To any longtime readers, I swear that barring any unforeseen circumstances, this should be my final word on the 50th anniversary of “JAWS,” which happens to be one of my favorite films of all time. I’ve already published prior columns on my personal “JAWS” 50th anniversary celebrations and of recently revisiting the movie in 2D-IMAX, so you’d think that’d be enough, right? Well, not exactly…
The lobby of the Academy Museum in Los Angeles, as Oscar stands watch…
Having recently purchased memberships to the Academy Museum in Los Angeles, my wife and I were able to attend a sneak preview yesterday (September 14th) of the museum’s brand new “JAWS: The Exhibition.” The exhibition commemorates the 50th anniversary of Steven Spielberg’s cinematic opus which ushered in the era of the summer blockbuster movie a half century ago.
“Bruce” the shark (named after Steven Spielberg’s lawyer, Bruce Ramer) was lovingly restored to cinematic glory by Greg Nicotero.
Having previously attended the Academy Museum in 2023, my wife and I had already seen makeup FX maestro/producer Greg Nicotero’s magnificent 25”/7.6 meter recreation of “Bruce” the shark; the infamously malfunctioning prop whose lack of reliability later became a gift in disguise, as its rare onscreen appearances (only 4 minutes) came to later define “JAWS” as a masterpiece of Hitchcockian suspense and minimalism (“less is more”). I gotta say, seeing that cargo van-length shark prop suspended from the ceiling still makes for an impressive escalator ride up to the fourth floor.
The fourth floor is where the JAWS Exhibition is located, and visitors will see a familiar Amity tourism sign with a bikini-clad girl on the water under a beaming sun. After walking through the doors, visitors are immediately immersed in darkness between large LED screens looping the opening of the movie. The exhibition’s displays are staged from room to room in a rough chronological sequence to the movie, with a final section focusing on the cultural impact of “JAWS” following its release.
The actual buoy that actress/stuntwoman Susan Backlinie (1946-2024) futilely clung to in the opening scene of “JAWS.”
A crab-infested sand dune makes for a creepy Chrissy-style photo op.
The first section features the actual buoy that Chrissy Watkins (Susan Backlinie) clung to as she was mauled underwater by the unseen shark. There was also a photo op for fans of the crab-infested sand dune where Chief Brody (Roy Scheider) and islander Tom (Jonathan Filley) discover where Chrissy’s remains washed ashore. The photo op includes tiny crabs which can surround a visitor’s hand, or head (Ben Gardner-style). That first section also features production memorabilia, including the entrance to producer Richard Zanuck’s office, and other items behind a section of white picket fence—perfect for young Amity Island martial arts students to use for “karate-ing.”
Actual Panavision cameras and lenses used to film the famous Hitchcockian dolly-zoom shot on the beach from “JAWS.”
A bit of ‘sick vandalism’ as the tourism sign for Amity Island is given a few creative touches. Below the sign, you can see an actual fin used in the film, as well as Polly’s hand-printed “BEACHES CLOSED” sign on the lower left, with Steven Spielberg’s autograph. Spielberg attended the exhibit’s unveiling at the Academy Museum just a few days ago, in fact.
Moving into the next section, visitors see a reproduction of the unblemished Amity Beaches billboard, along with a pair of actual Panavision cameras, including a water-line camera and another used to film the movie’s famous ‘dolly-zoom’ shot (which was inspired by Alfred Hitchcock’s “Vertigo”) as Brody and his family witness the movie’s second shark attack. Moving on, visitors will see the ‘mutilated’ version of the Amity tourism sign, now with a large shark fin painted on the water, and a “HELP!” caption over the girl’s mouth. Underneath the sign are the original “BEACHES CLOSED” sign, autographed by Steven Spielberg, as well as an actual fin used to represent the shark just below the water’s surface.
The old Moviola movie editing machine used by Oscar-winning editor Verna Fields, aka “Mother Cutter.”
Actual screen-worn costumes of actors Richard Dreyfuss (“Hooper”), the late Roy Scheider (“Brody”) and the late Robert Shaw (“Quint), save for newer accessories like shoes, belts, etc.
Well, more like two tones, as visitors are prompted to play legendary composer John Williams’ deceptively simple shark theme.
This section also features a tribute to the late Oscar-winning film editor Verna Fields, affectionately known as “Mother Cutter” to the film crew, which includes her old Moviola editing machine (with floor pedals). There is also a tribute to legendary Oscar-winning composer John Williams, including a keyboard that lets attendees play his iconic shark theme with lighted prompts. Along a wall, visitors will see three screen-used costumes worn by actors Roy Scheider, Richard Dreyfuss (“Hooper”) and Robert Shaw (“Quint”), as well as multiple sets of shark mandibles used to decorate Quint’s shack; whose one-for-one construction at a real dock in Massachusett is chronicled for the exhibit.
A display of some valuable pieces from the fishing boat Orca, including Quint’s chair, his harpooning gun, his fishing rod and many other authentic bits and pieces, as well as Hooper’s oxygen tank and shark tracking device.
Surrounded by aquamarine lighting, one can almost imagine these props from the Orca hunting for a 25 footer in the Atlantic…
Visitors then move into a section devoted to the final act of the movie, which takes place on the open ocean as Quint, Brody and Hooper hunt for the shark that’s been devouring Amity beachgoers. Bathed in aquamarine lighting hues to suggest the Atlantic Ocean, we see an exhibit of the Orca fishing boat (including pieces from the original boat) which is filled with screen-used props from the film, including Quint’s chair, his fishing gear, harpooning guns, the iconic machete, and even an uncrushed can of Narragansett Lager. Hooper’s equipment is also represented with a tracking device he tied to one of Quint’s barrels, as well as an unexploded oxygen tank–the hero prop that ultimately saves the day.
A photo-op recreating the Orca’s galley, where Quint, Hooper and Brody bonded over scars, war stories and drunken singing.
On the back of the Orca display, there is a photo op recreation of the Orca’s galley, where visitors can seat themselves on its maroon benches and watch the famous galley scene (including Quint’s haunting USS Indianapolis speech) on a facing monitor. Fans can recreate this moment in the film for themselves. Naturally, my wife and I had to try it, and thanks to a kindly patron nearby, we got some nice shots. We returned the favor for her afterward. The JAWS community is a kind lot.
Three screen-used barrels from the movie, which were (unsuccessfully) used by the characters to keep the shark buoyant.
Autographs on the cage from actor Richard Dreyfuss and his stuntman Dick Warlock, who were inside this cage, which was lowered into the Atlantic during filming of “JAWS.” I’ve seen this very same cage before, at a 2018 exhibit at an art museum on Catalina Island called “JAWS: The Art of Fear in Filmmaking.” I’m a bit embarrassed to admit that I geeked out and ignored very clearly posted warning not to touch it. Er, hope I’m not in trouble??
Also in the aquamarine-hued room are three of the surviving yellow barrels which were used in the movie to keep the shark buoyant, and to represent the shark itself when the mechanical prop failed, which only added to the movie’s suspense. Near the Orca display’s stern, we also see Hooper’s banged-up cage used in the film, which is autographed by actor Richard Dreyfuss and stuntman Dick Warlock, who doubled for Hooper in some of those cage sequences as Hooper unsuccessfully attempts to inject a fatal dose of poison into the shark’s tough hide. I saw this very cage on display once in an art museum on Catalina Island seven years ago, and it was exactly as I remembered it.
Operating this scaled down shark takes guts… and a lot of pneumatic tubing, hydraulics, and wires.
It’s a shame to think that intricate mechanical puppetry like we see with mini-Bruce is now done with computer software.
In addition to the various photos ops, there was another interactive display which allowed visitors to move levers to pneumatically control a considerably scaled-down version of the mechanical shark prop, which was created for the exhibition. My wife tried it, and she felt that she had to be careful on the control with opened and closed the shark’s jaws—fearing that pushing the levers too hard might damage the rubber skin of the prop—a word of caution to future visitors. Go easy on the levers…
“JAWS” toys, the JAWS game (yes, my family had one of those!), kitchen potholders, hair clips, handbags and other accessories.
In the final spaces of the exhibit, we see promotional artwork for “JAWS” from all over the world, as well as various photos of crowds waiting in long lines to see the movie. We also see the range of the movie’s impact on popular culture, including toys, games, posters, and other merchandise. This section chronicles where the movie graduated from a piece of popular art into a genuine global phenomenon.
As one leaves the exhibit, there is a final series of photos and captions chronicling Bruce the shark’s rescue from a junkyard, and would later be lovingly rebuilt by aforementioned makeup artist extraordinaire/producer Greg Nicotero for permanent display at the Academy Museum, where it remains the single largest prop from any one movie at the museum.
For fellow “JAWS” fin-atics living anywhere near Los Angeles, or who might be planning a visit to California soon, “JAWS: The Exhibition” is an absolute must-see. It’s a perfect cap to conclude any fan’s celebration of the movie’s 50th anniversary, which singlehandedly ushered in the era of the modern summer blockbuster.
The main lobby of the Academy Museum is just dripping with JAWS detailing, and this is four floors below the actual exhibit.
“JAWS: The Exhibition” is open to the public from the time of this writing (September 14th, 2025) until July 26th, 2026. Standard adult admission price is $25, with discounts for students and seniors. Children under 17 are admitted for free. Admission is also free for Academy Museum members (ranging from a $100 annual fee to $1000 for patron-level membership).
A bigger boat is not required.
All 100+ pics and one short video to the experience can be seen on my Flickr album of the experience here: JAWS: The Exhibit, Academy Museum, Los Angeles, Sept. 13th, 2025/Flickr
Enjoy!
WOW! What a fantastic museum and exhibits! A great way to celebrate all things Jaws, looks like you had an amazing time 🙂
It was amazing.
The only thing I kick myself for is not getting a shot of the Ben Gardner severed head prop; it was tucked in a corner, and I was so busy focusing on other items in the display that I somehow missed it.
My wife saw it, but she didn’t photograph it either, because she probably assumed that I did.
However, I still have that Academy Museum membership, so I may have to do a follow up or amendment on that column before the exhibit leaves next July… 😉
Oh right, Ben Gardner, yes that scene is so iconic. Still makes me jump even though I know its coming and have seen it so many times LOL 🙂