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A copy of (presumably) the original review was on the Jewish Chronicle dated 2015. I gather this publication has been discontinued; the reason given was lack of money, but of course this must be nonsense.
Jaws was a book title by somebody Benchley; I haven't checked the publishing history, but the Professor gives 1914. There was at least one other book, on the making of the film, including a small actor to make a shark cage look bigger, rubber sharks, the shack for Robert Shaw, and records of Music I think from Ealing public library. No doubt the Professor talks about publishing tie-ins.
I remember when Jaws was being publicised: in (I think) Tottenham Court Road (in London) an office block had a large banners with 'Jaws' on it. It was a time when aware people wondered what the outcome would be of US war crimes in Vietnam. Hardly anybody, apart from Jews, understood the connection between Jewish media and Jewish wars. I like to hope this is less true today, almost entirely because of the influence of Internet.
This month marks the 40th anniversary of Steven Spielberg's film Jaws. You may be very familiar with the film but did you know that Jaws can be read as Jewish? For example, why is the film even called "Jaws" in the first place? It is because the title is only one syllable away from the word 'Jews'. But there is much more to it than that and Spielberg and the team behind the movie give us a series of other subtle clues.
Jewish writer Howard Sackler was asked to contribute to the screenplay because of his experience as a scuba diver. He did not receive a screen credit, though, as he felt that he didn't work long enough on the film. Nevertheless, Sackler's contributions helped to infuse Jaws with a subsurface Jewish sensibility. Sackler, who hailed from the Bronx was a classmate of the great Jewish director Stanley Kubrick, whom Spielberg greatly admired. Sackler also wrote the screenplays for Kubrick's first two films Fear and Desire (1953) and Killer's Kiss (1955) respectively.
It's perhaps worth pointing out that Jaws's plot is similar to Ibsen's A Public Enemy has a town mayor wanting to keep secret an outbreak of cholera or typhoid, to reduce possibly critical loss of revenue.
The image of Jews as sharks has also been around for a long time. Consider the idea of Jewish loan sharks, raising the "vig", or Shylock desiring his pound of flesh. Jaws feasts on multiple pounds of flesh in the film. Just Google Jews and Jaws and any number of images that have replaced the shark with a stereotypically Jewish caricature will come up.
Online sources say ‘the term "shark" for such a person has been cited in print since at least 1713.’ Another source mentions the US 'Civil War'. Looks Jewish, for people who like etymology.
The shark is depicted as an outsider who doesn't belong. A wandering, nomadic predator, Jaws is an unwanted presence in the small American coastal resort of Amity (which means "friendship"). Amity was most likely the type of place that was probably restricted to Jews in the past. The film makes much of the town's close-knit nature and its white picket fences. It is populated by people with such gentile names as Quint and Brody. Jaws' invasion disrupts this quintessential all-American idyll, as if he was a metaphor for immigration.
All this is misleading. The Mediterranean had Jewish trade. This was split between towns (Jewish parasitism operates on largish populations), but also from other seaside places: Texas had a Jewish presence (hence e.g. Lyndon Johnson), as did the US east coast, where Jewish-owned slave ships landed. So did Jewish breweries. So did Caribbean pirate ships. In Britain, Southport gave the 'historian' A J P Taylor to 20th century bullshit.
Spielberg named the mechanical shark "Bruce" after his lawyer, Bruce Ramer. So not only is Jaws Jewish, he is also an attorney! Ramer later became national president of the defence organisation, the American Jewish Committee (1998-2001).
The 'AJC' says this of itself: AJC is the leading global Jewish advocacy organization, with unparalleled access to government officials, diplomats, and other world leaders. It still seems to exist; and says it was founded in 1906. This is before 1913, that date of the 'Federal Reserve' and for example Income Tax and the 'Anti-Defamation League' reacting to Franks murder of a young girl. AIPAC was founded in 1951; I'm tempted to suggest AJC is earlier and possibly more honest, but a bit of reflection—for example on world wars—shows this cannot be true.
The very idea of having a Jewish shark as a protagonist raises the ugly head of the historic blood libel. It taps into age-old fears of the Jew as predatory, lusting after gentile women and the blood of young Christian children. Surely, then, it is no coincidence that the first victims in the film are a (presumably) non-Jewish blonde and a young boy. Indeed, the poster for the film plays on these fears in its depiction of a blonde female swimmer being menaced by the huge (read: phallic) shark.
And when one character states, "It wasn't Jack the Ripper, it was a shark", this allusion implicitly compares Jaws to the infamous Victorian serial killer who was also alleged to be Jewish.
Naturally, a Jewish author does not consider the truth behind blood accusations, which Hollyood has done its best to ignore or deny. NB part of the iconography of the 'phallic shark' may be a n indication of circumcision.
Whenever Jaws appears the colour yellow is prominent in the background. Yellow has long been associated with Jews ever since it was the colour of the badge that Jews were forced to wear in medieval England and later continental Europe, culminating in the Jewish Star of the Nazi period and yellow triangle of the concentration camps.
In fact, Jews were given special privileges both by noble, and, despite frantic denials, by the Roman Church, which supported Jewish loan monopolies as far as it could. Naturally the author talks of the 'Nazi period', omitting to hint at the huge Jewish concentraitons of power at the time—including Germany.
Made only a couple of years after the Yom Kippur War, Jaws can also stand in as the tough Israeli Jew. A ruthless and efficient killer, he anticipates Spielberg's 2005 film, Munich. If you think this is a stretch, then read the reports of how the Egyptian media and authorities accused tourist-killing sharks of being Mossad-trained spies.
'Tough Israeli Jew' is a bit of a joke. Gullible US 'goyim' contributed immense fortunes to support the Jewish USSR, and huge armies. Jews did little, beyond taking money and telling lies. They did kill people (see Deir Yassin when they were defenceless.
Certainly Spielberg seems to identify with the shark. He said that when he first read the novel, he found himself rooting for the shark, because the human characters were so unlikeable. This explains the high number of point-of-view shots in the film, where we see things from Bruce's subjective perspective, that is, of the shark (this was also dictated by pragmatic concerns as "Bruce", the mechanical shark, kept breaking down).
We can also interpret this as a projection of Spielberg's own sense of childhood otherness among a largely gentile population in which there were few other Jews. Spielberg recalled being physically bullied and subject to antisemitic comments as a child.
Another Jew is drafted in to help hunt down Jaws, possibly along the lines that it takes one to know one. A young, Richard Dreyfuss, whom Spielberg called his "alter ego", plays Hooper, the oceanographer and shark expert. In stereotypical fashion, he is the rationalist, sceptical intellectual, whose knowledge is invaluable in the shark hunt.
When Hooper takes to the seas with police chief Brody (Roy Scheider) and grizzled seaman Quint (Robert Shaw), Jackie Mason's quip "Is there a bigger shmuck on this earth than a Jew with a boat?" immediately comes to mind.
Stereotypically, Diaspora Jews have not been seen as a seafaring people and when we see Hooper initially neither are we convinced. He seems more like a student rabbi who has inadvertently taken a wrong turn.
Indeed, when he is aboard the boat hardboiled Quint gives him loads of stick [Note: perhaps 'shtick' suggested this word-RW], reflecting their public off-screen relationship in which they did not get on at all. Shaw accused Dreyfuss of cowardice and suggested that Dreyfuss would only have a career "if there's room for another Jewish character man like Paul Muni." But Hooper does play to type at times. Like a stereotypical Jew, he is always eating (just like the shark who has no table manners, another stereotypically Jewish trait).
But Hooper proves himself to be tougher than that. When he faces off against Jaws, it is the diaspora Jew vs the tough shark and the former wins. Hooper is thus the brave Jewish outsider coming to the rescue of the gentiles.
He ultimately disputes Jackie Mason's quip about Jews on boats. In fact, he outlives Quint who becomes the shark's fifth victim (hence his name, Latin for five or fifth). In an act of possible retribution for his harsh treatment of Hooper, Spielberg stages Quint's death as particularly gruesome.
Yawn. But it's worth reading this piece by Josh G. on Dreyfus, a fascinating multimedia psyop at the start of the 20th century. Josh G. turns out to be a Jew; bear in mind the insider information, plus inevitable censorship. And you might try Introduction to nuclear revisionism with a mention in Jaws of shipping the supposed atom bomb, and the ship being sunk in suspicious circumstances, the goy sailors being mostly killed by sharks. Come to think of it, Quint was annoyed by the Jew saying yes, he's rich. They print money, you see, and hand it to each other. Some of it gets to universities.
I mentioned, and repeat here, the propaganda timing. I recall seeing a banner with 'JAWS' on it in London. At the time the USA was known for its genocide in Vietnam, at least to people who were awake. A good example of Jewish controlled media as distraction by rubbish. Just as the review is a good example of insertion of Jewish phrases.