Alternate Best Supporting Actor 1975: Richard Dreyfuss in Jaws

Richard Dreyfuss did not receive an Oscar nomination, despite being nominated for a BAFTA, for portraying Matt Hooper in Jaws.

As with any masterpiece there is not a single factor that makes Jaws one of the best films ever made. There are several elements working in tandem to realize this achievement. As much as Jaws is a technical and directorial achievement in its creation of the horror of a shark, it goes beyond any average monster film through the characters that ground it into reality. In Jaws we have the three men who eventually become the motley crew of the boat the Orca tasked to kill the titular Jaws. I have previously reviewed Roy Scheider for his understated yet dynamic leading turn as Chief Brody, and Robert Shaw for his turn as the old haunted shark hunter Quint, which I consider the greatest supporting turn ever given. I have been remiss though to forget the third part of this triangle in Dreyfuss's Matt Hooper. The then young hotshot performer makes his presence known as a visitor to the shark terrorized island as an expert in the field from the mainland. Although Hooper has the least personally invested in the hunt for the Shark he is an essential ingredient within story.

Before the three meet up though Hooper is initially introduced as the expert sent over from the mainland to offer some insight on the shark attacks. Although all three of the men are in some form a atypical on the island of Amity  with Brody hating the water as well as not being from the island originally, and Quint being Quint, Hooper is perhaps the most obvious in this regard. This is beautifully represented in his first scene as the not particularly tall man arrives at the port, where groups of amateur shark hunters dangerously make their way out the sea. Dreyfuss is great here by very much playing into being as much of a Richard Dreyfuss as he can be. Dreyfuss in doing so perfectly embodies sort of a proper city folk who just doesn't quite fit in a setting filled with plenty of yocal locals. This is not a problem for Hooper, as evidenced by Dreyfuss's wonderful approach to really just to embrace sort of that affluent upbringing in his sunny yet rather ego driven demeanor. It would be pretty easily to make Hooper quite unlikable quickly, but Dreyfuss takes such a pitch perfect approach from the start. As like Shaw and Scheider, he simply from his first frame is Hooper.

Dreyfuss's performance is primed with this certain insatiable energy which he fashions so well. In that he makes it honest to the man who is there to do a job, and so naturally infused in his general manner as he first arrives. Dreyfuss uses this brilliantly though in the way it creates a certain passion within the character, and a humor in his interactions with others. As immediately when he arrives and asks Brody about seeing the remains of the victim his desire to do so is delivered so well by Dreyfuss's determined delivery as a man who clearly cares. This is less evident as he tries to help the chief by telling a group of men not to overload a boat, Dreyfuss's smile as he murmurs to himself "They're all going to die" with more than little bit of derisive self-satisfaction in the sentiment. Dreyfuss treads this fine line here as he is always nearly insufferable as Hooper quickly combats the townspeople, but never quite goes over it. This is through both again that passion, the humor, but also the humanity he does bring to the character. There is a great moment early on where he is performing his own autopsy on the first victim where Dreyfuss's reaction of reserved horror at the sight of it is exceptionally performed revealing a man who cares rather than just an ego.

Dreyfuss's initial dynamic actually is specifically with Scheider as Brody. The two are wonderful together in creating just this natural warmth in their interactions as each look at each other with a great mutual respect. The way the two play together in a scene though is terrific though with Dreyfuss making Hooper a firebrand of sorts against the mostly reserved Brody. Dreyfuss brings such a great enthusiasm in moments as he discusses the sharks, and his experiences. I love one moment though where he discusses his family's wealth, and Dreyfuss brings just the right touch of nearly a bit of shame on the matter against Brody's genuine curiosity. This balances so well against the moments where the two try to convince the town's mayor (Murray Hamilton) about the dangers of the shark, and that they should close the beach. Where Scheider makes Brody's disagreements passionate yet cordial, Dreyfuss provides excellent contrast, as he delivers every frustration. Dreyfuss takes it a step further than anger though with this annoyed disbelief at the stupidity, with yes a bit of an ego again, but at this point rather earned in his "I'm smarter than you" attitude at this point.

Of course all that Dreyfuss does before the film's third act is just a warm up once he and Shaw finally share the screen. The two evidently did not get along on set, and this perfectly plays into their scenes together with the young upstart against the aging vet, both in terms of the characters and the actors.  Dreyfuss is so good with Shaw, though it is perhaps in a way playing at each other than directly with each other at times in the best of ways. This is from their first great moment where Quint grabs Hooper's arms to comment on his "city hands". Dreyfuss's flustered reaction is perfection setting up the right type of antagonism, as it isn't just annoyance, but also this certain defiant spark that will help to define their relationship. This all the while with Scheider providing the perfect mid-ground as Brody. They are marvelous together in every moment by how vibrant they make every interaction as we just get to know the three men as they try to kill the blasted shark. Dreyfuss is fantastic in his part using every moment to his advantage. This is in the alliance with Quint where Dreyfuss delivers this great petulance early on always showing his bits of defiance, and competition. One moment from this is where he just makes childlike gesture insults, without Quint seeing, after being given an order, which is very funny, yet also comes so naturally within Dreyfuss's performance making just seem like something Hooper would do. One of my favorite moments though is in their competition of sorts where Quint drinks down a beer then crushes a beer, causing Hooper to do the same with his beer, the difference is it is in a paper cup. Dreyfuss's reaction is what makes this so hilarious as he stares with determination presenting Hooper's conviction to match Quint at every point. Again though this is never overdone in irreverence, as their moments of clashing over expertise or how to kill the shark, Dreyfuss again brings such a genuine passion once again. His deliveries and manner create the right color to the character, who he makes humorous yet never a cartoon. This is also found through the process of the hunt which Dreyfuss's work helps to characterize in a way by easing up the humor the more dire the situation becomes. Now one of the best acted scenes of all time is the famed Indianapolis speech by Robert Shaw, that includes what Scheider and Dreyfuss are doing. Dreyfuss is great himself first in the moment pre-speech where he and Shaw capture the right camaraderie finally as the two compare scars with the right glee. Although this is a definite shift the two make this moment of friendship feel earned as the two similair spirits come out so naturally within their interactions. Dreyfuss's best moment in the scene though is where he comments on the scar that was formerly a naval tattoo that signified the Indianapolis. Dreyfuss's shift from laughing, as Hooper makes an innocent joke about what the tattoo might have been, to seriousness is brilliantly performed. He captures so well the understanding in Hooper once he realizes what Quint's experience had been in a seconds notice with barely saying a word. Throughout the scene Dreyfuss's reactions provide all the more weight and impact to the story in his reactions that signify Hooper's own horror at hearing the first hand account as well as the right empathy as he comes to fully understand the man. After that scene the petulance of Hooper is essentially gone in Dreyfuss's performance as he shifts to a more mature presence. He also shows a greater passion in the moments of action doing so well in suggesting the man's own growing need to kill the shark, after treating it more as a curiosity at first. Dreyfuss too is great in portraying the gradual growth in desperation as they run out of options. Dreyfuss is especially powerful in his harried delivery "You got any better suggestions?" before he is going to try to poison the shark as a last resort. I also love those final moments with Shaw, as the two in the end finally exude their own respect just in the way the performers interact. Their arc to this is never spelled out in dialogue yet both Shaw and Dreyfuss wholly earn this change away from antagonism. Although Dreyfuss has perhaps the least emotional role of the three, he too gives a great performance. His chemistry with Shaw and Scheider is perfection, though in very different ways, and as they do with their characters, Dreyfuss helps to make Hooper a compelling and vivid character in his own right that goes far beyond being one of the shark hunters.