There isn’t a summer couch classic as groundbreaking as Stephen Spielberg’s Jaws, and now, for its 25th anniversary, the ultimate collector’s edition has been released on DVD and a two-tape VHS version. Careful attention was given in the transference of the film onto DVD and it shows in its pristine widescreen look and sound. The sound has been remastered into clear 5.1 digital surround sound (in both Dolby Digital and DTS versions — sold separately). While audiophiles argue over which format — Dolby or DTS — is better, my vote is for the DTS version. If all this is too technical and you don’t know what the hell I’m talking about, get a DVD player and digital surround sound and you will never go back to watching VHS tapes if you can help it. As for the features, there’s a 75-minute documentary that was produced for the Laserdisc edition back in 1997 and also talent files, original theatrical trailers, trivia game, screen-saver, production photos, deleted scenes, outtakes, and more. While a commentary by Spielberg and maybe some storyboard artwork would have been nice, this is still a great package and the film looks better now on DVD than it did 25 years ago in the theaters.

As for the movie itself, it was a real treat to return to after an absence of several years, an absence that enabled me to rediscover what a masterpiece it is. As the first summer blockbuster ever (earning over 100 million dollars, making it the highest grossing movie for quite a long time), this film heralded the era of the ‘Summer Event Movie’ though it showed more character and originality than most entries since. Spielberg’s inability to use the mechanical shark for many shots — due to breakdowns — forced him, instead, to use alternate techniques which actually helped heighten the suspense, resulting in a more terrifying, jolt-inducing film than if we had seen more of the shark.

The performances still hold up very well, especially the marvelous turn by Robert Shaw as Quint, the shark-hunter. (Interesting trivia: Shaw, himself, rewrote the U.S.S. Indianapolis monologue to better suit his character, and it still packs a powerful punch thanks to his muted and haunting delivery.) In one of his earliest starring roles, Richard Dreyfuss showcases his great cerebral humor and cool-man wit and Roy Scheider’s turn as Chief of Police Brody makes you wish that he would be acting in more good films today.

Everything about this film works: from the music to the editing to the effects to the acting to the suspense and the story. While it has horrific and gruesome episodes, it eludes being pegged as a horror film because it contains heart and drama that lead you to care about the characters within the film and not just the special effects. This is exactly what is lacking in too many recent ‘event movies’ that rely more on effects than they do on a strong storyline.

A good clean print of this film was long overdue (instead of the God-knows-how-old-it-is-videotape that’s been sitting on store shelves). Moreover, having this film transferred to a medium that affords optimal home viewing was even longer overdue. I’m glad it’s here.

After getting locked in a Moscow studio where an American film is being shot, our mute heroin Billy (fantastically played by Russian actress Marina Sudina), witnesses a brutal and murderous snuff film being shot. Spotted, she must elude these killers throughout the film in a deadly cat-and-mouse game. With her impaired ability to communicate, compounded by a bumbling police force, she faces escalating dangers as she is being pursued. First timer Anthony Waller (later to direct An American Werewolf In Paris) has crafted a spine-tingling thriller that makes excellent use of its film-set locations and classic suspense movie trickery.

Filming with limited resources forced Waller to focus on the characters and take us into Billy’s world of isolation and horror. What propels the story even further away from typical Killer-After-The-Girl story is that there is more than meets the eye concerning these snuff films. Enter more shadowy figures into the plot.