Over the course of many psychosis complemented character becomes more long journey, or if not a films explored in family by more than a few bad- is in his interactions with positive impact, at least a publications like this one, intentioned ghosts are young Danny Torrance. In dramatic, extended chase body counts can often be more the enemy than addition to giving the boy and death scene. Likable staggering. It’s no secret the psychotic father, a degree of grandfatherly as Hallorann may have this columnist enjoys an Jack Torrance (Jack guidance, Hallorann been, his abrupt death over-the-top gore fest Nicholson), the obvious makes sure young Danny was all the more emo- as much as most other protagonists are mother knows, not only is he not tionally effective because readers, but sometimes, and son Wendy and alone in his gift, but that of his failed heroism. the films that stick with Danny Torrance (Shelley his gift is a very special us—the ones that make Duvall and Danny Lloyd). one. While more generic Love or hate Kubrick’s a genuine impact—are But, what Hallorann characters (think single- adaptation of King’s the films that reduce brings to an otherwise scene gypsies, psychics novel (King hated it), their death tolls to only stark cast is an element and seen-it-all old folks) most horror fans have characters we actually of context for the story in other films provide seen the film more than care about. But, what as a whole. He’s viewed context and explana- once. But, try to think we expect when a major as external to the main tion for the supernatural back to that first time player (especially a plot, a supporting char- backdrop, rarely do they you saw Hallorann walk character perceived to acter throughout most of also provide the personal through the doors of The be a “good guy”) gets the film, but garners cen- connection Hallorann Overlook Hotel in the snuffed is high drama. ter stage for only a brief does in The Shining. middle of that treacher- We expect that charac- few seconds of the film’s ous blizzard. Perhaps Kubrick’s goal in giving ter to make a valiant climax during his final, you didn’t think he could his viewers such a sud- effort toward resolving unexpected moments. realistically overpower den, violent, and unfulfill- the story’s conflict posi- an ax-wielding Jack Most traditional sto- ing death for the likable tively for the rest of the ries that involve the Hallorann is effective for Torrance, but didn’t you protagonists. We expect supernatural, regard- exactly that reason: it at least hope he’d make a strong effort and a less of whether they’re doesn’t follow the formu- some kind of impact for good death. What we films, books or even la. It would’ve been far- the good of the rest of don’t expect is an imme- album tracks, need a fetched for Hallorann to the Torrance family—es- diate ax to the chest. character like Hallorann. come swooping in to the pecially after traveling In Stanley Kubrick’s These characters put Overlook Hotel and save all that way? Of course, 1980 film adaptation of the otherwise inexpli- the day against the far the fact that he didn’t Stephen King’s novel The cable happenings in the younger Jack Torrance, make an impact leads Shining, that’s exactly supernatural tale into even without Torrance’s us to what’s at the heart the ending we get for context; they give us psychotic and homicidal of strong, suspenseful the courageous, if some degree of explana- mindset. However, what storytelling. We want our ill-prepared, telepath tion for the otherwise most viewers watch- heroes to be heroes, but Dick Hallorann (Scat- inexplicable. In this ing The Shining for the the fact that they don’t man Crothers). In a way, Hallorann provides first time expected was always get that opportu- film like The Shining, exactly what the story at least some positive nity makes us appreciate where isolation-induced needs, but where his impact after Hallorann’s the stories all the more.

36 PARACINEMA #16 / JUNE 2012