie, on the other hand, is just an everyday guy who could be your neighbor, and that's exactly what makes his confrontation with the shark so relatable and frightening in "Jaws."

Bouzereau's book also reveals that a memorable moment from "E.T. the Extra-Terrestrial" was directly inspired by this scene from "Jaws." To quote Spielberg on the matter:

"I remember when I was working on the script of 'E.T.,' I wanted a similar scene where E.T. imitates Elliott, which leads to them communicating for the first time. I thought, 'Hey, if it worked in 'Jaws,' it could work in 'E.T.”"

"E.T. the Extra-Terrestrial" is one of the best alien movies ever because of the deep bond that E.T. develops with Elliott (Henry Thomas), as they grow to see each other not only as friends and playmates but also as soulmates of sorts. When they first meet, Spielberg includes a similarly quiet and playful moment of copying when Elliott leads E.T. into his room with Reese's Pieces. E.T. wipes his nose, touches his lips, and waves each time after Elliott does. Elliott stares in awe at this rowdy little space creature who mimics his every movement. They end by pointing their index fingers, which would become the iconic "phone home" gesture, then the heartbreaking farewell, "I'll be right here." Elliot is charmed by E.T.'s childlike innocence and no longer sees him as a scary outsider. 

These small scenes from "Jaws" and "E.T. the Extra-Terrestrial" mirror each other in the sweetest way, and, most importantly, they remind us that Spielberg doesn't just make big, explosive blockbusters for spectacle alone — he gives them a beating, human heart too. That's why his films have endured for generations and will continue to do so.