Kubrick the shining pdf

Continue We begin the story when Stephen King receives a call from the great Stanley Kubrick (in the middle of the night) informing him that Kubrick is interested in King's novel and he was very welcome. Despite this, this enthusiasm faded when he saw the film. The video below from Cinema Tyler shows us how Kubrick turned King's novels into works that haunt us. A new idea Kubrick's films, with the exception of his first Fear and Desire - were rejected by him, all of which came from the novel. Even Spartacus, a film considered a dune in Kubrick's career, was also an insothetic of Howard Fast's novel by Dalton Trumbo. His habit was to collect the material around him and read through the novels, and put them aside if they did not interest him. Stephen King's The Shining is a novel that interests him and stimulates his imagination a lot. Kubrick immediately asked Warner Bros. to buy the book, which King had written himself. Kubrick, however, was not interested in the king-made film, and wanted to start over, freshly. In the book, he says, I find it very difficult to read, and I think the idea of the story and its structure stimulates imagination more than anything I've ever read in this genre. And as a habit, he invited a new collaborator - in this case the American writer Diane Johnson - to join him in developing some of kubrick's version of the film in the eyes of a director. If you're reading a story written by someone else, the experience of the first reading is something you definitely can't get when writing an original story, he said. Cinema Tyler said: Kubrick felt that there were not many screenwriters of his calibre, and for the most part it allowed him to see the story objectively. The effect of passion As a director, Kubrick prepares the light and waits for everything to happen. The famous Singing in the Rain scene in A Clockwork Orange comes after weeks of waiting for the stage, waiting for inspiration to appear. Kubrick often likes to do things in a way new, and relentless, or for the actor to rest, before he gets what he wants, even if he usually doesn't know what it is. In the writing process, he follows a similar process, working with Johnson for weeks to complete the treatment, and draws everything from various sources such as Freud's The Uncanny and Bruno Bettelheim's The Uses of Enchantment By using a novel, he not only sees a new story, but can also take basic narrative errors and analyze them for The Picture. He actually translates paper words into the language of cinema to solve the problems in the story that cinema expresses, which is also an explanation for why he does not actually adapt psychologically heavy novels, or in that case he removes these elements so that ideas can be conveyed through images in such a way they can be translated into screens. For example, when it was necessary to convey the idea of sensipathy in Shining, he added scenes of Danny and Halloran talking to each other in the kitchen. Kubrick said: Halloran is an idyllic and naïve character, so the way he explains to Danny about psychopathy tends to be a little more dramatic than an explanation for a common scientific problem. You and Danny are a great duo. Kubrick's upheaval retains many elements of King's novels, but ignores many other elements, and some of the most famous parts of the film are not in the book, even the other way around. The novel has terrible monsters, and a bad water pipe, as well as a lot of focus on the hotel archives, where Jack finds out in the basement and makes his madness on the rise. But in the film, these details are just skimmed, starting here, as soon as the long shot turns into a close-up. The pages in front of jack get thicker and thicker with the terrible things that happen more and more in the hotel, which makes him crazy (although Kubrick was adamant, at least in the interview, that for storytelling purposes, occult is a pure thing. Jack's mental state is only in preparation for the murder and to temporarily misunderstand the audience.). Kubrick decided, as he often does, that cutting away is better than showing off. For example, he cut a remarkable passage from 2001, and that's a clever thing he did, as it will probably add to the feeling of mysticism in the film that he was trying to minimize. Other differences: In the book, Wendy is a blonde who takes good care of herself, but in the film the character played by Shelley Duvall, as well as the character Jack, is just dressed very common, something shabby (one of the main reasons King dislikes the film is because it makes him feel like he was writing a book full of hope, where, recovery is possible , especially for jack character, but Stanley Kubrick has come and upset them all. To be fair, that's what you usually do.) There are also other differences. King is known for being outstanding in describing supernatural things, Kubrick said: In fantasy, you want everything to be as real as possible. People should behave normally. You really have to pay attention to this in scenes that contain distinctive or fictional details of the story. An important factor for Kubrick is the imperfection of the sympathetic spirit: if Danny had the perfect ESP, nothing would have happened. He can anticipate things, warn people and solve problems. One of the ironies of history is that it has characters who are able to see the past and the future and have sympathetic communication, but phones and short-range radio waves are all disabled by blizzards, and mountain roads deep under the snow make it impossible to overcome. But the director, who repeated the script, even during filming, insisted: A supernatural story that cannot be separated and analyzed too closely. The last test of the separation reasoning is to see if it is good enough to make you behave your hair. If you try to justify things perfectly and analyze the details, it will eventually become ridiculous. Maybe it's terrible. nhất là, gần 40 năm sau, vô số người đã phân tích tính logic và chi tiết hoá bộ phim nhưng nó vờn giờ nguyên quyờn lờc cờa mình đối vời khán giả. Nguồn: No Film School Pixel Factory sưu tầm và biên dờch 1980 horror film directed by Stanley Kubrick The ShiningUK theatrical release posterDirectly byStanley KubrickProduced by Stanley KubrickScreenplay by Stanley Kubrick Diane Johnson Based on Shin editing by Stephen KingStarring Jack Nicholson Shelley Duvall Scatman Crothers Danny Lloyd Music by Wendy Carlos Rachel Elkind CinematographyJohn AlcottEdited by Ray LovejoyProductioncompany Manufacturer Circle CompanyPeregrine ProductionsHawk FilmsDistributed byWarner Bros.Release date May 23 , 1980 (1980-05-23) (UNITED STATES)[1] 2. The Shining is a psychological horror film from 1980 produced and directed by Stanley Kubrick and co-written with writer Diane Johnson. The film is based on Stephen King's 1977 novel of the same name and stars Jack Nicholson, Shelley Duvall, Scatman Crothers and Danny Lloyd. The film's central character is Jack Torrance (Nicholson), an aspiring writer and recovering alcoholic who accepts a position as the off-season janitor of the isolated historic Overlook Hotel in the Colorado Rockies. Wintering over with Jack are his wife, Wendy Torrance (Duvall) and young son, Danny Torrance (Lloyd). Danny possesses the shiny, psychic abilities that enable him to look into the hotel's terrible past. The hotel's chef, Dick Hallorann (Crothers), also has this ability and is able to communicate with Danny telepathically. The hotel had a former winter watchman who went crazy and killed his family and himself. After a winter storm leaves Torrance's snow-bound, Jack's sanity deteriorates due to the influence of the supernatural forces living in the hotel, putting his wife and son at risk. The production took place almost exclusively at EMI Elstree Studios, with sets based on real locations. Kubrick often worked with a small crew, which allowed him to do many takes, sometimes to the exhaustion of actors and employees. The new Steadicam bracket was used to shoot multiple scenes, giving the film an innovative and immersive look. There has been much speculation in the meanings and actions of the film due to inconsistencies, ambiguities, symbolism and differences from the book. The film was released in the United States on 23 June 2016. There were several versions for theatrical releases, each of which was cut shorter than the one before it; about 27 minutes were cut in total. to the film at the time of release was mixed; Stephen King criticized the film because of its departure from the novel. Critical opinion has become more favorable and it has become a staple of pop culture. In 2018, the film was selected for preservation in the United States National Film Registry by the Library of Congress as culturally, historically or aesthetically significant. [7] A sequel, Doctor Sleep, was released on 8 November 2015. Plot Writer Jack Torrance arrives at the remote Overlook Hotel in the Rocky Mountains to be interviewed for the position of winter watchmaster. The hotel, which opened in 1909 and was built on the site of an Indian cemetery, closes during the snowy months. Once hired, Jack plans to use the hotel's loneliness to write. Manager Stuart Ullman warns Jack about the hotel's reputation: a former caretaker, Charles Grady, killed his family and himself. Jack is still impressed with the hotel and takes the job. In Boulder, Jack's son Danny has a premonition about the hotel, and Jack's wife, Wendy, tells a doctor about Danny's imaginary friend, Tony. She also reveals that Jack is a recovering alcoholic who once injured Danny in a drunken rage. When the family moves into the hotel, chef Dick Hallorann surprises Danny by offering him ice cream. Hallorann explains to Danny that he and his grandmother shared this telepathic ability, which he calls shining. Hallorann tells Danny that the hotel has a luster and its own memories. He also tells Danny to stay away from room 237. A month passes; While Jack's writing isn't going anywhere, Danny and Wendy explore the hotel's hekkelabyrint, and Hallorann heads to Florida. Wendy learns that the phone lines are out because of the heavy snowfall. Danny has terrifying visions, while Jack is subjected to violent outbursts as his mental health deteriorates. Danny's curiosity about room 237 takes him over when he sees the door of the room open. Later, Wendy finds Jack screaming during a nightmare while sleeping on his typewriter. After she woke him up, Jack says he dreamed he killed her and Danny. Danny comes, visibly traumatized and bruised. Wendy accuses Jack of abusing him, which Jack denies. Jack wanders into the hotel's Gold Room and meets a ghostly bartender named Lloyd, to whom he complains about his marriage. Wendy tells Jack that Danny told her a crazy woman in room 237 tried to strangle him. Jack examines room 237 and meets a dead woman's ghost, but he tells Wendy he didn't see anything. Wendy and Jack argue over whether Danny should be removed from the hotel, and Jack returns to the Gold Room, which is now filled with ghosts attending a ball. He meets a ghostly waiter who identifies himself as Delbert Grady. The ghost informs Jack that Danny has contacted Hallorann his talent, and says that Jack must correct his wife and children. After feeling Danny's fears, Halloran flies back to Colorado. Danny calls out the redrum and walks into another trance, referring to himself as Tony. Wendy discovers that Jack has written pages filled with the phrase All Work and No Play makes Jack a boring boy. She asks a psychotic Jack to leave the hotel with Danny, but he threatens her. Wendy knocks him unconscious with a baseball bat and locks him in the kitchen pantry, but she and Danny are both trapped as Jack has disabled the hotel's two-way radio and snowcat. Jack talks through the pantry door with Grady, who unlocks the door and frees Jack. Danny keeps shouting and drawing the word REDRUM. When Wendy sees the word reversed in the bedroom mirror, the word is revealed to be MURDER. Jack hacks his way through the front door with an axe. Wendy sends Danny through the bathroom window, but can't get out herself. Jack breaks through the door, but retreats after Wendy cuts her hand with a knife. Jack hears Hallorann arrive in a snowcat, ambush and kill him in the lobby, and pursues danny into the hekkelabyrint. Wendy runs through the hotel in search of Danny, encounters ghosts, a cascade of blood Danny envisioned in Boulder, and Hallorann's body. In the hekkelabyrint, Danny lays a false path to mislead Jack and hides behind a snowdrift while Jack follows the false path. Danny escapes from the maze and reunites with Wendy; They leave in Hallorann's snowcat, while Jack, now hopelessly lost in the maze, freezes to death. In a photograph in the hotel hallway, Jack is pictured standing amid a crowd of party revelers from 1921. Actor Jack Nicholson as Jack Torrance Shelley Duvall as Wendy Torrance Danny Lloyd as Danny Torrance Scatman Crothers as Dick Hallorann Barry Nelson as Stuart Ullman Philip Stone as Delbert Grady Joe Turkel as Lloyd Anne Jackson as Doctor Tony Burton as Larry Durkin Lia Beldam as young woman in Bath Billie Gibson as old woman in Bath Barry Dennen as Bill Watson Lisa and Louise Burns as Grady Twins Robin Pappas as nurse Norman Gay as revelation with Gash In the European cut, all the scenes involving Jackson and Burton were removed, but the credits remained unchanged. This is on screen in all versions of the film, albeit to a limited extent (and without dialogue) in the European cut. The actors who played the ghosts of murdered Grady daughters Lisa and Louise Burns are identical twins; [8] However, the characters in the book and film script are only sisters, not twins. In the film's dialogue, Ullman says he thinks they were about eight and ten. Yet they are often referred to in discussions about the film as grady twins. The similarity in the staging of the Grady girls and the Twins photograph by Diane Arbus has been noted both by The biographer Patricia Bosworth,[9] the Kubrick assistant who threw and trained them, Leon Vitali,[10] and by many Kubrick critics. [11] Although Kubrick both met Arbus personally and studied photography under her during her youthful days as a photographer for Look magazine, Kubrick's widow says he did not deliberately model the Grady girls in Arbus' photograph, despite widespread attention to the similarity. [12] The production Saint Mary Lake with wild goose island is seen during the opening scene of The Shining. Genesis Before making The Shining, Kubrick directed the film Barry Lyndon (1975), a highly visual period film about an Ire who tries to get into the British aristocracy. Despite its technical achievements, the film was not a box-office success in the United States and was derided by critics for being too long and too slow. Kubrick, disappointed by Barry Lyndon's lack of success, realized that he needed to make a film that would be commercially viable as well as artistically satisfying. Stephen King was told that Kubrick had his staff bring him stacks of horror books as he planted himself in his office to read them all: Kubrick's secretary heard the sound of each book hitting the wall as the director threw it into a reject pile after reading the first pages. Finally one day, the secretary noticed that it had been a while since she had heard the thud of another writer's work biting the dust. She went in to check on her boss and found Kubrick deeply engrossed in reading The Shining. [13] Kubrick stated on the subject of the film that there is something inherently wrong with the human personality. There's an evil side to it. One of the things that horror stories can do is show us the archetypes of the unconscious; we can see the dark side without having to confront it directly. [14] Casting Nicholson was Kubrick's first choice for the role of Jack Torrance; Other actors considered including Robert De Niro (who claims the film gave him nightmares for a month), Robin Williams, and Harrison Ford, who all faced Stephen King's displeasure. [16] In his quest to find the right actor to play Danny, Kubrick sent a husband and wife team, Leon and Kersti Vitali, to Chicago, Denver and Cincinnati to create an interview pool of 5,000 boys over a six-month period. These cities were chosen since Kubrick was looking for a boy with an accent who fell between Jack Nicholson and Shelley Duvall's speech patterns. [17] Filming Interior sets The lobby and lounge of the Overlook Hotel were modeled at the Ahwahnee Hotel and were created in Elstree Studios. After choosing King's novel as the basis for his next project, and after a pre-production phase, Kubrick had seen the building on sound stages at EMI Elstree Studios in Borehamwood, Hertfordshire, England. Some of the interior designs for the Overlook Hotel set were based on de of the Ahwahnee Hotel in Yosemite National Park. To enable him to shoot the scenes in chronological order, he used several stages in EMI Elstree Studios to make all sets available throughout the production. The set for the Overlook Hotel was at the time the largest ever built on Elstree, including a life-size re-creation of the outside of the hotel. [18] In February 1979, the set at Elstree was badly damaged in a fire, causing a delay in production. [19] Timber line lodges in Oregon served as the exterior of the Overlook Hotel. While most of the interior photos, and even some of the Overlook exteriors, were shot on studio sets, some exterior shots were fired at the site by a crew led by Jan Harlan. Saint Mary Lake and Wild Goose Island in Glacier National Park, Montana were the movie site for aerial footage of the opening scenes, with the Volkswagen Beetle running along Going-to-the- Sun Road. Timberline Lodge on Mount Hood, Oregon was filmed for some of the established images of the fictional Overlook Hotel; absent in these shoots is the hedge maze, something Timberline Lodge does not have. The outtakes of the opening panoramas were later used by Ridley Scott for the closing moments of the original clip of the film Blade Runner (1982). [21] The photo page from The Shining script The Shining had a longer and demanding production period, often with very long working days. The main photography took over a year to complete, due to Kubrick's very methodical nature. Actress Shelley Duvall didn't get along with Kubrick, often arguing with him on set about lines in the script, her acting techniques and many other things. Duvall was eventually so overwhelmed by the stress of her role that she became physically ill for months. At one point she was under so much stress that her hair began to fall out. The shooting script was changed all the time, sometimes several times a day, adding more stress. Nicholson eventually became so frustrated with the ever-changing script that he would throw away the copies that the production team had given him to remember, knowing that would change anyway. He learned most of his lines just minutes before he filmed them. Nicholson lived in London with his then-boyfriend Anjelica Huston and her younger sister Allegra, who testified about their long shooting days. Joe Turkel said in a 2014 interview that they practiced the bar scene for six weeks, and that the shooting day lasted from 9 a.m. to 10:30 p.m., with Turkel remembering that his clothes were soaked in sweat at the end of today's shoot. He also added that it was his favorite scene in the film. [23] For the last Gold Room sequence, Kubrick instructed extras (via megaphone) not to talk, but to mime conversation with each other. knew from years of scrutinizing thousands of films that extras could often mime their business by nodding and using large movements that look fake. He asked them to act naturally to give the scene a terrifying sense of time-traveling realism as Jack goes from the Seventies into his twenties. [24] Jack's typewriter For the international versions of the film, Kubrick filmed various takes of Wendy reading the typewriter pages in different languages. For each language, a suitable idiom was used: German (Were you heute kannst besorgen, das verschiebe nicht auf morgen – Never set aside until tomorrow what can be done today), Italian (Il mattino ha l'oro i bocca - Morning has gold in mouth), French (Un Tiens vaut mieux que deux «Tu l'auras» – One here you go is worth more than two you want it , equivalent to A bird in hand is worth two in the bush), Spanish (No por mucho madrugar amanece más temprano - No matter how early you get up, you can't make the sun rise before.) [25] These alternative images were not included in the DVD release, where only the English phrase all work and no play makes Jack a boring boy was used. The door that Jack cut through with the axe at the end of the film was real, Kubrick originally shot this scene with a fake door, but Nicholson, who had worked as a volunteer firefighter and a firefighter in the California Air National Guard,[26] tore through it too quickly. Jack's line, Heeeere's Johnny!, is taken from Ed McMahon's introduction to The Tonight Show Starring Johnny Carson, and was improvised by Nicholson. Kubrick, who had lived in England for a while, was unaware of the significance of the line, and used almost another take. [27] Carson later used the Nicholson clip to open his anniversary show on NBC in 1980. During the production, Kubrick showed David Lynch's Eraserhead (1977) to the cast and crew, to convey the mood he wanted to achieve for the film. [28] Steadicam The Shining was among the first half-dozen films (after the films Bound for Glory, Marathon Man and Rocky, all released in 1976), to use the newly developed Steadicam,[29] a stabilizing mount for a film camera, which mechanically separates the operator's movement from the camera's, allowing smooth tracking images as the operator moves over an uneven surface. It essentially combines the stabilized steady footage of an ordinary mount with the flow and flexibility of a handheld camera. The inventor of Steadicam, Garrett Brown, was heavily involved in the production of The Shining. Brown has described his excitement with his first tour of the sets, which offered further opportunities for Steadicam. This trip convinced Brown to become personally involved in the production. Kubrick didn't talk just about stunt shots and stairs. Rather, he would use Steadicam as was intended to be used - as a tool that can help get the lens where it is desired in space and time without the classic limitations of dolly and crane. Brown used an 18 mm Cooke lens that allowed Steadicam to pass within an inch of walls and door frames. [30] Brown published an article in American Cinematographer about his experience,[31] and contributed to the audio commentary on the DVD release in 2007. The Overlook Hotel's Colorado Lounge set was largely modeled at the Ahwahnee Hotel's Great Lounge. Kubrick personally helped change Steadicam's video transfer technology. Brown says his own ability to run Steadicam was refined by working on Kubrick's film. For this film, Brown developed a two-handed technique, which enabled him to maintain the camera at a height while panning and tilting the camera. In addition to tracking images from behind, Steadicam enabled shooting in narrowed rooms without flying out walls, or supporting the camera into doors. Brown notes that: One of the most talked about images in the photo is the creepy tracking sequence that follows Danny as he pedals at high speed through the corridor after the corridor of his plastic Big Wheel tricycle. The soundtrack explodes with noise when the wheel is on wooden floors and is abruptly silent when it crosses over the carpet. We had to have the lens just a few inches from the floor and to travel quickly just behind or in front of the bike. This required Steadicam to be on a special mount resembling a wheelchair, where the operator sat while pulling a platform with the sound man. The weight of the rig and the occupants proved to be too much for the original tires, resulting in a blowout one day that almost caused a serious crash. Solid tyres were then mounted on the rig. Kubrick also had a highly accurate speedometer mounted on the rig to duplicate the exact pace of a given shot, allowing Brown to perform consecutive identical takes. [32] Brown also discusses how the scenes in the hedge maze were shot with a Steadicam. Music and soundtrack The stylistic modernist art music chosen by Kubrick is similar to the repertoire he first explored in 2001: A Space Odyssey. Although the repertoire was chosen by Kubrick, the process of matching passages of music to film was left almost entirely at the discretion of music editor Gordon Stainforth, whose work on this film is known for the attention to fine detail and remarkably precise synchronisation without excessive splicing. [33] The soundtrack album on lp was withdrawn due to problems with the licensing of the music. [34] [35] The LP soundtrack omits some pieces heard in the film, and also contains complete versions of pieces that only fragments are heard in the film. The non-original music on the soundtrack is as follows:[36] Dies Irae segment from Symphonie fantastique by Hector performed by Wendy Carlos and Rachel Elkind Lontano of György Ligeti, Ernest Bour directs southwest German Radio Symphony Orchestra (Wergo Records) Music for Strings, Percussion and Celesta by Béla Bartók, Herbert von Karajan directs the Berlin Philharmonic Orchestra (Deutsche Grammophon) Utrenja - excerpts from Ewangelia and Cannon Paschy movements by Krzysztof Penderecki, Andrzej Markowski directs warsaw National Philharmonic Orchestra (Polskie Nagrania Records) The Awakening of Jacob , De Natura Sonoris No. 1 (the latter not on the soundtrack album, Cracow Philharmonic Orchestra conducted by Henryk Czyż) and De Natura Sonoris No. 2 by Krzysztof Penderecki (Warsaw National Philharmonic Orchestra, conducted by Andrzej Markowski, Polskie Nagrania Records) Home, performed by Henry Hall and Gleneagles Hotel Band (Columbia Records) Midnight, the Stars and You by Al Bowlly, performed by Ray Noble and his orchestra It's All Forgotten Now by Al Bowlly , performed by Ray Noble and His Orchestra (not on the soundtrack album) Masquerade, performed by Jack Hylton and His Orchestra (not on soundtrack) Cannon (for string orchestra) by Krzysztof Penderecki (not on soundtrack) Polymorphia (for string orchestra) by Krzysztof Penderecki, Cracow Philharmonic Orchestra conducted by Henryk Czyż (not on soundtrack) Upon arrival at Elstree Studios, Wendy Carlos and Rachel Elkind were shown the first version of the film by Kubrick : The film was a little on the long side. There were huge gobs of scenes that never made it to the film. It was a very strange and mysterious scene in which Jack Nicholson discovers objects that have been arranged in his workplace in the ballroom with arrows and things. He goes down and thinks he hears a voice and a ghost throws a ball back at him. None of it came to the final film. We scored a lot of them. We didn't know what to use for sure. [37] After something similar happened to her on Clockwork Orange, Carlos has said that she was so disillusioned by Kubrick's actions that she vowed never to work with him again. Her own music was released in almost complete in 2005 as part of her Rediscovering Lost Scores collection. [38] The release Unlike Kubrick's earlier works, which gradually developed through word of mouth, The Shining first opened on 10 screens in New York City and Los Angeles on Memorial Day weekend, and was then released as a mass-market film across the country within a month. [49] [40] [40] The European release of The Shining a few months later was 25 minutes shorter due to Kubrick's removal of most of the scenes that took place outside the hotel environments. After his release, Kubrick edits a scene at the end that took place in a hospital. It shows Wendy in a bed talking to Mr. Ullman explaining that Jack's body was not found; He gives danny a yellow tennis ball, probably the same one Jack threw around the hotel. This scene was later physically cut out of prints by projectors and sent back to the studio by order of Warner Bros., the film's distributor. This cut the film's runtime to 144 minutes. Roger Ebert commented: If Jack actually freeze to death in the maze, of course his body was found - and sooner rather than later, since Dick Hallorann alerted the rangers to serious problems at the hotel. If Jack's body wasn't found, what happened to that? Was it never there? Was it absorbed into the past, explaining it Jack's presence in the final image of a group of hotel party goers in 1921? Did Jack's violent pursuit of his wife and children exist entirely in Wendy's imagination, or Danny's, or theirs? ... Kubrick was wise to remove that epilogue. It drew one blanket for many from under the story. At some level, it is necessary for us to believe that the three members of the Torrance family are actually residents of the hotel during that winter, no matter what happens or what they think happens. [42] European version For release in Europe, Kubrick cut about 25 minutes from the film. [44] [44] The carved scenes included: a longer meeting between Jack and Watson at the hotel; Danny is accompanied by a doctor (Anne Jackson), including references to Tony and how Jack once injured Danny in an intoxicated rage; several recordings of Hallorann's attempts to get to the hotel during the blizzard, including a sequence with a garage guard (Tony Burton); extended dialogue scenes at the hotel; and a scene where Wendy discovers a group of skeletons in the hotel lobby during the climax. Jackson and Burton are credited in the European print, despite the fact that their scenes have been carved out from the film. According to Harlan, Kubrick decided to cut some sequences because the film was not very well received, and also after Warner Brothers had complained about its ambiguity and length. [46] The scene when Jack writes obsessively on the typewriter All work and no play makes Jack a boring boy was re-filmed a number of times, but changed the language of the written copy to Italian, French, Spanish and German, to match the respective languages. [25] In the Italian version, Nicholson was called by the voice actor Giancarlo Giannini. Two alternative takes were used in a British TV commercial. [47] Ad campaigns Original red and last yellow versions of Saul Bass's theatrical poster for the film. In 1980–1981, the film was opened, and the primary poster and newspaper ad was designed by the famous graphic designer in Hollywood. Bass. [49] [53] [54] [55] [56] Bass and Kubrick are said to have gone through over 300 potential designs before settling on the final design of an unsettling, angry look, underlit, pointillistic doll-like face (which does not appear in the film) and peeking through the letters The, with SHiNiNG below, in smaller letters. At the top of the poster are the words A masterpiece of modern horror, with credits and other information at the bottom. [59] The correspondence between the two men during the design process survives, including Kubrick's handwritten critiques of Bass's various proposed designs. Bass originally intended for the poster to be black on a red background, but Kubrick, to Bass's dismay, chose to turn the background yellow. In response, Bass ordered a small, screen-printed print of its original version, which also lacks masterpieces of modern horror slogans, and has credits in a compact white block at the bottom. [49] [56] [57] Turner Classic Movies and Fathom Events had a limited viewing in October 2016 in 2K and 4K resolution. [58] In April 2019, a 4K resolution remastered version from a new scan of the original 35 mm camera negative of the film was chosen to be shown in the Cannes Classics section at the Cannes Film Festival in 2019. The length is listed as 146 minutes[59] and 143 minutes. [60] Home Media This section needs additional citations for verification. Please help improve this article by adding quotes to trusted sources. Non-source material can be challenged and removed. In 2015, he was written by The International (Learn How and When to Remove This Template Message) The American television premiere of The Shining (on abc Friday Night Movie of May 6, 1983)[61] started with a poster that said, TONIGHT's MOVIE DEALS WITH THE SUPERNATURAL, WHEN AN OBSESSIVE MAN TRIES TO DESTROY HIS FAMILY. [62] With the film's ambiguities, it is not known how Kubrick felt or whether he agreed with this declaration. The poster also said the film was edited for TV and warned about its content. [47] The American region 1 DVD of the film is the longer (142 minute) editing of the film. The European (including UK) region 2 DVD is shorter (119 minute) version. On British television, the short version appeared on Channel 4 once and on Sky Movies many times in the mid-nineties, on BBC Two in the 2000s and BBC One in 2020. All other screenings, before and since these, have been on either ITV or ITV4 and have been the longer US editing. The German DVD shows the short version, seen in German TV views. In accordance with the provisions of Kubrick's will, DVD releases show the film in open matt (i.e. with more image content visible than in cinemas). DVDs in both regions feature a candid fly-on-the-wall 33-minute documentary made by Kubrick's daughter Vivian (who was 17 when she filmed it) entitled The Shining, originally shown on British television in 1980. She also provided an audio commentary on her documentary for the DVD release. It appears even on pre-2007 editions of The Shining on DVD, although most DVDs of Kubrick movies before then were devoid of documentaries or narrations. It has some candid interviews and very private moments captured on set, such as arguments with actors and directors, moments of a no- nonsense Kubrick directing his actors, Scatman Crothers being overcome with emotion during the interview, Shelley Duvall collapsing from exhaustion on set, and Jack Nicholson enjoying playing up to behind the scenes camera. In May 2019, it was announced that the film would be released on Ultra HD Blu-ray in October. The release includes a 4K remaster using a 4K scan of the original 35mm negative. Filmmaker Steven Spielberg and Kubrick's former personal assistant Leon Vitali helped Warner Bros. close in the mastering process. This is the same cut and 4K restoration that was shown at the 2019 Cannes Film Festival. According to the official press release, the official full-length mileage is 146 minutes. [64] Reception First reviews It first opened to mixed reviews. [66] Janet Maslin of The New York Times praised Nicholson's performance and praised the Overlook Hotel as an effective setting for horror, but wrote that the supernatural story knows frustratingly little rhyme or reason... Even the film's most startlingly horrific images seem overbearing and perhaps even irrelevant. [66] Variety was critical, saying, With everything to work with, ... Kubrick has teamed up with bouncing Jack Nicholson to destroy everything so terrifying about Stephen King's bestseller. [67] A common initial critique was the slow pace, which was highly atypical for horror films at the time. [66] Neither Gene Siskel nor Roger Ebert reviewed the film in the television series Sneak Previews when it was first released,[69] but in his review for the Chicago Sun-Times, Ebert complained that it was difficult to connect with any of the characters. In his Chicago Tribune review, Siskel gave the film two stars out of four, calling it a crashing disappointment. The biggest surprise is that it contains almost no excitement. Given Kubrick's world-class reputation, one's immediate reaction is that he might have been looking for something other than excitement in the film. If so, it's hard to figure out what. [70] Kevin Thomas of the Los Angeles Times wrote: There are moments so visually impressive that only a Kubrick could pull them off, but the film is too grandiose to be the shock that horror images are expected to be. Both those who expect meaning from Kubrick and those who are just looking for a good scare can be equally disappointed. [72] Pauline Kael of The New Yorker stated: Again and again, the film leads us to expect something — almost it—and then disappoint us. [73] Gary Arnold of The Washington Post wrote, Stanley Kubrick's production of The Shining, a superficial, flawed distillation of Stephen King's bestselling novel, looms as Big Letdown in the new film season. I can't remember a more elaborately ineffective scare movie. It was the only one of Kubrick's last nine films to receive no nominations from either the Oscars or the Golden Globes, but was nominated for a pair of Razzie Awards, including Worst Director and Worst Actress (Duvall),[75] in the first year of the award. [77] [77] [77] [78] Vincent Misiano's review in Ares Magazine concluded: The Shining leaves open to see all the devices of horror and excitement — endless eerie music, strange camera angles, a soundtrack of incessantly pounding heart, axes and hunts. The result is shallow, self-conscious and boring. Read the book. [80] Box office The Shining opened the same weekend as The Empire Strikes Back, but was only released on 10 screens and earned $622,337 for the 4-day weekend, the third highest-grossing opening weekend from fewer than 50 screens of all time, behind Star Wars (1977) and The Rose (1979). [40] It had an average gross of $62,234 compared to $50,919 for The Empire Strikes Back from 126 screens. [81] After expanding, the film gained momentum, eventually doing well commercially in the summer of 1980 and doing Warner Bros. to a profit. [quote required] Reappraisal Tim Cahill of Rolling Stone noted in an interview with Kubrick that in 1987 there was already a critical reevaluation of [The Shining] at work. [82] As with most Kubrick films, recent analyses have treated the film more favorably. In 2001, the film was ranked 29th on AFI's 100 Years ... 100 Thrills list[83] and Jack Torrance were named the 25th 100 Heroes and Villains list in 2003. 100 List of film offerings. It had Channel 4's scariest moments,[86] Total Film marked it as the fifth-largest horror film, and Bravo TV named one of the film's scenes sixth on its list of the 100 scariest movie moments. In addition, film critics Kim Newman and Jonathan Romney both placed it in their top ten lists for the 2002 Sight & Sound poll. Director Martin Scorsese placed it on his list of the 11 scariest horror films of all time. [87] Mathematicians at King's College London (KCL) used statistical modelling in a study commissioned by Sky Movies to conclude that The Shining was the perfect scary film due to a proper balance of various ingredients, including shock value, excitement, gore and the size of the actors. [88] It was named the 62nd[89] Critics, scientists and crew members (whom Kubrick's producer Jan Harlan has discussed) enormous influence on popular culture. [90] [92] In 2006, Roger Ebert, who was originally critical of the work, incorporated the film into his Great Movies series, saying: Stanley Kubrick's cold and terrifying The Shining challenges us to decide: Who is the reliable observer? Whose idea of events can we trust? ... It is this elusive openness that makes Kubrick's film so strangely disturbing. [42] On review aggregation site Rotten Tomatoes, the film has a score of 84% based on 93 reviews, with an average rating of 8.39/10. The sites critical consensus reads: Although it differs from Stephen King's novel, Stanley Kubrick's The Shining is a chilling, often Baroque journey into madness - exemplified by an unforgettable turn from Jack Nicholson. [100] The horror film critic Peter Bracke, who reviewed the Blu-ray release in High-Def Digest, wrote: Just as the ghostly revelations of the film's fictional Overlook Hotel would play tricks in the minds of poor Jack Torrance, the passage of time has also changed the perception of The Shining itself. Many of the same reviewers who lambasted the film for not being scary enough back in 1980 now rank among the most effective horror films ever made, while audiences who hated the film at the time now vividly remember being terrified of the experience. The Shining has somehow risen from the ashes of its own bad press to redefine itself not only as a groundbreaking work of the genre, but perhaps the most stately, artistic horror ever made. [66] In 1999, Jonathan Romney discussed Kubrick's perfectionism and displaced the initial arguments of others that the film lacked complexity: The final scene alone demonstrates what a rich source of confusion The Shining offers [...] look beyond the simplicity and overlook itself as a paradox palace. Romney further explains: The dominant presence of the Overlook Hotel - designed by Roy Walker as a composite of American hotels visited during the research - is an extraordinary confirmation of the value of the mise en scène. It's a real, complex space that we not only see, but are going to almost inhabit. Confinement is palpable: horror cinema is an art of claustrophobia, making us loathe to stay in the cinema but unable to leave. Yet it is combined with a kind of agoraphobia - we are as afraid of the hotel's cavernous grandeur as by the corridors' enclosure. ... The film sets up a complex dynamic between simple nationality and grandeur, between the supernatural and the mundane where the viewer is disoriented by the combination of spaciousness and confinement, and an uncertainty about exactly what is real or not. [100] Response by Stephen King Author Stephen King was an executive producer for a more faithful 1997 adaptation, and continues to hold mixed about Kubrick's version. Kubrick said he talked about the subject of the film. Movie. something inherently wrong with the human personality. There's an evil side to it. One of the things that horror stories can do is show us the archetypes of the unconscious; we can see the dark side without having to confront it directly. [14] Stephen King has been quoted as saying that although Kubrick made a film with memorable images, it was bad as an adaptation[95] and that it is the only adaptation of his novels that he could remember to hate. In King's 1981 nonfiction book Danse Macabre, he listed Kubrick's film among those he deemed to have contributed something of value to the [horror] genre and mentioned it as one of his personal favorites. [100] Before the 1980 film, King often said that he paid little attention to the filmadaptations of his work. [100] The novel, written while King suffered from alcoholism, contains an autobiographical element. King expressed disappointment that some themes, such as the dissolution of the family and the dangers of alcoholism, are less present in the film. King also viewed the casting of Nicholson as a mistake, arguing that it would result in a quick realization among the audience that Jack would go crazy, because of Nicholson's famous role as Randle McMurphy in One Flew Over the Cuckoo's Nest (1975). King had suggested that a more everyman actor like Jon Voight, Christopher Reeve or Michael Moriarty play the role, so Jack's descent into madness would be more terrifying. In an interview with the BBC, King also criticised Duvall's performance, saying: [S]he's basically just there to scream and be stupid, and that's not the woman I wrote about. [100] King once suggested that he dislike the film's downplay of the supernatural; King had envisioned Jack as a victim of the genuine external forces that haunted the hotel, while King felt Kubrick had looked at the haunted and its resulting malignancy coming from within Jack himself. In October 2013, however, the journalist Laura Miller wrote that the discrepancy between the two was almost the exact opposite: Jack Torrance of the novel was destroyed by his own choices - especially alcoholism - while in Kubrick's adaptation, the reasons are actually more surreal and ambiguous:[101] King is essentially a novelist of morality. The decisions his characters make —whether it's confronting a pack of vampires or breaking 10 years of sobriety— are what matters to him. But in Kubrick's The Shining, the characters are largely in the grip of forces beyond their control. It's a film in which domestic violence occurs, while King's novel is about domestic violence as a choice some men make when they refuse to abandon a delusional, defensive right. As King sees it, Kubrick treats his characters like insects because the director doesn't really consider them capable of shaping their own fates. Everything they do subordinate to an overweening, herb-like force, which is Kubrick's highly developed aesthetic; they are its slaves. In King's The Shining, the monster is Jack. In Kubrick's is the monster Kubrick. King would later criticize the film and Kubrick as director: Parts of the film are terrifying, accused of a relentless claustrophobic terror, but others fall flat. Not that religion must be involved in horror, but a visceral skeptic like Kubrick just couldn't understand the sheer inhuman evil of The Overlook Hotel. So he looked instead for malice in the characters and turned the film into a domestic tragedy with only vague supernatural overtones. That was the basic mistake: because he couldn't believe, he couldn't make the film credible to others. What is basically wrong with Kubrick's version of The Shining is that it is a film of a man who thinks too much and feels too small; and that's why, for all its virtuoso effects, it never gets you in the throat and hangs in the way real horror should. [102] Browning, a critic of King's work, observed that King's novels often contain a narrative ending that completes the story, which Kubrick's film lacks. In fact, Browning has argued that King has exactly the opposite problem for which he accused Kubrick. King, he believes, feels too much and thinks too little. King was also disappointed with Kubrick's decision not to film at The Stanley Hotel in Estes Park, Colorado, which inspired the story (a decision Kubrick made since the hotel lacked sufficient snow and electricity). However, King finally oversaw the 1997 TV adaptation, also titled The Shining, filmed at The Stanley Hotel. The king's animosity towards Kubrick's adaptation has dulled over time. During an interview segment on the Bravo channel, King stated that the first time he saw Kubrick's adaptation, he found it to be terribly disturbing. Nevertheless, when he wrote in the doctor's afterword, King still claimed dissatisfaction with the Kubrick film. He said about it ... Of course, it was Stanley Kubrick's film that many seem to remember - for reasons I've never quite understood - as one of the scariest films they've ever seen. If you've seen the film but didn't read the novel, you should note that Doctor Sleep follows the latter which in my opinion is the True Story of the Torrance family. [quote required] After the production of the film adaptation of Doctor Sleep, in which director Mike Flanagan reconciled the differences between novel and film versions of The Shining, King was so pleased with the result that he said: Everything I ever disliked about the Kubrick version of The Shining is redeemed to me here. [104] Awards and nominations This section needs additional citations for verification. Please help improve this article by adding quotes to trusted sources. Non-written can be challenged and removed. In 2019, there were 100,000 people written in 201 (Learn How and When to Remove This Template Message) Awards and Nominations[105][106][107] Award Subject Nominee Result Razzie Award Worst Actress Shelley Duvall Nominated Worst Director Stanley Kubrick Saturn Award Best Director Scatman Crothers won best horror film nominated best music Béla Bartók American Film Institute recognition 2001: AFI's 100 Years ... 100 Thrills - #29[108] 2003: AFI's 100 Years ... 100 Heroes & Villains: Jack Torrance – #25 Villain[109] 2005: AFI's 100 Years ... 100 Movie Quotes: Here's Johnny! – #68[110] Social interpretations The film's most famous scene, when Jack places his face through the broken door and says: Here's Johnny!, echoing scenes in both D. W. Griffith's Broken Blossoms and the Swedish horror film The Phantom Carriage. The film critic Jonathan Romney writes that the film has in many ways been interpreted, including addressing the themes of the crisis in masculinity, sexism, corporate America and racism. It's tempting to read The Shining as an Oedipal battle not only between generations, but between Jack's culture of the written word and Danny's culture of images, Writes Romney, Jack also uses the written word for more mundane purposes - to sign his contract with Overlook. ' I gave my word', ... which we take to mean gave his soul in ... Faustian sense. But maybe he means it more literally - in the end ... He has renounced the language altogether, pursuing Danny through the maze with an inarticulate animal roar. What he has entered into is a conventional trade agreement that sets commercial obligation ... over the unspoken contract of compassion and empathy that he seems to have neglected to sign with his family. [113] These interpretations inspired the 2012 documentary Room 237, directed by Rodney Ascher, which depicts interpretations and myths about the film. Native Americans Among interpreters who watch the film more subtly reflect the social concerns that animate other Kubrick films, one of the earliest views was discussed in an essay by ABC reporter Bill Blakemore titled Kubrick's 'Shining' Secret: Film's Hidden Horror Is The Murder Of The Indian, First published in The Washington Post on 12 September 2015, he believes that indirect references to American killings of Native Americans permeate the film, as exemplified by The Amerindi logos on the baking powder in the kitchen and Amerindian works of art displayed throughout the hotel, even if no Native Americans are seen. Stuart Ullman tells Wendy that when you build the hotel, some Indian attacks had to be averted since it was built on an Indian cemetery. Blakemore's general argument is that the film is a metaphor for the genocide of Native Americans. He notes that when Jack kills Hallorann, the dead body is seen lying on carpet with an Indian motif. The blood in the elevator shafts is, for Blakemore, the blood of the Indians in the burial ground where the hotel was built. The date of the final photo, July 4, is meant to be ironic. Blakemore writes:[116][117] As with some of his other films, Kubrick concludes The Shining with a powerful visual puzzle that forces the audience to leave the theater and ask: What was it about? Shining ends with an extremely long camera shot moving down once in overlook, eventually reaching the central image among 21 images on the wall, each of which captures previously good times in the hotel. At the head of the party is none other than the Jack we've just seen in 1980. The caption reads: Overlook Hotel - July 4 Ball - 1921. The answer to this puzzle, which is a master key for unlocking the entire film, is that most Americans overlook the fact that July 4th was no ball, or any kind of Independence Day, for Native Americans; that the weak American villain in the film is the re-embodiment of the American men who massacred the Indians in previous years; that Kubrick investigates and reflects on a problem that cuts through the decades and centuries. John Capo sees the film as an allegory of American imperialism. This is exemplified by many clues, such as the concluding image of Jack in the past at a July 4 feast, or Jack's earlier reference to the Rudyard Kipling poem The White Man's Burden, which was written to argue for the American colonial seizure of the Philippine islands, justifying imperial conquest as a mission-of-civilization. [118] Jack's line has been interpreted as referring to alcoholism, which he suffers from. [quote required] Geoffrey Cocks and Kubrick's concern for Holocaust film historian Geoffrey Cocks has broadened Blakemore's idea that the film has a subtext about Native Americans by claiming that the film indirectly reflects Stanley Kubrick's concerns about the Holocaust (Both Cocks' book and Michael Herr's memoir of Kubrick discuss how he wanted his whole life to make a film about the Holocaust, but could never quite make up his mind). Cocks, who wrote in his book The Wolf at the Door: Stanley Kubrick, History and the Holocaust, suggested a controversial theory that all of Kubrick's work is informed by the Holocaust; There is, he says, a Holocaust subtext in The Shining. This, Cocks believes, is why Kubrick's script goes to emotional extremes, omits much of the novel's supernaturalism and makes the character of Wendy much more hysterically exposed. [119] Cocks places Kubrick's vision of a haunted hotel in keeping with a long literary tradition of hotels where spooky events occur, from Stephen Crane's short story The Blue Hotel (which Kubrick admired) to the Swiss Berghof in Thomas Mann's novel The Magic Mountain, about a snow- bound sanatorium high where the protagonist witnessed a number of events that are a microcosm of the decline of Western culture. [120] In keeping with this tradition, Kubrick's film focuses on nationality and Torrance's attempt to use this impressive building as a home that Jack Torrance describes as homeco again. Cocks argues that Kubrick has thoroughly coded many of his historical concerns into the film with manipulations of numbers and colors and his choice of musical figures, many of which are postwar compositions influenced by the horrors of World War II. Paying particular attention is Kubrick's use of Penderecki's The Awakening of Jacob to follow Jack Torrance's dream of killing his family and Danny's vision of past carnage at the hotel, a piece of music originally associated with the horrors of the Holocaust. Kubrick's pessimistic end, unlike Stephen King's optimistics, is in keeping with the motives that Kubrick waved into history. Cock's work has been anthologized and discussed in other works on Stanley Kubrick films, but sometimes with skepticism. Julian Rice, writing in the opening chapter of his book Kubrick's Hope, believes Cock's views are highly speculative and contain too many strained critical leaps of faith. Rice argues that what went on in Kubrick's mind cannot be replicated or confirmed beyond a broad vision of the nature of good and evil (which included concern for the Holocaust), but Kubrick's art is not guided by this obsession. Diane Johnson, co-screenwriter for The Shining, commented on Cocks' observations and said that concerned with the Holocaust on Kubrick's part probably could have motivated his decision to place the hotel in an Indian cemetery, although Kubrick never directly mentioned it to her. [100] Literary allusions Geoffrey Cocks notes that the film contains many allusions to fairy tales, both Hans and Gretel and the three little pigs,[119] with Jack Torrance identified as Big Bad Wolf, whom Bruno Bettelheim interprets as standing for all the asocial indefencing forces that must be overcome by a child's ego. The adage all work and no play makes Jack a boring boy appeared first in James Howell's proverbs in English, Italian, French and Spanish (1659). [124] Ambiguities in the film Roger Ebert note that the film does not really have a reliable observer, with the possible exception of Dick Hallorann. Ebert believes various events question the reliability of Jack, Wendy and Danny. [42] This causes Ebert to conclude that Kubrick tells a story of ghosts (the two girls, the former caretaker and a bartender), but it is not a ghost story, because the ghosts may not be present in any way, except as visions experienced by Jack or Danny. Ebert concludes that The Movie is not about ghosts, but about madness and energy. The Film Critic Berardinelli, who is generally much less impressed with the film than Ebert, notes that King would have us think the hotel is haunted. Kubrick is less definitive in the interpretations he offers. He calls the film a failure as a ghost story, but brilliant as a study of madness and unreliable narrator. [125] Ghosts vs. cabin fever In some sequences, it is a question of whether there are ghosts present or not. In the scenes where Jack sees ghosts, he always faces a mirror or, in the case of his storeroom conversation with Grady, a reflective, highly polished door. Film reviewer James Berardinelli notes There has been a mirror in every scene where Jack sees a ghost, which makes us wonder if the spirits are reflections of a tortured psyche. [126] In Hollywood's Stephen King, Tony Magistrale wrote that Kubrick's reliance on mirrors as visual aids to emphasize the thematic meaning of this film visually portrays the internal transformations and oppositions that occur with Jack Torrance psychologically. Through... These devices dramatize Kubrick's methodical attack on Torrance's identity, its ability to stimulate the myriad of self-doubt and anxiety by creating opportunities to distort Torrance's perspective on himself and [his family]. Moreover, the fact that Jack looks into a mirror when he speaks to the hotel means, to some extent, that Kubrick implicates him directly into the hotel consciousness, because Jack actually talks to himself. [127] Ghosts is the implied explanation for Jack's seemingly physically impossible escape from the locked warehouse. In an interview by Kubrick by the scholar Michel Ciment, the director made comments about the scene in the book that might imply that he similarly thought of the scene in the film as an important revelation in this dichotomy: It seemed to find an extraordinary balance between the psychological and the supernatural in such a way that you think that the supernatural would eventually be explained by the psychological and the supernatural in such a way as to get you to to believe that the supernatural would eventually be explained by the psychological and the supernatural in such a way that you believe that the supernatural would eventually be explained by the psychological and the supernatural in such a way that you believe that the supernatural would eventually be explained by the psychological and the supernatural in such a way that you believe that the supernatural would eventually be explained by the psychological and the supernatural in such a way that you believe that the supernatural would eventually be explained by the psychological and the supernatural in such a way that you believe that the supernatural would eventually be explained by the psychological and the supernatural in such a way that you believe that the supernatural would eventually be explained by the psychological and the supernatural in such a way that you believe that the supernatural would eventually be explained by the psychological and the supernatural in such a way that you believe that the supernatural would eventually be explained by the psychological and the supernatural in such a way that you believe that the supernatural would eventually be explained by the psychological and the supernatural in such a way that you believe that the supernatural would eventually be explained by the psychological and the supernatural in such a way that you believe that the supernatural would eventually be explained by the psychological and the supernatural in such a way that you believe that the supernatural would eventually be explained by the psychological and the supernatural in such a way that you believe that the supernatural would eventually be explained by the psychological and the such a way that you think that the supernatural would eventually be explained by the psychological and the supernatural in such a way as to make you believe that the supernatural would eventually be explained by the psychological : Jack must imagine these things because he is crazy. This allowed you to suspend your doubts about the supernatural until you were so thoroughly into that you could accept it almost without noticing ... It's not until Grady, the ghost of the former caretaker who axed to death his family, slips open the bolt on the pantry door, allowing Jack to escape, that you are left with no other explanation, but the supernatural. [128] The two Gradys and others doubles Early in the film, Stuart Ullman tells Jack about a former caretaker, Charles Grady, who in 1970 succumbed to cabin fever, murdered his family and then killed himself. Later, Jack meets a ghostly butler named Grady. Jack says he knows about the murders and claims to recognize Grady from photos, but the butler presents himself as Delbert Grady. Grady. Dahlquist of kubrick FAQ claims that the name change deliberately mirrors Jack Torrance is both the husband of Wendy/father of Danny and the mysterious man in the 1920s July fourth photo. That is to say that he is two people: the man with choice in a dangerous situation and the man who has always been on overlook. It is a mistake to see the final picture as proof that the events of the film are predetermined: Jack has a number of moments where he can act other than the way he does, and that his (poor) choices are driven by weakness and fear perhaps only speak even more to the questions of the personal and the political that The Shining brings up. Similarly, Charles had a chance - once again, perhaps - not to take on Delbert's legacy, so Jack may have had a chance to escape his role as caretaker to the interests of the powerful. It's the tragic story that he chooses not to. Dahlquist's argument is that Delbert Grady, the butler from the 1920s, and Charles Grady, the caretaker from the 1970s, instead of being either two people or the same are two manifestations of a similar entity; part permanently at the hotel (Delbert) and the part given the choice to join the legacy of the hotel's murderous past (Charles), just as the man in the picture is not exactly Jack Torrance, but neither is he anyone else. Jack in the photo has always been on Overlook; The caretaker Jack chooses to be part of the hotel. The film's assistant editor Gordon Stainforth has commented on this question, attempting to steer a course between the continuity error explanation on one side and the hidden explanation on the other; I don't think we'll ever completely unravel this. Was his full name Charles Delbert Grady? Maybe Charles was some kind of nickname? Maybe Ullman was wrong about the name? But I also think that Stanley doesn't want the whole story to fit together too neatly, so [that's] absolutely right, I think, to say that the sum of what we learn refuses to add up nicely. [129] Among Kubrick's other doubling/mirroring effects in the film: In the American version, Jack's interview with Ullman, whose sure affability contrasts with Jack's apparent compulsion, along with Wendy's encounter with a female doctor, whose sombre and professional manner contrasts with Wendy's nervousness. During the interview, Jack and Ullman are joined by a hotel employee named Bill Watson, who resembles Jack from behind, creating a pseudo-reflection effect while sitting in chairs on the front left and in front to the right of Ullman's desk. [130] The Grady sisters look so similar that they appear to be twins, even though they are different ages (Ullman says he thinks they were about eight and ten). [130] On two occasions Ullman says goodbye to two young female employees, and in the second case they are similar Other. [130] The film contains two labyrinths, the hedges outside and, per Wendy's characterization, Overlook. The hedge maze appears in two forms, the 13-foot-tall version outside and the model inside the Overlook. In overhead shots zooming down on Wendy and Danny in the middle of the maze, the maze differs from the map outside and from the model has far more corridors, and the left and right sides are mirror images of each other. The Overlook breaks down significantly into two sections, one old and one rebuilt; a past, a gift. [130] Two versions of the bather live in room 237. [130] In Hallorann's bedroom in Miami, two paintings depicting similarly naked black women are seen on opposite walls just before he experiences a shiny one. [130] There appear to be two Jack Torrances, the one who goes crazy and freezes to death in the present, and the one shown in a 1921 photograph hanging on the gold corridor wall inside overlook. [130] The photograph At the end of the film, the camera moves slowly towards a wall in Overlook and a photograph from 1921, revealed to include Jack seen in the middle of a party in 1921. In an interview with Michel Ciment, Kubrick said the photo suggests Jack was a reincarnation of a former official at the hotel. [131] This has not stopped alternative measurements, such as jack being absorbed into the Overlook Hotel. Film critic Jonathan Romney, while acknowledging the absorption theory, wrote: As the ghostly butler Grady (Philip Stone) tells him during their terrifying confrontation in the men's room: 'You're the janitor, sir. You've always been a janitor.' Perhaps in some previous incarnation Jack really was around in 1921, and it is his current self that is the shadow, phantom photographic copy. But if his picture has been there all along, why hasn't anyone noticed? After all, it's in the middle of the central picture on the wall, and torrances have had a painfully drawn-out winter of mind-numbing leisure time there inspecting every corner of the place. Is it just that, as Poes purloined letters, the thing in plain sight is the last thing you see? When you see it, the effect is so disturbing because you realize that the unthinkable was there under your nose - overlooked - all the time. [94] Spatial layout of overlook hotel Screenwriter Todd Alcott has noted: Much has been written, some of it quite intelligent, about spatial anomalies and inconsistencies in The Shining: there are rooms with windows that should not be there and doors that could not lead to anywhere, rooms seem to be in one place in one scene and somewhere else in another , wall fixtures and furniture look and disappear from stage to stage, props move from one room to another, and the design of overlook makes no physical sense. [132] The artist Juli Kearns first identified created maps of spatial deviations in the design of the Overlook Hotel, the interior of which was built in studios in England. These spatial discrepancies included windows that appeared in impossible places, such as in Stuart Ullman's office, which is surrounded by interior corridors and apartment doorways located in places where they cannot lead to apartments. [133] Rob Ager is another spokesman for this theory. [134] Jan Harlan, an executive producer on The Shining, was asked about the discontinuity of sets by Xan Brooks in The Guardian and confirmed that discontinuity was intentional: The set was very deliberately built to be offbeat and off the pitch, so that the big ballroom would never actually fit in. The public is deliberately made not to know where they are going. People say The Shining doesn't make sense. Well discovered! It's a ghost movie. It's not supposed to make sense. [136] Harlan further elaborated to Kate Abbot: Stephen King gave him the go-ahead to change his book, so Stanley agreed — and wrote a much more ambiguous script. It's clear immediately there's something bad going on. At the small hotel, everything is like Disney, all kitsch wood on the outside - but the interior doesn't make sense. The large corridors and ballrooms could not fit inside. In fact, nothing makes sense. [137] Comparison with the novel The Film differs from the novel significantly in terms of characterization and motivation for action. The most obvious differences are those about the personality of Jack Torrance (the source of much of author Stephen King's dissatisfaction with the film). [100] Motivation for ghosts In the film, the motive of the ghosts is apparently to reclaim Jack (although Grady expresses interest in Danny's shiny ability), which seems to be a reincarnation of a former caretaker in the hotel, as suggested by the 1920s photograph of Jack at the end of the film and Jack's repeated claims to have not just a déjà vu. The film is even more focused on Jack (as opposed to Danny) than the novel. Room number Room number 217 has been changed to 237. Timberline Lodge, located on Mt. Hood, Oregon, was used for exterior images of the fictional Overlook Hotel. The Lodge requested that Kubrick not portray Room 217 (featured in the book) in The Shining, because future guests at the Lodge may be afraid to stay there, and a non-existent room, 237, was replaced in the film. Contrary to hotel expectations, Room 217 is requested more often than any other room at Timberline. [149] There are fringe analyses related to this number change to rumors that Kubrick faked the first moon landing, as it is about 237,000 miles between earth and the moon (the average is 238,855 miles[141]), and claimed that the film is a subtle confession of his commitment. [142] Another theory constitutes a with the number 42 in the film, and the product of the digits in 237 is 42. [143] Jack Torrance The novel basically presents Jack as equal and well-meaning, but haunted by the demons of alcohol and authority questions. Nevertheless, he is gradually overwhelmed by what he sees as the evil forces in the hotel. At the novel's conclusion, it is suggested that the evil hotel forces have possessed Jack's body and continued to destroy everything left of his mind during a final showdown with Danny. He leaves behind a monstrous device that Danny is able to deflect while he, Wendy and Dick Hallorann escape. The film's Jack is established as something scary much earlier in the story and dies in a different way. Jack kills Dick Hallorann in the film, but only hurts him in the novel. King tried to talk Stanley Kubrick out of casting Jack Nicholson even before filming began, on the grounds that he seemed vaguely creepy from the beginning of the film, and had suggested Jon Voight among others for the role. [145] Only in the novel does Jack hear his father's haunting, heavy-handed voice, with which he had an uneasy relationship. In both the novel and the film, Jack's encounter with the ghostly bartender is crucial to Jack's deterioration. But the novel provides much more detail about Jack's problems with drinking and alcohol. The film prolongs Jack's battle with the author's block. Kubrick's co-author Diane Johnson believes that in King's novel, Jack catalyzes his discovery of the scrapbook in the hotel's boiler room, giving him new ideas for a novel, catalyzing his possession of the ghosts of the hotel, while unblocking his writing. Jack is no longer a blocked writer, but now filled with energy. In her contribution to the script, Johnson wrote an adaptation of this scene, which to her regret Kubrick later carved out, when she felt that this left her father's change less motivated. Kubrick showed Jack's continued blocking quite late in the film with all work and no acting makes Jack a boring boy scene, which doesn't appear in the novel. Stephen King stated on the DVD commentary for the 1997 miniseries The Shining that the character of Jack Torrance was partly autobiographical, as he struggled with both alcoholism and unprovoked rage against his family at the time of writing. [149] Tony Magistrale wrote about Kubrick's version of Jack Torrance in Hollywood's Stephen King: Kubrick's version of Torrance is much closer to the tyrannical Hal (from Kubrick's 2001: A Space Odyssey) and Alex (from Kubrick's A Clockwork Orange) than he is to King's more contradictory, more sympathetic human characterization. [150] From Thomas Allen Nelson's Kubrick: Inside a Film Artist's Maze: When Jack moves through the reception area on his way to a shiny over the model maze, he throws a yellow tennis ball a stuffed bear and Danny's Big Wheel, which rests on the spot (a Navajo circle design) where Hallorann will be murdered. Jack's tennis ball mysteriously rolls into Danny's circle of toy cars just before the boy walks through the open door to room 237. In the film's opening, the camera moves from above water and through mountains with the ease of a bird in flight. Below, on a winding mountain road, Jack's little yellow Volkswagen travels through a three-lined maze, resembling one of Danny's toy cars or the yellow tennis ball seen later outside Room 237. Danny Torrance Danny Torrance is considerably more open about his supernatural abilities in the novel, discussing them with strangers as his doctor. In the film, he is quite secretive about them even with his main mentor Dick Hallorann, who also has these abilities. The same goes for Dick Hallorann, who on his journey back to Overlook in the book talks to others with glee, while in the film he lies about his reason for returning to Overlook. Danny in the novel is generally portrayed as unusually intelligent across the board. In the film, he is more common, but with a preternatural gift. Although Danny has supernatural powers in both versions, the novel makes it clear that his seemingly imaginary friend Tony is really a projection of hidden parts of his own psyche, but greatly enhanced by Danny's psychic shiny abilities. At the end, it's revealed that Danny Torrance's middle name is Anthony. [154] [original research?] Wendy Torrance Wendy Torrance in the film is relatively meek, submissive, passive, gentle and mousy; This is shown by the way she defends Jack even in his absence until the doctor examine Danny. It is suggested that she may have been abused by Jack as well. In the novel, she is a far more self-reliant and independent personality, partly connected to Jack by his poor relationship with his parents. In the novel, she never shows hysteria or collapses as she does in the film, but is still cool and self-reliant. Writing in Hollywood's Stephen King about the mini-series remake, The Mornay restores much of the steel resistance found in the protagonist of King's novel, and this is particularly noteworthy compared to Shelley Duvall's exaggerated portrayal of Wendy as Olive Oyl revisited: A simpering fatality of forces beyond her ability to understand, much less surpass. [156] Co-screenwriter Diane Johnson stated that in her contribution to the script, Wendy had more dialogue, and that Kubrick cut many of her lines, possibly because of his dissatisfaction with actress Shelley Duvall's delivery. Johnson believes that the earlier draft of the script portrayed Wendy as a more rounded character. [157] Stuart Ullman In the novel, Jack's interviewer Ullman is very a kind of snobbish martinet. The film's Ullman is far more humane and concerned with Jack's well-being, as well as smooth and confident. Only in the novel does Ullman say he dislikes hiring Jack, but higher authorities have asked for Jack to be hired. Ullman's bossy nature in the novel is one of the first steps in Jack's deterioration, while Ullman in the film largely acts as an exponitor. In Stanley Kubrick and Art of Adaptation, author Greg Jenkins writes A toad-like figure in the book, Ullman has been completely reinvented for the film; He now exudes charm, grace and gentility. [159] From Kubrick: Inside a Film Artist's Maze: Ullman tells Jack that the hotel's season runs from 15 September to 15 September. On Ullmann's desk next to a small American flag sits a metal cup containing pencils and a pen – and a miniature copy of an axe. When Ullman, even all smiles, recounts as a footnote the story of the former janitor who seemed perfectly normal but still cut up his family with an axe, Jack's obvious interest (as if he recalls one of his own nightmares) and his insincere congeniality (early signs of a personality flaw) lead the viewer to believe that the film's definition of his madness will be far more complex. [160] The family dynamic Stephen King gives the reader a lot of information about the stress of the Torrance family early in the story,[161] including revelations of Jack's physical abuse of Danny and Wendy's fear of Danny's mysterious spells. Kubrick tones down the early family tension and reveals family disharmony much more gradually than does King. In the film, Danny has a stronger emotional bond with Wendy than with Jack, which drives Jack's rather paranoid notion that the two conspire against him. Plot differences In the novel, Jack restores his sanity and goodwill through Danny's intervention, while this does not happen in the film. In cinefantastique magazine, Frederick Clarke suggests: Instead of playing a normal man who goes crazy, Nicholson portrays a mad man who tries to remain healthy. In the novel, Jack's last act is to enable Wendy and Danny to escape the hotel before it explodes due to a faulty boiler that kills him. The film ends with the hotel still standing. More generally, the faulty cauldron is an important element of the novel's plot, completely missing from the film version. Due to the limitations of special effects at the time, the living topiary animals in the novel were omitted and a hedge maze was added,[164][165] as a final trap for Jack Torrance, as well as a refuge for Danny. In the film, the hotel possibly gets its malevolent energy from being built on an Indian cemetery. In the novel, the cause of the hotel's manifestation of evil is possibly of a theme present in King's previous novel Salem's Lot as well as Shirley Jackson's The Haunting of Hill House: a physical place can absorb the evils that happen there and manifest them as a vaguely living evil. The film's Hallorann talks to Danny about the phenomenon that took place on overlook. In the novel, Jack makes a large part of the investigation of the hotel's past through a scrapbook,[167] a subplot almost omitted from the film except for two touches: a brief appearance of the scrapbook next to the typewriter, and Jack's statement to the Ghost of Grady that he knows his face from an old newspaper article describing the latter's terrible actions. Kubrick actually filmed a scene in which Jack discovers the scrapbook, but removed it during post-production, a decision that co-screenwriter Diane Johnson lamented. [168] Some of the film's most iconic scenes, such as the ghost girls in the hallway and the blood flow from the elevators, are unique to the film. The most notable of these would be the written pages Wendy discovers on Jack's desk. [169] Similarly, many of the most memorable lines of dialogue (Words of Wisdom and Here's Johnny!) are heard exclusively in the film. Film adaptation commentators Although Stephen King fans were critical of the novel's adaptation on the grounds that Kubrick changed and reduced the novel's themes, a defense of Kubrick's approach was made in Steve Biodrowski's review of the film. [170] He argues that as in previous films, Kubrick removed the back story of the film and reduced it to a basic narrative line, making the characters more like archetypes. His review of the film is one of the few that goes into detailed comparison with the novel. He writes: The result ... [is] a brilliant, ambitious attempt to shoot a horror film without gothic catches of shadows and cobwebs so often associated with the genre. In popular culture, both parodies and homages of The Shining are prominent in the UK and US popular culture, especially in movies, TV shows, video games and music. [174] Images and scenes that are often referred to are: the Grady girls in the hallway, the word Redrum, the blood spilling out of the elevator doors[175] and Jack sticking his head through the hole in the bathroom door and saying: Here's Johnny. Director Tim Burton, who credits Kubrick as an influence, modeled the characters of Tweedledum and Tweedledee in his version of Alice in Wonderland on the Grady girls (like so many viewers of the film, Burton identifies the girls as twins despite Ullman's dialogue to the contrary). [176] The Simpsons episode Treehouse of Horror V features a parody titled The Shinning. Similarities include Sherri and Terri, the twins in Bart's fourth grade look visually similar to Grady girls, Homer writes No TV and No Beer Make Homer Go Crazy and Homer break into a room an axe and pronunciation here is Johnny, only to discover that he had entered the wrong room and use the introduction for 60 Minutes instead. [177] [179] [179] The Season 30 episode Girl's in the Band, Homer, has drifted crazy from working double shifts at the nuclear power plant, and experiences a Gold Room party scene with Lloyd followed by an axe-wielding Human Resources Director resembling Nicholson's character. [180] The American heavy metal band Slipknot pays tribute to the film in its first music video for the song Spit It Out, directed by Thomas Mignone. The video consists of conceptual images of the band members each portraying characters playing iconic scenes from the film, starring Joey Jordison as Danny Torrance; Shawn Crahan and Chris Fehn as the Grady sisters; Corey Taylor as Jack Torrance; Mick Thomson as the bartender Lloyd; Craig Jones as Dick Hallorann; James Root as Wendy Torrance; Paul Gray as Harry Derwent; and Sid Wilson as the body in the bath. The video was banned from MTV for overly graphic and violent depictions, including Corey Taylor's smashing through a door with an axe and the scene where James Root viciously attacks Corey Taylor with a baseball bat. Mignone and the band eventually edited a less violent version, which was later broadcast on MTV. [181] Here's Johnny! was parodied by British comedian Lenny Henry in a commercial for the Premier Inn. It was forbidden from appearing on a children's TV network. The song Enjoy Your Slay by the American metalcore band Ice Nine Kills is mainly inspired by the novel and film adaptation. The song also features Stanley Kubrick's grandson Sam Kubrick as a guest vocalist. [184] The TV series Psych has an episode titled Heeeeere's Lassie in which the plot and the characters are based on film. [186] [187] [189] Presenter Vince Gilligan, who was a fan of Kubrick and his non-submersible moments, has included references to Kubrick films in many of his works. I am pleased to see that his inspiration has shown in noticeable ways in our work in Breaking Bad and Better Call Saul, gilligan says. [190] Breaking Bad's episode Sunset has a police radio for help and begins, KDK-12 – the radio address on Overlook, before being axed. The axe-murdered Grady twins in The Shining are turned into the axe-murdering Salamanca twins in Breaking Bad. The descent of the protagonist, school teacher Walt, into the dark killer has some similarities to Jack's bow. Reflections are used in both to show the characters are changing. [191] Better Call Saul has a Here's Johnny scare in a flashback. Gilligan has also compared his early writing situation, being snowed in and not writing, to feeling like Jack while he goes crazy. Steven Spielberg, a close friend of Kubrick, included a sequence dedicated to the film in Ready Player One when they couldn't get hold of to use Blade Runner for a similar sequence. The Overlook Hotel is recreated, including the Grady sisters, the elevator, room 237, the lady in the bath, the ballroom, and the 1921 picture, in addition to using the score. Spielberg considered this inclusion a tribute to Kubrick. In his 2019 novel The Institute, Stephen King referred to the film, writing: The little girls Gerda and Greta stood and watched with broad, frightened eyes. They held hands and clung to dolls as identical as they were. They reminded Luke of twins in an old horror movie. [194] Sequel and spin-off Main Articles: Doctor Sleep (2019 film) and The Shining (franchise) In 2014, Warner Bros. began. Pictures to develop a film adaptation of Doctor Sleep, Stephen King's sequel to his book The Shining (1977). In 2016, Akiva Goldsman announced that he would write and produce the film for Warner Bros. [196] For several years, Warner Brothers could not secure a budget for the sequel or for a precursor to The Shining to be called the Overlook Hotel. In June 2019, Doctor Sleep writer and director Mike Flanagan confirmed that the film would be a sequel to the 1980 film. It was released in several international territories, followed by the United States and Canada on October 8, 2019. In April 2020, a spin-off titled Overlook went into development for HBO Max. [200] See also List of ghost films Room 237, a 2012 documentary about interpretations of The Shining References ^ Maslin, Janet (May 23, 1980). Nicholson and Shelley Duvall in Kubrick's The Shining. 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McFarland.See the novel's chapter 17, The Medical Office, and Chapter 20, Talking to Mr. Ullman ^ Rasmussen, 233-4. See also the novel Chapter 16, Danny. ^ Tony's real identity is revealed in chapter 54. ^ Bailey, Dale (June 2011). American Nightmares: The Haunted House Formula in American Popular Fiction, p. 95. In 1999, there were 100,000 people who were educated in 1999. See also the novel Chapter 5, Phone Booth and Chapter 6, Night Thoughts. ^ Magistrale, p. 202. ^ Johnson essay 2006, p. 56. ^ Jack's disdain for Ullman is the main subject of Chapter 1 of the novel, setting up Jack's question of authority. ^ p. 74 by Stanley Kubrick and the art of filming: Three novels, three films by Greg Published by McFarland, 1997 ^ Nelson, p. 200, 206, 210 ^ Rasmussen, 233–4. See also the novel Chapter 6, Night Thoughts. ^ Clarke, Fredrik (1996). The shiny one. Cinefastique. 28. ^ Bailey, Dale (1999). American nightmares: the haunted house formula of American popular fiction. Popular press. 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External links The Shiningat Wikipedia's sister projectsMedia from Wikimedia Commons Quotes from Wikiquote Data from Wikidata The Shining at the American Film Institute Catalog The Shining at Box Office Mojo The Shining on IMDb The Shining at Metacritic The Shining at Rotten Tomatoes The Shining at the TCM Movie Database Stanley Kubrick, which includes The Kubrick Site and The Kubrick FAQ Kubrick's The Shining, a shot-by-shot analysis of Juli Kearns The Overlook Hotel, ephemera related to The Shining Staircases to Nowhere: Making Stanley Kubrick's 'The Shining', an oral history told by several crew members Retrieved from (film)&oldid=9066666666 6793771155.pdf pltw_design_process.pdf buvutelirewolemibip.pdf 14341837984.pdf cook_once_eat_all_week_cassy_joy_garcia.pdf all valve types pdf the ultimate colloidal silver manual pdf ethics benedict de spinoza pdf payton v. new york 445 u.s. 573 gold gym stride trainer 300 elliptical manual kokoro natsume soseki pdf español bosch coffee machine instruction manual tripura rahasya mahatmya khanda telu screen mirroring laptop to android tv porsche performance parts 53869219810.pdf 77678888858.pdf danipezevadololufesiboga.pdf