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Continue Durante o inverno, um homem (Jack Nicholson) yn contratado para ficar como vigia em um hotel no Colorado e Wai para l e com mulher (Shelly Duvall) e seu filho (Danny Lloyd). Porem, o continuo isolamento comena lhe causar problemas s'rios e ele vai se tornado cada vez mais agressivo e perigoso, ao mesmo tempo em que seu filho passa a ter vis'es de acontecimentos ocorridos no passado 1980 horror film director Stanley Kubrick The ShiningUK theatrical release posterStanley KubrickProduced by Stanley Kubrick Screenplay By Shiningby Stephen KingStarring Jack Nicholson Shelley Duval Ska Hetman Crothers Danny Lloyd Music Wendy's Rachel Elkind CinematographyJohn AlcottEdited by Ray LovejoyProductioncompany Producer Circle CompanyTransegrine ProductionsHawk Films Distributed by Pokner Bros.Release Date May 23, 1980 (1980-05-23) (United States) , 1980 (1980-10-02) (United Kingdom) (United Kingdom) LanguageEngBulishdget $19 million. Box Office ($46.2 million) is a 1980 psychological horror film directed by Stanley Kubrick and written in collaboration with writer Diana Johnson. The film is based on Stephen King's 1977 novel of the same name, starring 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 takes a position as the off-season caretaker of the isolated historic Overlook Hotel in Colorado Rocky. Winter with Jack is his wife, Wendy Torrance (Duval) and young son, Danny Torrance (Lloyd). Danny has shining, mental abilities that allow him to see the terrible past of the hotel. The hotel's chef Dick Hallorann (Crothers) also has this ability and is able to communicate with Danny telepathically. The hotel had a previous winter caretaker who went crazy and killed his family and himself. After the winter storm leaves Torrance snow-covered, Jack's sanity deteriorates due to the influence of supernatural forces inhabiting the hotel, putting his wife and son in danger. Production took place almost exclusively at EMI Elstree Studios, with sets based on real locations. Kubrick often worked with a small team, allowing him to make many berets, sometimes to exhaustion of actors and staff. The new Mount Steadicam was used to shoot several scenes, giving the film an innovative and breathtaking view. There has been a lot of speculation in the meanings and actions of the film because of inconsistencies, ambiguities, symbolism and differences from the book. The film was released in the United States on May 23, 1980, and UK October 2, 1980, Warner Bros. There were several versions for theatrical releases, each of which was shortened shorter than the previous one; about 27 minutes were shortened in total. Reaction to the film at the time of its release was mixed; Stephen King criticized the film because of its deviations from the novel. Critical opinion became more favorable and became a staple of pop culture. In 2018, the film was selected for preservation in the U.S. National Film Registry by the Library of Congress as culturally, historically or aesthetically significant. The sequel, Doctor Sleep, was released on November 8, 2019 in the United States and October 31, 2019 in Europe. Plot writer Jack Torrance arrives at the remote Overlook Hotel in the Rocky Mountains to be interviewed for the position of Winter Caretaker. The hotel, which opened in 1909 and was built on a Native American burial site, is closing for months. Once hired, Jack plans to use the hotel's privacy to write. Manager Stuart Ullman warns Jack about the reputation of the hotel: the previous caretaker, Charles Grady, killed his family and himself. Jack, however, is impressed with the hotel and takes the job. In Boulder, Jack's son, Danny, has a hunch about the hotel, and Jack's wife, Wendy, tells the doctor about Danny's imaginary friend, Tony. It also reveals that Jack is a recovering alcoholic who once injured Danny in a drunken rage. When the family moves to the hotel, chef Dick Hallorann surprises Danny telepathically offering him ice cream. Halloranne explains to Danny that he and his grandmother shared this telepathic ability, which he calls brilliant. Hallorann tells Danny that the hotel has a radiance and its own memories. He also tells Danny to stay away from Room 237. A month passes; While Jack writes goes nowhere, Danny and Wendy explore the hotel's hedge maze and Hallorann goes to Florida. Wendy learns that the phone lines because of heavy snowfall. Danny has frightening visions, while Jack becomes prone to violent outbursts as his mental health deteriorates. Danny's curiosity about room 237 overtakes him when he sees the door of the room open. Later, Wendy finds Jack screaming during a nightmare as he sleeps behind his typewriter. After she woke him up, Jack said he dreamed he had killed her and Danny. Danny arrives, visibly traumatized and bruised. Wendy accuses Jack of abusing him, which Jack denies. Jack wandered into the Hotel's Golden 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 who tried to strangle him. Jack explores Room 237 and meets the ghost of a dead woman, but he tells Wendy he hasn't seen anything. Wendy Jack argues over whether to remove Danny from hotel and Jack Jack to the Golden Room, which is now filled with ghosts attending the ball. He meets a ghostly waiter who identifies himself as Delbert Grady. Ghost informs Jack that Danny contacted Halloran using his talent and says that Jack must fix his wife and child. After telepathically feeling Danny's fear, Halloran flies back to Colorado. Danny screams red and goes into another trance, calling himself Tony. Wendy discovers that Jack has been typing a page filled with the phrase All the work and not playing makes Jack a boring boy. She begs psychopath 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 disconnected the hotel's two-headed radio and snowcat. Jack talks through the pantry with Grady, who opens the door, frees Jack. Danny continues to chant and draw the word REDRUM. When Wendy sees the word reversed in the bedroom mirror, the word is revealed as MURDER. Jack hacked the main door of the block with an axe. Wendy sends Danny through the bathroom window, but can't get out on her own. Jack breaks in the door, but retreats after Wendy stabs his hand. Hearing Halloranne arrives in a snow cat, Jack is ambushed and kills him in the lobby, and then pursues Danny in a maze of hedges. Wendy runs through the hotel in search of Danny, meeting ghosts, a cascade of Danny's blood, provided in Boulder, and the corpse of Halloranne. In the hedging labyrinth, Danny makes a false trail to mislead Jack and hides behind a snowdrift, while Jack follows a false trail. Danny escapes from the maze and reunites with Wendy; they leave in the snowcat Hallorann, while Jack, now hopelessly lost in the maze, freezes to death. Pictured in the hotel hallway, Jack is pictured standing among a crowd of party revellers from 1921. Starring Jack Nicholson as Jack Torrance Shelley Duval as Wendy Torrance danny Lloyd as Danny Torrance Scatman Crothers as Dick Hallorann Barry Nelson as Stuart Ullman Philip Stone as Delbert Grady As Jo Terkel as Lloyd Ann Jackson as Dr. Tony Burton as Larry Durkin Leah Beldam as Larry Durkin All scenes involving Jackson and Burton were removed, but the credits remained unchanged. Dennen is on screen in all versions of the film, albeit to a limited degree (and without dialogue) in the European context. The actresses who played the ghosts of Grady's murdered daughters, Lisa and Louise Burns, are identical twins; However, the characters in the book and the film's scripts are just sisters, not twins. In the dialogue film, Mr. Ullman says he thinks they were about eight and ten. they are often referred to in discussions about the film as the Grady twins. The similarities in the production of Grady's girls and Diana Arbus's Twins were noted by both Arbus's biographer, Patricia Bosworth, Kubrick's assistant who cast and coached them, Leon Vitali, and Kubrick's many critics. Although Kubrick met Arbus in person and studied photography under her youth as a photographer for Look magazine, Kubrick's widow says he is not intentionally modeled by Grady's girls in arbus's photograph, despite widespread attention to similarities. The production of Lake St. Mary with its Island of Wild Goose can be seen during the premiere of the film The Shining. Genesis Before making The Shining, Kubrick directed the film Barry Lyndon (1975), a very visual period film about an Irishman trying to get into the British aristocracy. Despite its technical achievements, the film was not a box office success in the United States and was ridiculed by critics for being too long and too slow. Kubrick, frustrated by the lack of success of Barry Lyndon, realized that he needed to make a film that would be commercially viable as well as artistically fulfilling. Stephen King was told that Kubrick was his staff bringing him stacks of horror books as he planted himself in his office to read them all: Secretary Kubrick heard the sound of each book hitting the wall as the director threw him into a deflect heap after reading the first few pages. Finally one day the secretary noticed that it was time, as she 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. Speaking about the subject of the film, Kubrick stated that something inherently wrong with the human personality. There's an evil side to that. One of the things that scary stories can do is show us the archetypes of the unconscious; we can see the dark side without facing it directly. Casting Nicholson was Kubrick's first choice for the role of Jack Torrance; Other actors considered included Robert De Niro (who claims the film gave him nightmares for a month), Robin Williams, and Harrison Ford, all of whom met with disapproval of Stephen King. In search of the right actor for the game, Danny Kubrick sent husband and wife Leon and Kirsty Vitali to Chicago, Denver and Cincinnati to create a pool of interviews of 5,000 boys over a six-month period. These cities have been chosen since Kubrick was looking for a boy with an accent who fell between speech models Jack Nicholson and Shelley Duvall. The interior filming sets up the lobby and lounge of the Overlook Hotel was modeled at the Ahwahnee Hotel and was created at Elstree Studios. By choosing King's novel as the basis for his next project, After the pre-production stage, Kubrick built the scenery on sound stages at EMI Elstree Studios in Borhamwood, Hertfordshire, England. Some of the interior designs set by the Overlook Hotel were based on that from the Ahwahnee Hotel in Yosemite National Park. To allow him to shoot scenes in chronological order, he used several stages at EMI Elstree Studios to make all sets available throughout the production period. The set for the Overlook Hotel was at the time the largest ever built in Elstree, including the life-size re-creation of the hotel's exterior. In February 1979, the set at Elstree was badly damaged in a fire, which led to a delay in production. The exterior of Timberline Lodge in Oregon served as the exterior of the Overlook Hotel. While most of the internal shots, and even some of Overlook's external shots, were filmed on studio sets, several external shots were filmed at the scene of a second crew unit led by Ian Harlan. Lake St. Mary and Wild Goose Island in Glacier National Park, Montana, were filming for aerial photography of the first scenes when a Volkswagen Beetle was driving along Going-to-the-Sun Road. Timberline Lodge at Mount Hood in Oregon was filmed for several shots of the fictional Overlook Hotel; missing from these hedge maze shots, the Timberline Lodge has not. The first panoramic shots were later used by Ridley Scott for the final moments of the original blade runner-up (1982). The photo page from The Shining Shining Scenario had a long and difficult production period, often with very long working days. The main photo took more than a year, due to Kubrick's highly methodical nature. Actress Shelley Duvall didn't get along with Kubrick, often arguing with him on the set of lines in the script, her acting techniques and many other things. Duvall eventually became so overwhelmed by the stress of her role that she became physically ill within months. At one point she was under so much stress that her hair began to fall out. The script of filming was constantly changing, sometimes several times a day, adding more stress. Nicholson was eventually so disillusioned with the ever-changing script that he threw out copies that the production team gave him to remember, knowing he would change anyway. He learned most of his lines a few minutes before filming them. Nicholson lived in London with his then-girlfriend Angelica Houston and her younger sister Allegra, who testified about his long shooting days. Joe Turkel said in a 2014 interview that they had been rehearsing the bar scene for six weeks, and that the day of filming lasted from 9 a.m. to 10:30 p.m., and Turkel recalled that his clothes were soaked by the end of the day. He added that it was his favorite scene in the film. For the final gold room sequence, Kubrick instructed the stats (via megaphone) not to speak, but to communicate with each other. Kubrick knew from years of meticulous thousands of movies that extras can often mmm your business by nodding and using big gestures that look fake. He told them to act naturally to give the scene a chilling sense of time-tripping realism as Jack walks from the Seventies to the roaring twenties. Writing Jack's typewriter for international versions of the film, Kubrick filmed a different takes of Wendy's typewriter reading pages in different languages. A suitable idiom was used for each language: German (Was du heute kannst besorgen, das verschiebe nicht auf morgen - Never be afraid of tomorrow, what can be done today), Italian (Il mattino ha l'oro in the side - Morning has gold in the mouth), French (Un Tiens vaut mieux que deux tu l'auras - One 'here you go' is worth more than two 'you'll have it' , Spanish (No por mucho madrugar amanece m's temprano - No matter how early you get up, you can not make the sunrise before.) These alternative shots were not included in the DVD release, which used only the English phrase all work and no game makes Jack a boring boy. The door that Jack would cut through with an axe near the end of the film was real, Kubrick originally filmed the scene with a fake door, but Nicholson, who worked as a volunteer fire marshal and firefighter in the California National Guard, cut 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 some time, was unaware of the meaning of the line, and almost used a different take. Carson later used Nicholson's music video to open his 1980 anniversary show on NBC. During the production, Kubrick cut David Lynch's Eraserhead (1977) for actors and film crews to convey the mood he wanted to achieve for the film. Steadicam The Shining was one of the first half-dozen films (after the Bound for Glory, Marathon Man and Rocky films, released in 1976) to use the newly developed Steadicam, a stabilizing editing for the camera that mechanically separates the operator's motion from the camera, allowing you to smoothly track the images while the operator moves on a rough surface. It essentially combines stabilized sustainable regular grief frames with the fluidity and flexibility of a portable camera. The inventor of Steadicam, Garrett Brown, was actively involved in the production of The Shining. Brown described his excitement of taking his first round sets, which suggested further for Steadicam. This tour persuaded Brown to participate in the production personally. Kubrick wasn't just talking about trick shots and ladders. Rather he would use a Steadicam as it was intended to use - as a tool that could help get the lens where it wanted in space and time without the classic limitations of Dolly and the crane. Brown used an 18mm Cooke lens that allowed Steadicam to pass within an inch of walls and door frames. Brown published an article in American Cinematographer about his experiences, and contributed to an audio commentary on the 2007 DVD release. The Overlook's Colorado Lounge was modeled largely on the Ahwahnee's Grand Lounge. Kubrick personally helped change the technology of steadicam video transmission. Brown claims that his own ability to manage Steadicam was refined while working on Kubrick's film. For this film, Brown developed a two-arm technique that allowed him to maintain the camera at the same height while panning and tilting the camera. In addition to tracking shots from behind, Steadicam allowed shooting in narrowed rooms without flying out walls, or backing up the camera in the door. Brown notes that: One of the most talked about shots in the picture is the eerie tracking sequence that follows Danny as he pedals at high speed through the hallway behind the hallway on his plastic Big Wheel tricycle. The soundtrack explodes with noise when the wheel is on the wooden flooring and abruptly silent as it crosses the carpet. We had to have a lens just inches from the floor and quickly travel just behind or in front of the bike. This required Steadicam to be on a special mountain resembling a wheelchair in which the cameraman sat pulling the platform with the sound engineer. The weight of the rig and its passengers proved too much for the original tires, causing the blowout one day, which almost caused a serious accident. Solid tyres were then installed at the rig. Kubrick also had a very precise speedometer mounted on the rig to duplicate the exact pace of the shot so That Brown could perform consecutive identical takes. Brown also discusses how scenes in the hedging maze were filmed with Steadicam. The music and soundtrack of stylistically 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 music passages with a movie was left almost entirely to the discretion of music editor Gordon Steinforth, whose work on this film is known for attention to small details and surprisingly precise synchronization without excessive splicing. The soundtrack to the LP album was recalled due to problems with music licensing. The soundtrack of the LP is lowered parts heard in the film as well as full versions of the fragments, from which only fragments are heard in the film. The unexplored music on the soundtrack is this: 36 Dies Irae segment from Symphonie fantastique by Hector Berlioz, performed by Wendy Carlos and Rachel Elkind Lontano Gyorgy Ligeti, Ernest Boer conductor of the Southwest German Radio Symphony Orchestra (Wergo Records) Music for strings, percussion and selests by Bela Bartok, Herbert von Karajan conductor of the Berlin Philharmonic Orchestra (Deutsche Grammophon) , De Natura Sonoris No. 1 (the last not on the album soundtrack, The Krakow Philharmonic Orchestra, conducted by Henrik Chyzh) 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 Band Hotel (Columbia Records), Stars and you by Al Bowlley, performed by Ray No. , performed by Ray Noble and his orchestra (not on the soundtrack album) Masquerade, performed by Jack Hilton and his orchestra (not on the soundtrack) Canon (for string orchestra) Krzysztof Penderecki (not on the soundtrack) , The Krakow Philharmonic Orchestra under the direction of Henrik Cheech (not on the soundtrack) On arrival at Elstree Studios, Wendy Carlos and Rachel Elkind were shown the first version of the film. There were great gobs of scenes that never made it into the film. There was a whole strange and mystical scene in which Jack Nicholson discovers objects that were located in his workspace in a ballroom with arrows and things. He goes down and thinks he hears a voice and the ghost throws the ball back towards him. None of this got to the final film. We scored a lot. We didn't know what was going to be used for sure. After something similar happened to her at Clockwork Orange, Carlos said she was so disappointed with Kubrick's actions that she vowed never to work with him again. Her own music was released in full in 2005 as part of her rediscovered Lost Results compilation. The release of Unlike Kubrick's previous work, which evolved audiences gradually by word of mouth, The Shining originally opened on 10 screens in New York and Los Angeles on Memorial Day weekend, and was then released as a mass-market film across the country for a month. The European release of The Shining a few months later was 25 minutes shorter due to Kubrick's removal of most of the scenes taking place outside around the hotel. After the release of the edit After its premiere and a week in general launch (with a running time of 146 minutes), Kubrick cut the scene at the end of what happened in the hospital. The scene shows Wendy in bed talking to Mr Ullman, who explains that Jack's body cannot be found; He then gives Danny a yellow tennis ball, presumably the same one that Jack was throwing around the hotel. This scene was subsequently physically cut from the engravings by projectionists and sent back to the studio on the order of Warner Bros., the film's distributor. This reduces the movie's running time to 144 minutes. Roger Ebert commented: If Jack did freeze to death in the maze, of course his body was found - and sooner rather than later, as Dick Hallorann warned the foresters of serious trouble at the hotel. If Jack's body wasn't found, what happened to him? He never was there? Has this been absorbed in the past, and does this explain Jack's presence in this last photograph of a group of hotel guests in 1921? Was Jack's violent pursuit of his wife and child entirely in Wendy's imagination, or Danny's, or them? ... Kubrick was wise to remove this epilogue. He pulled one rug too much from under the story. On some level, it is necessary for us to believe that three members of the Torrance family are actually residents at the hotel during this winter, whatever happens or what they think is going on. A European version for its release in Europe, Kubrick cut about 25 minutes from the film. The cut scenes included a longer meeting between Jack and Watson at the hotel; Danny attended the doctor (Anne Jackson), including references to Tony and how Jack once injured Danny in a drunken rage; More footage of Hallorann's attempt to get to the hotel during a blizzard, including a sequence with a garage attendant (Tony Burton); Extended dialogue scenes at the hotel; and the scene where Wendy discovers a group of skeletons in the hotel lobby during the climax. Jackson and Burton are credited in european print despite their scenes being cut from the film. According to Harlan, Kubrick decided to shorten some sequences because the film was not well received and also after Warner Brothers complained about its ambiguity and length. The scene where Jack obsessively writes on the typewriter, All work and no play makes Jack a boring boy, was shot several times, but changed the language of print to Italian, French, Spanish and German to match the appropriately named languages. In the Italian version of Nicholson was christened the voice of actor Giancarlo Giannini. Two alternative berets were used in British television advertising. Advertising campaigns Original Red and the latest yellow versions of the theatrical poster of Sola Bass for the film. Various theatrical posters were used during the The international release cycle of 1980- 1981, but in the United States, where the film first opened, the main poster and newspaper advertising were developed by the famous Hollywood graphic designer Saul Bass. Bass and Kubrick reportedly went through more than 300 potential projects before settling on the final design of an anxious, angry, undersized, pointy puppet face (which does not appear in the film) peering into the letters The with SHiNgNi below, in small letters. At the top of the poster are the words MASTERPIECE OF MODERN HORROR, with credits and other information at the bottom. Correspondence between the two men during the design process survives, including Kubrick's handwritten critique of The Bass's various proposed designs. Bass originally intended the poster to be black against a red background, but Kubrick, to Bass's horror, decided to turn the background yellow. In response, Bass ordered a small silkscreen of his original version, which also lacks the slogan masterpiece of modern horror, and at the bottom there are credits in a compact white block. In April 2019, the 4K version of the Turner Classic Movies and Fathom Events was limited in October 2016 in 2K and 4K resolution. Running time is 146 minutes and 143 minutes. Home Media This section needs additional quotes to check. Please help improve this article by adding quotes to reliable sources. Non-sources of materials can be challenged and removed. (April 2015) (Learn how and when to delete this template message) The American television premiere of The Shining (on ABC's Friday Night Movie on May 6, 1983) began with a poster that read, TONIGHT'S FILM DEALS WITH THE SUPERNATURAL, AS A POSSESSED MAN ATTEMPTS TO DESTROY HIS FAMILY. With the ambiguity of the film it is unknown how Kubrick felt and whether he agrees with this proclamation. The poster also said that the film was edited for television and warned about the content. The U.S. Region 1 DVD movie is a longer (142 minutes) edit movie. The European (including UK) Region 2 DVD is a shorter (119 minutes) version. On British television the short version played 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 shows, before and after them, were either on ITV or ITV4 and were more US edited. The German DVD shows a short version, as seen on German television shows. In accordance with the provisions contained in Kubrick's will, DVD releases show the film in an open mat (i.e. with more content visible than in cinemas). DVDs in both regions contain a candid fly-on-the-wall 33-minute documentary made by Kubrick's daughter Vivian (who was 17 when she was filming it) entitled Making the Shining, originally shown on British television in 1980. She also provided an audio commentary track about her documentary for his DVD release. It appears even on pre-2007 editions of The Shining on DVD, although most DVDS of Kubrick films before were then deprived of documentary or audio commentary. He has some candid interviews and very private moments caught on set, such as arguments with actors and director, moments of no-nonsense Kubrick directing his actors, Scatman Crothers being overwhelmed with emotion during his interview, Shelley Duvall collapsing from exhaustion on set, and Jack Nicholson enjoying playing up the backstage 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. Director Steven Spielberg and Kubrick's former personal assistant Leon Vitali worked closely with Warner Bros. in the development process. It's the same cut and 4K restoration that was shown at the 2019 Cannes Film Festival. According to the official press release, the official long running time is 146 minutes. Receiving Initial Reviews It opened at first for mixed reviews. 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 depressingly little rhyme or cause... Even the most striking, gruesome images of the film seem imperious and perhaps even inappropriate. Variety was critical, saying, With everything you have to work with, ... Kubrick teamed up with the nervous Jack Nicholson to destroy everything that was so scary about Stephen King's bestseller. The general initial criticism was the slow pace, which was very atypical for horror films of the time. Neither Gene Siskell nor Roger Ebert reviewed the film in the television show At the Movies when it was first released, but in his Chicago Sun-Times review Ebert complained that it was difficult to contact any of the characters. In his Chicago Tribune review, Siskell gave the film two stars out of four and called it a rumble of disappointment. The biggest surprise is that it contains almost no thrills. Given Kubrick's world-class reputation, one immediate reaction is that perhaps he was after something other than the thrill of the film. If so, it's hard to know what. Kevin Thomas of the Los Angeles Times wrote: There are moments so visually stunning that only Kubrick can pull them off, but the film is too grandiose to be a jolt of that horror expected to be. Both those who expect value value Kubrick and those who are just looking for a good scare may be equally disappointed. Pauline Cale, of The New Yorker, said: Time and time again the film makes us expect something - almost promises it - and then disappoints us. Gary Arnold of The Washington Post wrote: Stanley Kubrick's production of The Shining, a heavy, dim distillation of Stephen King's bestseller, looms as the Big Letdown of the new movie season. I can't remember a more thoroughly ineffective movie scare. It was the only one of Kubrick's last nine films that received no Oscar nominations or a Golden Globe, but was nominated for a pair of Razzie Awards, including Worst Direction and Worst Actress (Duval), in the first year of the award. Vincent Misiano's review of Ares Magazine concluded: The shining is open to all devices of horror and suspense - endless eerie music, the odd camera angles, the soundtrack of an endlessly knocked heart, axes and hunting. The result is shallow, shy and boring. Read the book. The Shining box office opened on the same weekend as The Empire Strikes Back, but was released on only 10 screens and grossed $622,337 over a four-day weekend, the third highest-grossing weekend with less than 50 screens of all time, after Star Wars (1977) and Rose (1979). It had an average gross on screen of $62,234 compared to $50,919 for The Empire Strikes Back with 126 screens. After the expansion, the film gained momentum, eventually making good commercially during the summer of 1980 and making Warner Bros. profit. Tim Cahill of Rolling Stone said in an interview with Kubrick that by 1987 there was already a critical reassessment of The Shining in the process. As with most of Kubrick's films, later analyses were more sympathetic to the film. In 2001, the film took the 29th place on the 100th anniversary of AFI... 100 Thrills list, and Jack Torrance was named the 25th greatest villain in 100 years by AFI... List of 100 heroes and villains in 2003. In 2005, the quote Here's Johnny! ranked 68th in the 100 years of AFI... 100 List of quotes from the film. He had the scariest moment of Channel 4, the entire film called it the 5th greatest horror film, and Bravo TV named one of the scenes of the film sixth in the list of the 100 most terrible moments of the film. In addition, film critics Kim Newman and Jonathan Romney placed him in their top ten lists for the 2002 poll View and Sound. Director Martin Scorsese has placed it on his list of the 11 most scary horror films of all time. Mathematicians from 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 the right balance of different ingredients, including shock value, suspense, mountain and size Cast. It was voted the 62nd greatest American film ever made in a 2015 BBC poll. Critics, scholars and crew members (such as Kubrick's producer Jan Harlan) discussed the film's enormous impact on pop culture. In 2006, Roger Ebert, who initially criticized the work, introduced the film into his Great Movies series, saying, The Cold and Frightening Shining by Stanley Kubrick challenges us to decide: who is a reliable observer? Whose idea of events can we trust? ... It is this elusive openness that makes Kubrick's film so strangely disturbing. On the Rotten Tomatoes review aggregation site, the film has an 84% rating based on 93 reviews, with an average rating of 8.39/10. The sites of critical consensus reads: Although it deviates from Stephen King's novel, Stanley Kubrick's The Shining is a chilling, often baroque journey into madness - an example of an unforgettable twist from Jack Nicholson. Horror film critic Peter Breck, considering blu-ray's release in High-Def Digest, wrote: Just as the ghostly phenomena of the fictional Overlook Hotel will play tricks on the mind of poor Jack Torrance, so the passage of time has changed the perception of the Shining itself. Many of the same reviewers who criticized the film for not being scared enough back in 1980 now rank it among the most effective horror films ever made, while viewers who hated the film then now vividly remember being terrified of the experience. The radiance somehow rose from the ashes of its own bad press to redefine itself not only as a fundamental work of the genre, but perhaps the most stately, cunning horror ever made. In 1999, Jonathan Romney discussed Kubrick's perfectionism and dispelled the initial arguments of others that the film lacked complexity: Only the final scene demonstrates what a rich source of bewilderment The Shining offers... look beyond simplicity and Overlook shows itself as a palace of paradox. Romney goes on to explain: The dominant presence of the Overlook Hotel - designed by Roy Walker as a line-up of American hotels visited during the research - is an extraordinary confirmation of the value of misanno-en-sc'ne. This is a real, complex space that we not only see, but actually inhabit. The conclusion is palpable: horror cinema is the art of claustrophobia, making us hate staying in the movies but not being able to get away. However, this is combined with a kind of agoraphobia - we are as frightened by the cavernous expanses of the hotel as the hull of its corridors. ... The film establishes a complex dynamic between simple home life and magnificent greatness, between the supernatural and the mundane, in which the viewer is disoriented by a combination of space and conclusion, and uncertainty as to what is real or not. King was the executive producer of a more faithful 1997 adaptation, and continues to hold mixed feelings about Kubrick's version. Speaking about the subject of the film, Kubrick stated that something inherently wrong with the human personality. There's an evil side to that. One of the things that scary stories can do is show us the archetypes of the unconscious; we can see the dark side without facing it directly. Stephen King said that while Kubrick made the film with memorable images, it was poor as an adaptation and that it was the only adaptation of his novels that he could remember hate. However, in King's 1981 non-fiction book, Danse Macabre, he listed Kubrick's film among those he considered to have introduced something of value into the horror genre and called it one of his personal favorites. Before the 1980 film, King often said that he paid little attention to the film adaptations of his work. The novel, written at a time when King was suffering from alcoholism, contains an autobiographical element. King expressed disappointment that some topics, such as family breakdown and the dangers of alcoholism, are less present in the film. King also saw Nicholson's casting as a mistake, claiming it would lead to a quick realization among viewers that Jack would go crazy because of Nicholson's famous role as Randle McMurphy in One Flew Over the Cuckoo's Nest (1975). King suggested that more of every actor, such as Jon Oyte, Christopher Reeve, or Michael Moriarty play the role, so Jack's descent into madness would be more unnerving. In an interview with the BBC, King also criticised Duvall's performance, saying: He's basically just there to scream and be stupid, and that's not what I was writing about. King once suggested that he did not like the understatement of a supernatural film; King portrayed Jack as a victim of the truly external forces plaguing the hotel, while King felt that Kubrick viewed obsessive and, as a result, malignancy as coming from within Jack himself. In October 2013, however, journalist Laura Miller wrote that the discrepancy between the two was almost the complete opposite: Jack Torrance of the novel was spoiled by his own choices - especially alcoholism - while Kubrick's adaptation actually made the reasons more surreal and ambiguous: King, in fact, is a moral writer. The decisions made by his characters - whether it's confronting a pack of vampires or breaking 10 years of sobriety - is what matters to him. But in Kubrick's film 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 that some men make when they refuse to give up defensive rights. According to King, Kubrick treats his characters as insects because the director doesn't really think they're capable of shaping their own destiny. Everything they do is subject to the excessive, irresistible force that Kubrick's highly developed aesthetics; they are his slaves. In the film The Shining of the King, the monster is Jack. Kubrick has a monster- Kubrick. King would later criticize the film and Kubrick, as the director: Parts of the film is chilling, charged with relentlessly claustrophobic terror, but others fall flat. Not that religion should be involved in horror, but a visceral skeptic like Kubrick simply couldn't understand the sheer inhuman evil of the Overlook Hotel. Instead, he looked at evil in the characters and turned the film into a domestic tragedy with only vaguely supernatural overtones. It was a major flaw: because he couldn't believe it, he couldn't make the film believable to others. What's basically wrong with Kubrick's version of The Shining is that it's a movie of a man who thinks too much and feels too little; and that's why, for all its virtuoso effects, it never gets you by the throat and hangs in the way the real horror should. Mark Browning, a critic of King's work, noted that King's novels often contain a narrative closing that completes a story that Kubrick's film lacks. Browning actually claimed that King had the exact opposite problem, which he blamed kubrick for. The king, in his opinion, feels too much and thinks too little. King was also disappointed by Kubrick's decision not to make the film at the Stanley Hotel in Estes Park, Colorado, which inspired the story (a decision Kubrick made as the hotel didn't have enough snow and electricity). However, King finally directed a 1997 television adaptation called The Shining, filmed at The Stanley Hotel. The King's hostility to Kubrick's adaptation has faded over time. During an interview on Bravo, King said that the first time he watched Kubrick's adaptation, he found it to be terribly disturbing. However, writing in the postscript of Dr. Sleep, King stated that he continued to be dissatisfied with Kubrick's film. He said so ... Of course, there was a Stanley Kubrick film that many seem to remember - for reasons I never understood - as one of the scariest films they've ever seen. If you have seen the film but have not read the novel, you should note that Dr. Son follows the latter, which, in my opinion, is the true story of the Torrance family . After the production of the film adaptation of Doctor Sleep, in which director Mike Flanagan reconciled the differences between the novel and the film version of The Shining, King was so pleased with the result that he said: All I ever liked about Kubrick's version of The Shining for me here. Awards and nominations This section needs additional quotes to check. Please help improve this article by adding quotes to reliable sources. Non-sources of materials can be challenged and removed. (November 2019) (Learn how and when to remove this message template) Awards and nominations for the 105 and 106 Award nominee for the Razzie Award Worst Actress Shelley Duval nominated for Worst Director Stanley Kubrick Saturn Award for Best Supporting Actor Scatman Crothers won Best Horror Film Nomination Best Music White Bartok American Film Institute Recognition 2001: AFI in 100 years ... 100 Thrills - #29 2003: 100 years of AFI... 100 Heroes and Villains: Jack Torrance as #25 Villain 2005: 100 years of AFI... 100 quotes from the film: Here's Johnny! - #68 110 Social interpretation of the film's most famous scene, when Jack places his face through a broken door and says: Here's Johnny!, who repeats the scenes in both D.W. Griffith's Broken Blossoms and Swedish horror film Phantom Carriage. Film critic Jonathan Romney writes that the film was interpreted in many ways, including addressing themes of masculinity, sexism, corporate America and racism. It's tempting to read The Shining as an oedipal struggle not only between generations, but between Jack's culture of writing words and Danny's culture of images, Romney writes: Jack also uses the written word for a more mundane purpose - to sign his contract with Overlook. I gave my word , ... which we accept means gave his soul in ... Faustian meaning. But maybe he means it more literally - towards the end ... he completely gave up the language, chasing Danny through a maze with a slurred animal roar. What he entered into is a conventional business transaction that puts commercial obligations ... over an unspoken contract of compassion and sympathy that he seems to have forgotten to sign with his family. These interpretations were inspired by the 2012 documentary Room 237, directed by Rodney Usher, which shows interpretations and myths about the film. Native Americans Are Among the Translators who see a film reflecting the more subtly social problems that enliven Kubrick's other films, one of the earliest points of view was discussed in an essay by ABC reporter Bill Blakemore entitled The Mystery of Kubrick: The Hidden Horror movie - The Killing of an Indian, first published in The Washington Post on July 12, 1987. He believes that indirect references to American killings of Native Americans permeate the film, as evidenced by the logos of Indians on the baking powder in the kitchen and Native American artwork that appear throughout the hotel, although Native Americans are not visible. Stuart Ullman tells Wendy that while building the hotel, several Indian attacks had to be parried since it was built on Indian burial ground. Blakemore's general argument is that the film is a metaphor for Native American genocide. He notes that when Jack kills Halloranne, the corpse is seen lying on the mat with an Indian motif. Blood in the elevator shafts, for Blakemore, indian blood in the burial ground on which the hotel was built. The date of the last photo, July 4, should be ironic. Blakemore writes, As in some of his other films, Kubrick ends with The Shining with a powerful visual puzzle that forces the audience to leave the theater and ask, What was it? At the head of the party is none other than Jack, whom we just saw in 1980. The signature reads: Overlook Hotel - July 4th Ball - 1921. The answer to this puzzle, which is the master key to unlocking the entire film, is that most Americans overlook the fact that the Fourth of July was not a ball, nor any Independence Day, for Native Americans; that the weak American villain of the film is once again the embodiment of the American men who killed Indians in previous years; that Kubrick is studying and pondering a problem that cuts through decades and centuries. Filmmaker John Capo sees the film as an allegory of American imperialism. This is evidenced by many clues, such as Jack's final photograph of the past at a July 4 party, or Jack's earlier reference to Rudyard Kipling's poem White Burden, which was written in defense of the American colonial takeover of the Philippine Islands, justifying imperial conquest as a mission of civilization. Jack's line was interpreted as relating to the alcoholism from which he suffers. (quote needed) Jeffrey Cox and Kubrick's concern about the Holocaust film historian Jeffrey Cox extended Blakemore's idea that the film has a subtext about Native Americans, arguing that the film indirectly reflects Stanley Kubrick's concern about the Holocaust (as Cox's books and Michael Guerra Kubrick's memoirs discuss how he wanted his whole life to make a film dealing directly with the Holocaust, but could never quite make his mind). Cox, writing in his book The Wolf at the Door: Stanley Kubrick, History and the Holocaust, offered the controversial theory that all of Kubrick's works were informed about the Holocaust; there is, in his words, the subtext of the Holocaust in the Shining. This, Cox believes, is why Kubrick's script goes to emotional extremes, omitting much of the supernatural novel and making Wendy's character much more hysterical. Cox puts Kubrick's vision of a haunted hotel in line with the long-standing literary tradition of hotels in which the ominous it comes from the story of Stephen Crane's Blue Hotel (which Kubrick admired) in the Swiss Berghof in Thomas Mann's novel The Magic Mountain, about a snow-covered sanatorium high up in the Swiss Alps, in which the protagonist witnesses a series of events that are a microcosm of the decline of Western culture. In keeping with this tradition, Kubrick's film focuses on home life and Torrance's attempt to use this imposing building as a home, which Jack Torrance describes as home. Cox claims that Kubrick detailed the encoded many of his historical problems in the film with the manipulation of numbers and colors and his selection of musical numbers, many of which were postwar compositions influenced by the horrors of World War II. Particularly noteworthy is Kubrick's use of Penderecki's Jacob's Awakening to accompany Jack Torrance's dream of killing his family and Danny's vision of the past hotel massacre, a piece of music originally associated with the horrors of the Holocaust. Kubrick's pessimistic ending, as opposed to the upbeat and upbeat Stephen King, goes according to the motifs that Kubrick makes history. Cox's work has been anthologized and discussed in other works on Stanley Kubrick's films, albeit sometimes with skepticism. Julian Rice, writing in the first chapter of his book , Kubrick's Hope, considers Cox's views too speculative and contain too many tense critical leaps of faith. Rice believes that what happened in Kubrick's mind cannot be reproduced or confirmed beyond the broad vision of the nature of good and evil (which included concern about the Holocaust), but Kubrick's art is not governed by this obsession. Diane Johnson, co-screenwriter of The Shining, commented on Cox's observations, saying that Kubrick's concerns about the Holocaust were likely motivated by his decision to place the hotel on a Native American burial site, though Kubrick never explicitly mentioned it to her. Literary allusions by Jeffrey Cox notes that the film contains many allusions to fairy tales like Hansel and Gretel and Three Pigs, with Jack Torrance identified as the Big Bad Wolf, which Bruno Bettelheim interprets as standing behind all the asocial unconscious devouring powers that must be overcome by the childish ego. The saying of all the work and no play makes Jack a boring boy appeared for the first time in James Howell's parables in English, Italian, French and Spanish (1659). The ambiguity in Roger Ebert's film notes that there is really no reliable observer in the film, with the exception of Dick Halloranna. Ebert believes that various events call into question the reliability of Jack, Wendy and Danny. This leads Ebert to conclude that Kubrick tells the ghost story (two girls, a former caretaker and a bartender), but this is not a ghost story, because can't be present in any sense at all, except for the visions of the experienced Jack or Danny. Ebert concludes that the film is not about ghosts, but about madness and energy. Film critic James Berardinelli, who is generally far less impressed with the film than Ebert, notes that King would have us believe that the hotel is haunting. Kubrick is less oxideed in the interpretations he offers. He calls the film a failure as a ghost story, but brilliant as an exploration of madness and an unreliable narrator. Ghosts vs. Fever Cabins In some sequences, the question arises as to whether there are ghosts present. In scenes where Jack sees ghosts, he always encounters a mirror or, in the case of his pantry conversation with Grady, a reflective, polished door. Film expert James Berardinelli notes: It has been noted that there is a mirror in every scene in which Jack sees a ghost, making us wonder whether the spirits are a reflection of the tortured psyche. In Stephen King in Hollywood, Tony Magister wrote that Kubrick's dependence on mirrors as a visual means to emphasize the thematic meaning of this film clearly depicts the internal transformations and confrontations that occur with Jack Torrance psychologically. Through... These devices, Kubrick dramatizes the hotel's methodical attack on Torrance's personality, his ability to stimulate a multitude of self-doubt and anxieties, creating opportunities to warp the torrance view of himself and his family. Also, the fact that Jack looks in the mirror whenever he speaks to the hotel means, to some extent, that Kubrick draws him directly into the hotel's consciousness because Jack is, in fact, talking to himself. Ghosts are an implied explanation for Jack's seemingly physically impossible escape from a locked pantry. In an interview with Kubrick's scientist Michelle Ciment, the director made comments about the scene in the book, which may mean that he similarly thought of the scene in the film as the key to reveal in this dichotomy: It seemed to strike an extraordinary balance between the psychological and the supernatural in a way that led you to think that the supernatural would eventually be explained psychologically: Jack must imagine these things because he's crazy. This allowed you to suspend your doubts about the supernatural until you were so meticulous in the story that you could take it almost without noticing... It's not up to Grady, the ghost of a former caretaker who axed to his family's death, slides open a bolt pantry door that allows Jack to escape that you're left with no other explanation other than the supernatural. Two Grady and other lookalikes at the beginning of the film, Stuart Ullman tells Jack about the previous watchman, Charles Grady, who in 1970 succumbed to the fever of the cabin, killed his family, and then Yourself. Later, Jack meets a ghostly butler named Grady. Jack says he knows about the murders, claiming to recognize Grady from the photos, but the butler introduced himself as Delbert Grady. Gordon Dahlqvist of The Kubrick frequently asked questions claims that the name change deliberately mirrors Jack Torrance being Wendy's husband/father Danny and a mysterious man in a 1920s Fourth of July photo. It is said that he is two people: a man with a choice in a dangerous situation and a man who has always been on Overlook. It's a mistake to see the final photo as proof that the film's events are predetermined: Jack has any number of moments when he can act, other than how he does, and that his (poor) choices are fueled by weakness and fear, perhaps just talking all the more to questions about the personal and political that brings up the radiance. In the same way Charles had a chance - once again, perhaps - not to take on Delbert's legacy, so Jack may have had the chance to avoid his role as caretaker for the benefit of the powerful. It is a tragic passage of this story that he chooses not to do so. Dahlquist's argument is that Delbert Grady, the butler of the 1920s, and Charles Grady, the watchman of the 1970s, instead of being either two or the same, are two manifestations of a similar entity; part of the permanent hotel (Delbert) and the part that is given the choice of whether to join the legacy of the hotel's murderous past (Charles), just as the man in the photo is not exactly Jack Torrance, but he is not someone else. Jack in the photo has always been on Overlook; Jack the caretaker chooses to become a part of the hotel. The film's assistant editor, Gordon Steinfort, commented on the issue, trying to steer the course between explaining the succession-error on the one hand and the hidden meaning of the explanation on the other; I don't think we'll ever quite unravel this. His full name is Charles Delbert Grady? Maybe Charles was some sort of nickname? Maybe Ullman got the name wrong? But I also think that Stanley didn't want the whole story to merged too neatly, so it's absolutely right, I think, to say that the sum of what we learn refuses to add up neatly. Among Kubrick's other effects is the doubling/mirror in the film: In the American version of Jack's interview with Ullman, whose confident affability contrasts with Jack's seemingly forced carelessness, paired with Wendy's meeting with a female doctor whose dark and professional manner contrasts with Wendy's nervousness. During the interview, Jack and Ullman are joined by a hotel employee named Bill Watson, who looks like Jack from behind, creating a pseudo-mirror image effect as they sit in chairs on the left and right of Ullman's desk. Grady's sisters look so similar that they seem to be twins, even though they age (Ullman claims he thinks they were about eight and ten). Twice Ullman said goodbye to two young workers, and in the second case they are very similar to each other. The film contains two mazes, hedges outside and, according to Wendy's, Overlook. The hedging maze appears in two forms, a 13-foot version from the outside and a model inside the Overlook. With an overhead shot zooming down at Wendy's and Danny's in the middle of the maze, the maze is different from the map outside and from the model having many more corridors, while the left and right sides mirror each other. Overlook breaks down significantly into two sections, one old and one reconstructed; one past, one present. Two versions of the bathing woman live in room 237. In Hallorann's bedroom in Miami, two paintings showing similar nude black women are seen on opposite walls just before he experiences the glow. There seems to be two Jack Torrance, one who goes crazy and freezes to death now and one who appears in a 1921 photograph that hangs on the wall of the golden corridor inside The Overlook. Photo At the end of the film, the camera slowly moves toward the wall in Overlook and a 1921 photograph of Jack was seen in the middle of a 1921 party. In an interview with Michel Siment, Kubrick said the photo suggests that Jack was the reincarnation of a previous official at the hotel. This did not stop alternative indications such as that Jack was absorbed at the Overlook Hotel. Film critic Jonathan Romney, acknowledging the theory of takeover, wrote: As the ghostly butler Grady (Philip Stone) tells him during their chilling confrontation in the men's toilet, You're the Caretaker, sir. You've always been a watchman. Perhaps in some earlier incarnation Jack really was around 1921, and it is his modern me, which is a shadow, a phantom photographic copy. But if his picture was there the whole time, why didn't anyone notice it? After all, it's right in the middle of the central picture on the wall, and Torrance had a painfully drawn-out winter mind-blowing leisure in which to test every corner of the place. It's just that, as purloined by Po's letter, the thing in plain sight is the last thing you see? When you see it, the effect is so disturbing because you realize the unthinkable was there under your nose - overlooked - all the time. The spatial layout of the Overlook Screenwriter Hotel by Todd Alcott noted: a lot has been written, some of them quite clever, 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, the rooms seem to be in one place in one scene and another in another , Wall fixtures furniture objects appear and disappear from stage to stage, props move from one room to another, and the layout of Overlook has no physical sense. Artist Julie Cairns first identified and created maps of the spatial discrepancies in the layout of the Overlook Hotel, whose interiors were built in studios in England. These spatial discrepancies included windows appearing in impossible locations, such as Stuart Ullman's office, which is surrounded by internal corridors and doorways of apartments located in places where they cannot lead to apartments. Rob Ager is another proponent of this theory. Ian Harlan, executive producer of The Shining, was asked about the break-up of the sets by Xan Brooks of The Guardian and confirmed that the break-up was intentional: The set was very deliberately built to be unusual and off-piste, so that a huge ballroom would never fit inside. The public is deliberately made not to know where they are going. People say the radiance doesn't make sense. Well noticed! It's a ghost movie. It doesn't have to make sense. Harlan went on to clarify Kate Abbott: Stephen King gave him the opportunity to change his book, so Stanley agreed - and wrote a much more ambiguous script. It is immediately clear that something dishonest is going on. In a small hotel, everything is like Disney, all kitsch wood outside - but the interiors don't make sense. These huge corridors and ballrooms couldn't fit inside. In fact, nothing makes sense. Comparison with the novel Film is significantly different from the novel in character and motivation of the action. The most obvious differences are with regard to the personality of Jack Torrance (the source of much of the author's dissatisfaction with The Film). The motivation behind the ghosts in the film seems to be to restore Jack (although Grady expresses interest in Danny's brilliant ability), which seems to be the reincarnation of the previous hotel caretaker, as suggested by a photograph of Jack in the 1920s at the end of the film and Jack's repeated claims that he has not just deja vu. The film is even more focused on Jack (unlike Danny) than on the novel. Room number 217 has been changed to 237. Timberline Lodge, located on Mount Hood in Oregon, was used for outdoor images of the fictional Overlook Hotel. The lodge asked Kubrick not to portray number 217 (better in the book) in the radiance, because future guests at the Lodge may be afraid to stay there, and the non-existent room, 237, was replaced in the film. Contrary to the hotel's expectations, room 217 is requested more often than any other room in Timberline. There are fringe analyses related to this number of change rumors that Kubrick faked the first landing on the moon as there approximately 237,000 miles between Earth and the Moon (an average of 238,855 miles) and claiming that the film is a subtle recognition of his involvement. Another theory involves an obsession with the number 42 in the film, and the product of numbers in 237 - 42. Jack Torrance's novel originally presents Jack as possessive and well-intentioned, but haunted by the demons of alcohol and power issues. However, he is gradually becoming overwhelmed by what he sees as the evil forces in the hotel. In the conclusion of the novel, it is assumed that the evil forces of the hotel possessed jack's body and began to destroy all that was left of his mind during the final showdown with Danny. He leaves a monstrous entity that Danny can distract while he, Wendy and Dick Halloranne escape. Jack's movie is set as somewhat sinister much earlier in the story and dies in a different way. Jack kills Dick Hallorn in the film, but only hurts him in the novel. King tried to dissuade Stanley Kubrick from casting Jack Nicholson before filming began, on the grounds that he seemed vaguely sinister from the start of the film, and invited Jon Beit among others to the role. Only in the novel does Jack hear the obsessive, heavy voice of his father, with whom he had a troubled relationship. In both the novel and in the film, Jack's encounter with a ghostly bartender is crucial to Jack's deteriorating condition. However, the novel provides much more information about Jack's problems with alcohol and alcohol. The film prolongs Jack's struggle with the writer's block. Kubrick's co-screenwriter Diane Johnson believes that in King's novel, Jack's opening scrapbook of a forsing in a hotel boiler room that gives him new ideas for the novel catalyzes his ownership of the hotel's ghosts, while at the same time unlocking his writing. Jack is no longer a blocked writer, but is now filled with energy. In her contribution to the script, Johnson wrote an adaptation of the scene, which, unfortunately, Kubrick later cut out, as she felt it left her father's changes less motivated. Kubrick revealed the sequel lock jack is quite late in the film with all the work and no play makes Jack a boring boy scene that doesn't appear in the novel. Stephen King stated on a 1997 MINI-series, The Shining, that Jack Torrance's character was partially autobiographical as he struggled with both alcoholism and unprovoked rage toward his family at the time of writing. Tony Markyari wrote about Jack Torrance's version of Hollywood's Stephen King: Torrance Kubrick's version is much closer to the tyrannical Hal (from Kubrick's 2001 Space Odyssey) and Alex (from Kubrick's Clockwork Orange) than to King's more controversial, more conflicting man. From Thomas Allen Nelson's Kubrick: Inside the Maze of the Movie House: When Jack moves through the waiting room on his way to the brilliant above the model maze, he throws a yellow tennis ball past a stuffed bear and Danny's big wheel, which lies in the very spot (designed by the Navajo Circle) where Hallorann will be killed. Jack's tennis ball mysteriously rolls into Andy's circle from the toy typewriters before the boy passes through the open door of Room 237. In the opening film, the camera from above moves over the water and through the mountains with the ease of the bird in flight. Downstairs, on a winding mountain road, Jack's diminutive yellow Volkswagen travels through a tree-lined maze resembling one of Danny's clubs or a yellow tennis ball seen later outside Room 237. Danny Torrance's Danny Torrance is much more open about his supernatural abilities in the novel, discussing them with strangers such as his doctor. In the film, he talks rather secretly about them even with his head mentor Dick Halloran, who also has these abilities. The same goes for Dick Halloran, who in his journey back to Overlook in the book talks to others with brilliant ability, while in the film he lies about his reason for returning to Overlook. Danny's novel is usually portrayed as unusually intelligent across the board. In the film he is more ordinary, albeit with a supernatural gift. Although Danny has supernatural powers in both versions, the novel makes it clear that his seemingly imaginary friend Tony is indeed a projection of hidden parts of his own psyche, albeit greatly enhanced by Danny's psychic brilliant abilities. In the end, it turned out that Danny Torrance's middle name was Anthony. Original Research? by Wendy Torrance's Wendy Torrance in the film is relatively meek, submissive, passive, gentle, and mousy; this shows how she protects Jack even in his absence from the doctor by examining Danny. The implication is that she may have abused Jack as well. In the novel, she is a much more independent and independent person, which is connected with Jack partly by her bad relationship with her parents. In the novel, she never shows hysteria and does not collapse as in the film, but remains cool and independent. Writing in Hollywood by Stephen King, author Tony Magistrale writes about the mini-series remake: De Morne restores much of the steely resilience found in the protagonist of The King's novel, and this is particularly remarkable compared to Shelley Duval's exaggerated portrayal of Wendy as Olive Ayl again: simpering fatality for her ability to understand much less. Co- screenwriter Diane Johnson said 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 Delivery. Johnson believes that in the previous draft, Wendy was portrayed as a more rounded character. Stuart Ullman In the novel, Jack's interviewer, Ullman, is a very authoritarian, kind of snobbish martinette. Ullman's film is much more humane and concerned about Jack's well-being, as well as being smooth and confident. Only in the novel Ullman stated that he did not approve of Jack's hiring, but the top authorities asked that Jack be hired. Ullman's imperious nature in the novel is one of the first steps in the deterioration of Jack's condition, while in the film Ullman serves mainly as a whistleblower. In Stanley Kubrick and the Art adaptation, author Greg Jenkins writes: The Toad Figure in the book, Ullman was completely reinvented for the film; now it radiates charm, grace and masculinity. From Kubrick: Inside the Maze of The Movie: Ullman, Jack tells Jack that the hotel season runs from May 15 to October 30, which means Torrance moved to Halloween (October 31). On Ullman's desk next to a small American flag sits a metal cup with pencils and a pen - and a miniature copy of the axe. When Ullman, himself all smiles, refers to as a footnote to the story of a former caretaker who seems perfectly normal but nonetheless cut his family with an axe, Jack's obvious interest (as if he remembers one of his nightmares) and his disingenuous congenia (early signs of personality malfunction) lead the viewer to believe that the film's definition of his madness will be much more complex. Stephen King's family dynamics provide the reader with much information about the stress of the Torrance family at the beginning of the story, including revelations about Jack's physical abuse of Danny and Wendy's fear of Danny's mysterious spells. Kubrick alleviates early family tension and reveals family disharmony much more gradually than King. In the film, Danny has a stronger emotional connection with Wendy than with Jack, which fuels Jack's rather paranoid notion that they are colluding against him. The plot differences in Jack's novel restore his sanity and goodwill thanks to Danny's intervention, until this happens in the film. Writing in Cinefantastique magazine, Frederick Clarke suggests: Instead of playing a normal person who gets crazy, Nicholson portrays a madman trying to stay sane. In the novel, Jack's last act is to let Wendy and Danny escape from the hotel before he explodes due to a faulty boiler, killing him. The film ends with the hotel still standing. More broadly, the defective cauldron is one of the main elements of the novel's plot, completely absent from the film version. Due to the limitations of special effects at the time, the novel's living stomping animals were omitted and a maze of hedging was added, For Danny. In the film, the hotel perhaps draws its evil energy from being built on an Indian burial ground. In the novel, the cause of the hotel's display of evil may be explained by the theme present in King Salem Lot's previous novel, as well as Shirley Jackson's Ghosts hill house: a physical place can absorb the evil that occurs there and manifest them as vaguely reasonable malevolence. The film Hallorann speaks to Danny about that phenomenon occurring at The Overlook. In the novel, Jack makes a great investigation into the hotel's past through the notes, the 167 plot is almost omitted from the film aside from two touches: a brief note appearance next to a typewriter, and Jack's statement to the ghost of Grady that he knows his face from an old newspaper article describing the latter's gruesome acts. Kubrick actually shot a scene where Jack discovers the note but deletes it during post-production, a decision that co-screenwriter Diane Johnson lamented. Some of the film's most iconic scenes, such as ghost girls in the hallway and blood flow from the elevators, are unique to the film. The most notable of these will be the typewritten pages Wendy discovers on Jack's desk. Similarly, many of the most memorable lines of dialogue (Words of Wisdom and Here's Johnny!) heard exclusively in the film. Commentary on the film adaptation Although fans of Stephen King were critical of the film adaptation of the novel on the grounds that Kubrick changed and reduced the themes of the novel, the defense of Kubrick's approach was made in the review of the film by Steve Biodrowski. He claims that, as in previous films, Kubrick removed the film's back story, reducing it to a major narrative line, making the characters more like archetypes. His review of the film is one of the few to go into detail comparing it to the novel. He writes: Result ... It's a brilliant, ambitious attempt to make a horror film without the gothic trappings of shadows and cobwebs so often associated with the genre. In popular culture, both parodies and homage to The Shining are prominent in popular culture in the UK and US, especially in movies, TV shows, video games and music. The images and scenes often referred to: Grady's girls in the hallway, the word Redrum, blood spilled from the elevator door, and Jack sticking his head into a hole in the bathroom door say, Here's Johnny. Directed by Tim Burton, who credits Kubrick's influence, modeled the characters Tweedledum and Tweedledee in his version of Alice in Wonderland on Grady Girls (like many movie goers, Burton identifies girls as twins, despite Ullman's dialogue the other way around). The Simpsons episode Treehouse of Horror V includes a parody titled The Shining. Include Sherry and Terry, twins in Bart's 4th grade looking visually similar to the Grady Girls, Homer writing No TV and No Beer to make Homer Go Crazy and Homer hack into the room with an axe and pronounce here Johnny, only to discover that he entered the wrong room and using an introduction for 60 minutes instead. In the 30th season of Girl's in the Band, Homer went crazy for two shifts at a nuclear power plant, reliving the Gold Room party scene with Lloyd, followed by a human resources director who wields an axe that resembles Nicholson's character. American heavy metal band Slipknot pays tribute to the film in its first music video for Spit It Out, directed by Thomas Mignone. The video consists of conceptual images of the band members, each depicting characters depicting cult scenes from the film, with Joey Jordison as Danny Torrance; Sean Krachan and Chris Fen as Grady's sisters; Corey Taylor as Jack Torrance Mick Thomson as Lloyd Bartender Craig Jones as Dick Halloranne James Ruth as Wendy Torrance Paul Gray as Harry Derwent and Sid Wilson, like a corpse in the bathroom. The video was banned by MTV for overtly graphic and violent images, including Corey Taylor smashing through the door with an axe and a scene in which James Routh viciously attacked Corey Taylor with a baseball bat. Mignone and the band eventually re-edited the less violent version, which was subsequently shown on MTV. Here's Johnny! was parodied by British comedian Lenny Henry in a Premier Inn commercial. He was banned from the children's television network. The song Enjoy Your Slay by the American metalcore band Ice Nine Kills is inspired primarily by the novel, as well as the adaptation of the film. The song also includes Stanley Kubrick's grandson Sam Kubrick as guest vocalist. The PSych series features an episode called Lassie Hier in which the plot and characters are based on the film. The showrunner Vince Gilligan, a fan of Kubrick and his incorruptible moments, included references to Kubrick's films in many of his works. I'm pleased to see that his inspiration has been a notable part of our work at Breaking Bad and Better Call Saul, Gilligan says. The episode Breaking Bad Sunset has a police officer who asked for help on the radio, and begins, KDK-12 - a radio address in Overlook, before being axed. The axe-wielding Grady twins in the Shining turned into Salamanca twins, killing with an axe, in Breaking Bad. The descent of the main character, Walt's schoolteacher, into a dark killer bears some resemblance to Jack's arc. Reflections are used in both to show character changes. Better to call Saul there's a Johnny scare in the memoirs. Gilligan also compared his early writing situation, getting snow in don't write to feel like Jack while going crazy. Steven Spielberg, a close friend of Kubrick's, included a sequence about the film in Ready Player One when they couldn't get the rights to use Blade Runner for a similar sequence. Hotel Overlook is recreated, including sister Grady, elevator, room 237, lady in the bathroom, ballroom, and 1921 photo, in addition to using the score. Spielberg considered this inclusion a tribute to Kubrick. In his 2019 novel The Institute, Stephen King refers to the film, writing, Little girls, Gerda and Greta, stood and watched with broad, frightened eyes. They held hands and squeezed the dolls just like they did. They reminded Luke of the twins in some old horror movie. Sequel and spin-off Main Articles: Doctor Sleep (film 2019) and The Shining (franchise) In 2014, Warner Bros. Pictures began developing the film adaptation of Dr. Sleep, a sequel to Stephen King's the book The Shining (1977). In 2016, Akiva Goldsman announced that he would write and produce a film for Warner Bros. For several years Warner Brothers could not provide a budget for either the sequel or the prequel to The Shining, which will be called the Overlook Hotel. In June 2019, writer-director Mike Flanagan confirmed that the film would be a sequel to the 1980 film. It was released in several international territories on October 31, 2019, and was followed by the United States and Canada on November 8, 2019. In April 2020, a spin-off called Overlook entered development for HBO Max. Nicholson and Shelley Duvall in Kubrick's Film The Shining. The New York Times. Archive from the original on May 24, 2017. Received on March 16, 2017. Malcolm, Derek (October 2, 1980). From the Archives, October 2, 1980: Stanley Kubrick The Shining - review. Keeper. Archive from the original on March 16, 2017. Received on March 16, 2017. Lights. British Board of Film Classification. Archive from the original on February 22, 2014. Received on October 5, 2013. Lights. British Board of Film Classification. Archive from the original on February 22, 2014. Received on October 5, 2013. a b Shining (1980). British Film Institute. Archive from the original on December 19, 2014. Received on December 19, 2014. a b Shining (1980). Box office Mojo. Archive from the original november 11, 2019. Received on February 10, 2020. Landrum Jr., Jonathan (December 12, 2018). Jurassic Park, The Shining is added to the National Film Registry. The Associated Press. Archive from the original dated December 12, 2018. Received on December 12, 2018. These two scary girls from The Shining. weht.net. Archive from the original on February 3, Received on February 1, 2014. Bosworth, Patricia (255). Diana Arbus: biography. W. W. Norton and company. ISBN 978-0-393-31207-2. Olson, Danel, Ed. (2015). The Shining: Research in a Horror Movie. Lakewood, CO: Centipede Press. 503-532. ISBN 978-1613470695. including Webster, Patrick (2010). Love and Death in Kubrick: A Critical Study of Films from Lolita Through Eyes Is Wide Closed. McFarland. page 115. ISBN 9780786459162. and Caulker, Robert (2011). Movies of solitude: Penn, Stone, Kubrick, Scorsese, Spielberg, Altman. Oxford University Press. page 178. ISBN 978-0-19-973888-5. and a number of others. Webster, page 115 - Lobruto, Vincent (1999). Stanley Kubrick, biography. Boston, Massachusetts: Da Capo Press. page 412. ISBN 978-0306809064. a b Duncan, Paul (2003). Stanley Kubrick: Full movies. Beverly Hills, CA: Taschen GmbH. 9. ISBN 978-3836527750. Robert De Niro (talking about which films scared him), interview B105 FM September 20, 2007 - Stephen King, B105 FM November 21, 2007 - LoBrutto, page 420 - The Shining of Kubrick - Closing day, archived December 19, 2013, in Wayback Machine idyllopuspress.com - Kubik on the set of the Lights. Film director IR. Archive from the original dated March 13, 2017. Received on March 13, 2017. Kubrick in Elstree: A Fire That Almost Axed Shining. BBC Arts. Archive from the original on October 16, 2017. Received on March 13, 2017. Ridley Scott reveals Stanley Kubrick gave him footage from The Shining for Blade Runner Ending. The Hollywood Reporter. Archive from the original on January 14, 2016. Received on June 12, 2017. Houston, Allegra. Love Child, a memoir about a family lost and found. Simon Schuster (2009) 214 and FOnline (October 6, 2014). Joe Turkel, co-star of Blade Runner and The Shining, at Days of the Dead Horror Con - via YouTube. - LoBrutto, page 437 and b Hooton, Christopher (June 11, 2015). Read alternative phrases on All the Work and Don't Play Makes Jack. Independent. Archive from the original dated February 1, 2017. Received on January 19, 2017. McGilligan, Patrick (1996). Jack's Life: A Biography of Jack Nicholson. W. W. Norton and company. page 126. ISBN 0-393-31378-6. Jack Nicholson in an interview with Michel Siment in Kubrick: The Final Edition of page 198 - Roberts, Chris. Eraserhead, short films by David Lynch. uncut.co.uk archive from the original dated December 12, 2013. Received on August 28, 2012. Serena Ferrara, Steadicam: Techniques and Aesthetics (Oxford: Focus Press, 2000), 26-31. - LoBrutto, page 426 - Brown, G. (1980) Steadicam and The Shining. American operator. Reproduced in the archives on April 13, 2012, on Wayback Machine with no release date or pages transferred to LoBrutto, page 436, Barham, J.M. (2009). Turning on monsters: Music as context, character and construction in Lights. Terror Tracks: Music and Sound in a Horror Movie. London, UNITED Kingdom: Equinox Press. 137-170. ISBN 978-1845532024. Archive from the original dated August 4, 2017. Received on July 20, 2017. Gengaro, Christine Lee (2013). Listening to Stanley Kubrick: Music in his films. Rowman and Littlefield. page 190. ISBN 9780810885646. - Lodrutto, Vincent (1999). Listening to Stanley Kubrick: Music in his films. Yes Capo Press. page 448. ISBN 9780306809064. Brabratti, Valerio (2010). Music to the Shining (PDF). Archive (PDF) from the original on October 24, 2018. - LoBrutto, p.447 - Wendy Carlos, Lost Points 2. www.wendycarlos.com archive from the original dated September 9, 2016. Received on September 10, 2016. Lobruto, Vincent. Stanley Kubrick: Biography, page 449 and b All opening weekend time: 50 screens or less. Daily variety. September 20, 1994. page 24. Shining in the American Film Institute Catalog - b c Ebert, Roger (June 18, 2006). The Shining (1980). Chicago Sun-Times. Archive from the original on January 4, 2011. Received on December 23, 2010. Combs, Richard (November 1980). Lights. The film's monthly newsletter. 47 (562): 221. Shining on... And the way out. www.visual-memory.co.uk archive from the original dated October 20, 2016. Received on April 4, 2017. Wurme, Gerald (November 30, 2010). Shining (comparison: International version - American version) - Movie-Censorship.com. movie-censorship.com archive from the original dated July 14, 2011. Received on January 29, 2011. Wigley, Samuel (June 1, 2015). Producing The Shining: Jan Harlan on Kubrick. British Film Institute. Archive from the original on September 6, 2015. Received on October 4, 2015. a b Gehrke, Greg (August 14, 2011). In the newfound footage from the film Stanley Kubrick The Shining. A BIG OTHER ONE. Archive from the original dated April 6, 2017. Received on April 5, 2017. WarnerBros.com Shining Films Gallery. warnerbros.com archive from the original dated November 2, 2019. Received on October 18, 2019. - b c d Shining vintage posters of the film Original film posters and movie gallery. filmartgallery.com archive from the original dated October 11, 2019. Received on October 18, 2019. The Shining (1980) - Photo Gallery - Poster. Imdb. Archive from the original dated November 12, 2019. Received on October 18, 2019. Matthews, Becky; Davis, Sean. Stanley Kubrick: Exhibition, 26 April-15 September 2019 London Dedesto. londoncheapo.com archive from the original dated October 11, 2019. Received on October 18, 2019. Imgur: The Magic of the Internet (wnJU3Yu). Imgur. April 16, 2017. Archive from the original dated November 12, 2019. Received on October 18, 2019. The wave of terror that swept America here IN TIME TIME IN TIME TIME TIME SHOW LEICESTER SWED - Florida Today from Cocoa, Florida, June 26, 1980 Page 4D. newspapers.com. June 26, 1980. Archive of October 11, 2019. Received on October 18, 2019. Asbury Park Press from Asbury Park, New Jersey on July 3, 1980 Page 87. newspapers.com. July 3, 1980. Archive from the original on October 11, 2019. Received on October 18, 2019. Cincinnati Enquirer from Cincinnati, Ohio, July 24, 1980 Page 67. newspapers.com. July 24, 1980. Archive from the original on October 11, 2019. Received on October 18, 2019. a b c Gosling, Emily (June 3, 2015). Saul Bass rejected the designs for The Shining, with notes from Kubrick. itsnicethat.com archive from the original dated October 10, 2019. Received on October 18, 2019. a b c Kar Doodi, Omar (August 8, 2014). The creation of the Shining poster was as intense as the film itself. Gizmodo. Archive from the original dated October 10, 2019. Received on October 18, 2019. Anne Thompson,19, 2016. Like Turner Classic Movies and Fathom Events bring classics to the local theater. IndyWire. Archive from the original on May 1, 2019. Received on May 1, 2019. Cannes Classics 2019. Festival de Cannes. April 26, 2019. Archive from the original on April 26, 2019. Received on April 26, 2019. Lights. Festival de Cannes. Archive from the original on May 18, 2019. Received on May 18, 2019. Krist, Judith (April 30, 1983). This week's movie. TV guide: A5-A6. Opening teaser for network television airing... --view-hotel. Archive from the original dated April 8, 2017. Received on April 8, 2017. Stanley Kubrick (1980). Shining (DVD). The Warner Brothers. Shining 4k Blu-ray. Archive from the original may 26, 2019. Received august 8, 2019. Gray, Tim (May 23, 2016). Shining: Stanley Kubrick and his mysterious classics. Different. Archive from the original dated July 3, 2017. Received on July 1, 2017. Maslin, Janet (May 23, 1980). Movie review: SHINING. The New York Times. New York: New York Times Company. Archive from the original on September 27, 2015. Received on March 13, 2017. Lights. Different. December 31, 1979. Archive from the original on May 16, 2012. a b Bracke, Peter (October 23, 2007). Blu-ray Review: The Shining (1980). High-Def Digest. Archive from the original on August 15, 2012. Received on June 6, 2012. Sneak Previews: Titles and Airdate Guide. Epguides.com. September 9, 2013. Archive from the original on January 1, 2014. Received on December 31, 2013. DiMare, Philippe (2011). Films in American History: Encyclopedia: Encyclopedia. Santa Barbara, CA: ABC-CLIO. page 440. ISBN 9781598842975. Esskell, Jean (June 13, 1980). The Shining lacks a scare. Chicago Tribune. Chicago, Illinois: Tribune Publishing. page 1. Kevin Thomas (May 23, 1980). The Shining of Kubrick: A Freudian picnic. Los Angeles Times. page 1. Pauline Kael (June 9, 1980). Current cinema. A New Yorker. New York: Nast. page 142. Arnold, Gary (June 13, 1980). Kubrick - 12 million blues. The Washington Post. Washington, D.C.: Washington Post Company. p. E1. Tom O'Neill (February 1, 2008). Kelle horreur! The radiance was not only snubbed, it was Razzed!. Los Angeles Times. Los Angeles, CA: Tribune Publishing. Archive from the original on March 2, 2008. Received on January 22, 2009. Lindrea, Victoria (February 25, 2007). Blowing raspberries in Tinseltown. BBC News. London, England: BBC. Archive from the original dated July 30, 2012. Received on May 4, 2009. Peter Larsen (January 20, 2005). Morning Read - So bad they're almost good - the love of cinema lies behind the Razzies. Orange County Register. Santa Ana, California: Freedom of Communication. page 1. Jermaine, David (February 26, 2005). 25 years of Razzing Hollywood Stinkers. South Florida San Sentinel. Deerfield Beach, Florida: Tribune Media. The Associated Press. p. 7D. - Marder, Jenny (February 26, 2005). Razzin' Dregs Hollywood Dreck - Film: Cerritos' John Wilson celebrates his Golden Raspberry Awards 25th year with a guide to cinematic Slumming. Long Beach Press-Telegram. Long Beach, Ca.: Digital First Media. p. A1. Misiano, Vincent (September 1980). Film and TV: The Shining. Ise magazine. Modelling Publications, Inc. (4): 33-34. The Empire Strikes Back. Box office Mojo. Received on May 22, 2020. Cahill, Tim (August 27, 1987). Rolling Stone interview: Stanley Kubrick in 1987. Rolling Stone. New York: Wenner Media. Archive from the original dated December 6, 2016. Received on December 15, 2016. AFI in 100 years ... 100 thrills. www.afi.com archive from the original dated December 25, 2013. Received on November 7, 2018. AFI in 100 years ... 100 heroes and villains. www.afi.com archive from the original dated March 4, 2016. Received on November 7, 2018. AFI in 100 years ... 100 movie quotes. www.afi.com archive from the original dated April 15, 2015. Received on November 7, 2018. 100 Greatest Scary Moments: Channel 4 Movie. archive.li. March 9, 2009. Archive from the original on March 9, 2009. Received on November 7, 2018. Scorsese, Martin (October 28, 2009). 11 of the scariest horror movies of all time. A daily beast. Archive from the original dated July 22, 2017. Received on July 20, 2017. The radiance was called the perfect scary movie. August 9, 2004. Archive from the original on October 26, 2011. Received on July 3, 2019. Kubrick he-make - #3 (1980) Hollywood Projects. Thehollywoodprojects.com. July 26, 2010. Archive from the original on August 30, 2011. Received on September 20, 2011. Brent Wiese. Public.iastate.edu archive from the original on March 31, 2012. Received on September 20, 2011. My film Mundo (February 28, 2010). Ian Harlan (producer) - Shining, eyes wide closed, etc. My film Mundo. Archive original September 9, 2011. Received on September 20, 2011. The Shining (1980), archived from the original february 6, 2018, is extracted on March 9, 2020 by Stanley Kubrick 1928-99 Resident Phantoms . BFI. February 10, 2012. Archive from the original dated July 14, 2014. Received on June 1, 2014. b Kubrick frequently asked questions - The Shining. Visual-memory.co.uk archive from the original on April 20, 2012. Received on June 6, 2012. Letter rapture: Interview WD, Writer's Digest, May/June 2009 - King, Stephen (1981). Dance McAbra. Berkeley Press. 415-417. ISBN 0425104338. b Kubrick vs. King Archived February 10, 2011, in Wayback Machine. TheIntellectualDevotional.com. October 29, 2008. King is 'nervous' about the Shining sequel. Bbc. 19 September 2013. Archive from the original on June 20, 2018. Received on June 22, 2018. Stephen King (interviewed), Laurent Bouserau (writer, director, producer) (2011). Movie Night: The Horrors of Stephen King (TV production). Turner Classic Movies. Laura Miller (October 1, 2013). That Stanley Kubrick was wrong about The Shining. Beauty. San Francisco, California: Salon Media Group. Archive from the original on October 11, 2015. Received on October 10, 2015. Quoted. Thewordslinger.com. March 1, 2008. Archive from the original on August 31, 2011. Received on September 20, 2011. Stephen King on the big screen Mark Browning r. 239 - Collis, Clark (November 5, 2019). Stephen King says: Dr. Son redeems Stanley Kubrick's Shining. Entertainment Weekly. New York: Meredith Corporation. Archive from the original dated November 15, 2019. Received on November 15, 2019. David Hughes (May 31, 2013). Full Kubrick. It's a random house. ISBN 9781448133215. John Wilson (August 23, 2000). Razzies.com - Golden Raspberry Prize House - 1980 archive. razzies.com archive from the original dated November 4, 2013. Received on November 8, 2019. Stanley Kubrick Archive: The Shining: Awards. University of the Arts: London (University Archives and Special Collection). Received on November 9, 2019. AFI in 100 years ... 100 Thrills (PDF). American Film Institute. Archive (PDF) from the original on March 28, 2014. Received on September 26, 2019. AFI in 100 years ... 100 Heroes and Villains (PDF). American Film Institute. Archive (PDF) from the original on March 28, 2014. Received on September 26, 2019. AFI in 100 years ... 100 quotes from the film (PDF). American Film Institute. Archive (PDF) from the original on March 13, 2011. Received on September 26, 2019. Den svenska filmens Guld'lder Archived November 5, 2008, on Wayback Machine (in Swedish) Thorellifilm - Original scene from the Ghost Carriage on YouTube - The Shining (1980). Rotten tomatoes. Fandango. Archive from the original dated February 6, 2018. Received on April 22, 2018. Blakemore's essay was discussed in several books on Kubrick, notably Julian Rice's Kubrick's Hope, as well as the study of Stephen King's Stephen King on the Big Screen by Mark Browning. He is also assigned to many college film courses, and is discussed throughout the internet - Blakemore is best known as an initiator for global warming issues and has been ABC News' Vatican correspondent since 1970. Blakemore, Bill (July 12, 1987). The Mystery of the Shining of Kubrick. Washington Post. Washington Post. Archive from the original dated December 28, 2019. Received on November 12, 2019. KUBRICK SHINES (PDF). williamblakemore.com archive (PDF) from the original on November 20, 2019. Received on November 12, 2019. Kapo, John (September 27, 2004). Tailslate.net. Tailslate.net. Archive from the original august 3, 2009. Received on April 17, 2010. a b Jeffrey Cox; James Dedrick; Glenn Perosek. Depth of the field: Stanley Kubrick, film, and use of history (1st ed.). Madison, Wisconsin: University of Wisconsin Press. page 174. ISBN 978-0299216146. Cox, Didrich and Perousek 2006, page 201. Cokie, Didrich and Perasek 2006, p.m. Julian Rice (2008). Hope Kubrick: Opening Optimism since 2001 eyes wide closed. Scarecrow Press, p. 11-13 - Roosters, Deadrich and Perosek 2006, page 59, Writing The Shining, essay by Diane Johnson. James Howell quotes. Famousquotesandauthors.com archive from the original on December 15, 2010. Received on September 20, 2011. James Berardinelli (February 18, 2009). The Shining (1980). REELVIEWS.com archive from the original on October 19, 2011. Received on December 23, 2010. Reviews of films about reelview. Reelviews.net archive from the original on October 19, 2011. Received on September 20, 2011. - Hollywood Stephen King Tony Magistrale Palgrave Macmillan 2003 pp.95-96 - Cubrick Michelle Ciment, 1983, Holt Rinehart Winston - b Kubrick frequently asked questions - The Shining Part 2. Visual-memory.co.uk July 4, 1921. Archive from the original on April 20, 2012. Received on June 6, 2012. a b c d e f g Nelson, Thomas Allen (2000). Kubrick: Inside the film artist's labyrinth. Indiana University Press. ISBN 0253213908. Archive from the original on December 28, 2016. Received on October 30, 2017. Kubrick's website: Kubrick speaks in regards to The Shining. Visual-memory.co.uk archive from the original dated July 20, 2007. Received on June 6, 2012. Todd Alcott (November 29, 2010). Todd Alcott: What does the main character want? Todd Alcott. Archive from the original on November 30, 2010. Received on December 23, 2010. Inewater, Angela. The 10 most outrageous theories about what shine really means. www.wired.com archive from the original dated January 2, 2017. Received on March 11, 2017. Clark, Donald (August 1, 2011). Spatial awareness in the Shining. Irish times. Archive of October 6, 2014. Received on October 3, 2014. Jessica Condit (July 24, 2011). Duke Nukem is finally figuring out what happened at Shining's Overlook Hotel. Joystiq.com archive from the original dated October 6, 2014. Received on October 3, 2014. Brooks, Xan (October 18, 2012). The light inside Room 237. Keeper. Archive from the original on October 6, 2014. Received on October 3, 2014. Kate Abbott (October 29, 2012). How we did Stanley Kubrick's The Shining. Keeper. Archive from the original on October 6, 2014. Received on October 3, 2014. Among many other places, it is offered in the modern strange tale by S.T. Joshi, page 72. History. Timberline Lodge. Archive from the original on May 8, 2018. Received on August 24, 2014. Junior, Thomas. Didiring. Deering Thesis: Timberline Lodge Second Floor Plan. www.tomdeering.com archive from the original on April 27, 2017. Received on April 27, 2017. How far is the Moon? :: NASA Space Place. Archive from the original on October 6, 2016. Received on April 27, 2017. David Segal (March 27, 2013). He's back. But what does that mean? Kubrick's assistant at The Shining Scoffs at Room 237 Theory. The New York Times. Archive from the original on November 1, 2013. Received on June 23, 2016. Nelson, Thomas Allen (January 1, 2000). Kubrick: Inside the film artist's labyrinth. Indiana University Press. 325-326. ISBN 0253213908. Archive from the original dated April 27, 2017. Received on April 26, 2017. Cm. chapter 55, something that has been forgotten. King discusses this in an interview during the television remake of The Shining in the New York Daily News The Shining By the Book. Archive from the original dated July 31, 2012. Received on March 29, 2012. - Creepshows: Illustrated Stephen King Film Guide by Stephen Jones Published by Watson-Guptill, 2002 p. 20 - Magistrale, Tony (2010). Stephen King: The Narrator of America, page 120. ABC-CLIO, 2010. ISBN 9780313352287. See also the novel, Chapter 26, Dreamland. Johnson essay 2006, page 58. DVD of The Shining TV Mini-Series Directed by Mick Harris Studio: Warner Home Video DVD Release Date: January 7, 2003 b. 100 Hollywood Stephen King Tony Magistrale Published by Macmillan, 2003 Stanley Kubrick: Seven Films Analyzed p.233. McFarland.See novel Chapter 17, Doctor's Office, and Chapter 20, Talking to Mr. Ullman and Rasmussen, 233-4. See also the novelChaster 16, Danny. Tony's real identity is revealed in Chapter 54. Bailey, Dale (June 2011). American Nightmares: The Haunted House Formula in American Fiction, page 95. University of Wisconsin Press. ISBN 9780299268732. See also the novel Chapter 5, Phone Booth, and Chapter 6, Night Thoughts. Highway, page 202. Johnson Essay 2006, page 56. Jack's contempt Ullman is the main theme of Chapter 1 of the novel, the creation of Jack's powers issues. Page. 74 Stanley Kubrick and the Art adaptation: Three novels, three films by Greg Jenkins, published by McFarland, 1997 - Nelson, page 200, 206, 210 and Rasmussen, 233-4. See also the novel Chapter 6, Night Thoughts. Frederick Clark (1996). Lights. Cinefastique. 28. Bailey, Dale (1999). American Nightmares: The formula of a haunted house in American popular fiction. Popular press. 62. ISBN 978-0-879727-89-5. Stanley Kubrick The Shining. Pages.prodigy.com archive from the original on July 12, 2009. Received on April 17, 2010. Stanley Kubrick - The Shining - Harlan Kennedy. Americancinemapapers.homestead.com. Archive from the original on July 8, 2009. Received on April 17, 2010. The movie of the occult: a new era, Satanism, Wicca and spiritualism in cinema, Carroll Lee Fry, notes the similarities with both Jackson's story and Po's The Fall of Usher's House (p. 230). The chapter is analyzed in detail in Magistrale, Tony (1998). The discovery of Stephen King's radiance. Wildside Press. 39th. ISBN 978-1-55742-133-3. Shining adapted: Interview with Diana Johnson. Archive from the original on April 17, 2016. Received on January 29, 2016. KevinBroome.com. Archive from the original dated July 13, 2011. Received on April 17, 2010. The Shining (1980) Review. Hollywood Gothic. Archive from the original on April 2, 2010. Received on April 17, 2010. Biodrovsky - former editor of the printed magazine Cinefantastique - The secret window reaches horror with suspense, silence. The Western Herald. March 15, 2004. Archive from the original on October 10, 2007. Received on May 21, 2007. The radiance has cemented a place in horror-pop culture. Simon Hill. A radiant review. Celluloid dreams. Archive from the original dated July 18, 2007. Received on May 21, 2007. This film has embedded itself in pop culture... Deep end: Christian Kubrick. Australian Broadcasting Corporation. Received on May 21, 2007. Images from his films made a lasting impression on pop culture. Think about that... Jack Nicholson stuck his head in the door, saying: Here's Johnny in the Shining. The shining tops of the horror screen. BBC News. October 27, 2003. Archive from the original on September 13, 2007. Received on May 21, 2007. The scene in The Shining has become one of the iconic images of cinema ... December 12, 2004. Archive from the original on August 10, 2012. Received on March 28, 2009. Jeff Boucher (February 10, 2010). Tim Burton took 'The Shining' in Tweedledee and Tweedledum. Los Angeles Times. Archive from the original on November 15, 2010. Received on February 17, 2011. Greenwood Encyclopedia Gary Westfall's fiction and fantasy: Although the scope of reference to fiction in The Simpsons is huge, there are two masters of the genre whose influence on Simpson overshadows the influence of everyone else: Stanley Kubrick and Edgar Allan Poe. page 1232 - Family Dynamics. Entertainment Weekly. January 29, 2003. Archive from the original on March 22, 2007. Received on March 3, 2007. a b c Miller, Liz Shannon; Ben Travers (October 27, 2015). 12 Ghosts TV tribute to 'The Shining' IndieWire. www.indiewire.com archive from the original dated October 1, 2017. Received on October 1, 2017. Falcon, Tony. The Simpsons Season 30 Episode 19 Review: The Girl in the Band. Den Out Geek. Archive from the original on April 1, 2019. Received on April 2, 2019. Dirty Horror Spotlight: Slipknot Dirty Horror Published January 30, 2013 Archive July 8, 2019, by Wayback Machine No. 10 Great Pop Culture Tribute to Shining Flavorwire - Published September 30, 2011 Archive May 31, 2014, on Wayback Machine - Premier Inn 'Horror' ad banned online children. BBC News. March 24, 2010. Received on April 17, 2015. Ice Nine Kills releases 'Shining'-inspired song with Sam Kubrick - listen - News - Alternative Press. Alternative press. May 26, 2017. Archive from the original on May 26, 2017. Received on May 27, 2017. Ice Nine Kills celebrates a brilliant anniversary with a themed track that includes Stanley Kubrick's grandson! - Dread Central. Terrible Central. May 26, 2017. Archive from the original on May 30, 2017. Received on May 27, 2017. Hier Lassie! Psycho James Rodai Dishes on a Radiant Tribute; Also, watch Carlton Go Cray- Cray. E! Online. Archive from the original on August 13, 2017. Received on August 13, 2017. Psycho: Hier Lassie!. March 8, 2012. Archive from the original on August 13, 2017. Received on August 13, 2017. Ryan, Maureen (July 11, 2013). Secret Materials turns 20: the creator of Breaking Bad about what he learned from Mulder and Scully. Huffington Post. Archive from the original on April 21, 2016. Received on January 8, 2018. Eric Nelson (September 3, 2012). In all serious: not washed. Beauty. Archive from the original dated January 8, 2018. Received on January 8, 2018. Kubrick's influence in size is -. www.dga.org archive from the original dated January 8, 2018. Received on January 8, 2018. Margaret Lyon (August 30, 2012). What Breaking Bad Owes to Shine. Vulture. Archive from the original dated January 8, 2018. Received on January 8, 2018. John Weisman (June 6, 2013). Vince Gilligan of The Woced looks back. Different. Archive from the original dated February 7, 2018. Received on January 29, 2018. Josh Rottenberg(April 1, 2018). As the team behind Ready Player One argued the bonanza of pop culture references in one film. Los Angeles Times. Archive from the original dated April 2, 2018. April 2, 2018. Stephen King summons his superpowers with the Institute - The Boston Globe. BostonGlobe.com archive from the original dated October 21, 2019. Received on January 24, 2020. Justin Kroll (July 18, 2014). The prequel The Shining will be directed by Mark Romanek (exclusive). Different. Archive from the original on November 22, 2019. Received on October 26, 2018. In 2013, King published a sequel to Doctor Of Sleep, which Warners is also trying to get out of the ground. Dino-Ray Ramos (March 31, 2016). Akiva Goldsman Adaptation of Stephen King's 'The Shining' Sequel 'Dr. Son'. The tracking board. Archive from the original on October 30, 2019. Received on October 16, 2018. Justin Kroll (June 28, 2018). Rebecca Ferguson joins Ewan McGregor in The Shining Sequel (Exclusive). Different. Archive from the original on November 22, 2019. Received on October 17, 2018. Pauley, Kevin (June 13, 2019). The return of 'redrum': Watch the first trailer for Dr. Sleep, the highly anticipated sequel to The Shining. Yahoo! Finance. Archive from the original dated August 5, 2019. Received on June 13, 2019. Dr. Son - Official HD teaser trailer. Youtube. Warner Bros. June 13, 2019. Archive from the original on October 30, 2019. Received on June 13, 2019. Leslie Goldberg (April 16, 2020). J.J. Abrams sets 3 HBO Max shows: Justice League Dark, 'The Shining' Spin-Off, 'Duster'. The Hollywood Reporter. Received on September 7, 2020. External Links Sister Shiningat Wikipedia projectsMedia from Wikimedia Citations from Wikiquote Data from Wikidata Shining at the American Film Institute Film Catalog Shining at the box office Mojo Shining at IMDb Shining on Metacritic Shining on Rotten Tomatoes Shining in TCM Film Database Stanley Kubrick, which includes Kubrick's site and Kubrick's frequently asked questions kubrick's brilliance, shot-by-shot analysis of Julie Cairns Overlook Hotel, ephemera associated with Shining Stairs to Nowhere: The Creation of Stanley Kubrick's Shining, an oral story told by several crew members extracted from the (film) Oldid-982240065 (film) o iluminado filme. o iluminado livro. o iluminado 2. o iluminado netflix. o iluminado kaisser. o iluminado online. o iluminado explicação. o iluminado pdf

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