The Shining (Film) - Wikipedia

5/1/2017 TheShining(film)Wikipedia
TheShining(film)
FromWikipedia,thefreeencyclopedia
TheShiningisa1980BritishAmericanpsychologicalhorror
filmproducedanddirectedbyStanleyKubrick,[7]cowritten TheShining
withnovelistDianeJohnson,andstarringJackNicholson,
ShelleyDuvall,DannyLloyd,andScatmanCrothers.Thefilm
isbasedonStephenKing's1977novelTheShining.
UnlikeKubrick'spreviousworks,whichdevelopedaudiences
graduallythroughwordofmouth,TheShiningwasreleasedas
amassmarketfilm,initiallyopeningintwoU.S.citieson
MemorialDay,thennationwidewithinamonth.[8]The
EuropeanreleaseofTheShiningafewmonthslaterwas25
minutesshorterduetoKubrick'sremovalofmostofthescenes
takingplaceoutsidetheenvironsofthehotel.
Althoughcontemporaryresponsesfromcriticsweremixed,
assessmentbecamemorefavorableinfollowingdecades,andit
isnowwidelyregardedasoneofthegreatesthorrorfilmsever
made.AmericandirectorMartinScorseserankeditoneofthe
11scariesthorrormoviesofalltime.[9]Critics,scholars,and
crewmembers(suchasKubrick'sproducerJanHarlan)have
TheatricalreleaseposterbySaulBass
discussedthefilm'senormousinfluenceonpopular
culture.[10][11][12] Directedby StanleyKubrick
Producedby StanleyKubrick
Screenplayby StanleyKubrick
Contents DianeJohnson
Basedon TheShining
1 Plot byStephenKing
2 Cast Starring JackNicholson
3 Production ShelleyDuvall
3.1 Genesis ScatmanCrothers
3.2 Casting DannyLloyd
3.3 Shooting
Musicby WendyCarlos
3.3.1 Interiorsets RachelElkind
3.3.2 Exteriorlocations
3.3.3 Shooting Cinematography JohnAlcott
3.3.4 Steadicam Editedby RayLovejoy
4 Musicandsoundtrack
5 Postreleaseedit Production TheProducerCircle
companies Company
6 Europeanversion
7 Homemedia PeregrineProductions
8 Reception HawkFilms
8.1 Initialreviews Distributedby WarnerBros.
8.2 Reappraisal Releasedate May23,1980
8.3 Analysisofchangeinperception
(UnitedStates)[1]
8.4 ResponsebyStephenKing
8.5 Awardsandnominations October2,1980
9 Socialinterpretations (UnitedKingdom)[2]
https://en.wikipedia.org/wiki/The_Shining_(film) 1/27
9.1 NativeAmericans Runningtime 146minutes(Premiere)

9.2 GeoffreyCocksandKubrick'sconcernwith 144minutes(American)[3]
theHolocaust
10 Literaryallusions 119minutes(European)[4]
11 Ambiguitiesinthefilm Country UnitedKingdom[5]
11.1 Ghostsvs.cabinfever
UnitedStates[5]
11.2 ThetwoGradys
11.3 Thephotograph Language English
11.4 SpatiallayoutoftheOverlookHotel Budget $19million[6]
12 Comparisonwiththenovel
12.1 Motivationofghosts Boxoffice $44.4million(NorthAmerica)[6]
12.2 Roomnumber
12.3 JackTorrance
12.4 DannyTorrance
12.5 WendyTorrance
12.6 StuartUllman
12.7 Familydynamics
12.8 Plotdifferences
12.9 Filmadaptationcommentary
13 Inpopularculture
14 Seealso
15 References
16 Externallinks
Plot
JackTorrancearrivesatthemountainisolatedOverlookHotel,whichistwentyfivemilesfromtheclosesttown,
tobeinterviewedforthepositionofwintercaretaker.Oncehired,Jackplanstousethehotel'ssolitudetowrite.
Thehotel,builtonthesiteofaNativeAmericanburialground,becomessnowedinduringthewinteritisclosed
fromOctobertoMay.ManagerStuartUllmanwarnsJackthatapreviouscaretaker,CharlesGrady,developed
cabinfeverandkilledhisfamilyandhimself.InBoulder,Jack'sson,DannyTorrance,hasaterrifyingpremonition
aboutthehotel,viewingacascadeofbloodemergingfromanelevatordoor,andthenfallsintoatrance.Jack's
wife,Wendy,tellsadoctorthatDannyhasanimaginaryfriendnamedTony,andthatJackhasgivenupdrinking
becausehedislocatedDanny'sshoulderfollowingabinge.
Thefamilyarrivesatthehotelonclosingdayandisgivenatour.Thechef,DickHallorann,surprisesDannyby
telepathicallyofferinghimicecream.DickexplainstoDannythatheandhisgrandmothersharedthistelepathic
ability,whichhecalls"shining".Dannyasksifthereisanythingtobeafraidofinthehotel,particularlyroom237.
HalloranntellsDannythatthehotelhasa"shine"toitalongwithmanymemories,notallofwhicharegood.He
alsotellsDannytostayawayfromroom237.
AmonthpasseswhileJack'swritinggoesnowhere,DannyandWendyexplorethehotel'shedgemaze,and
HalloranngoestoFlorida.Wendylearnsthatthephonelinesareoutduetotheheavysnowfall,andDannyhas
frighteningvisions.Jack,increasinglyfrustrated,startsbehavingstrangelyandbecomespronetoviolentoutbursts.
Danny'scuriosityaboutroom237overcomeshimwhenheseestheroom'sdooropen.Later,WendyfindsJack
screamingduringanightmarewhileasleepathistypewriter.Aftersheawakenshim,Jacksayshedreamedthathe
killedherandDanny.Dannyarrivesandisvisiblytraumatizedwithabruiseonhisneck,causingWendytoaccuse
Jackofabusinghim.Jackwandersintothehotel'sGoldRoomandmeetsaghostlybartendernamedLloyd.Lloyd
serveshimbourbonwhiskeywhileJackcomplainsabouthismarriage.WendylatertellsJackthatDannytoldhera
"crazywomaninoneoftherooms"attemptedtostranglehim.Jackinvestigatesroom237,encounteringtheghost
ofadeadwoman,buttellsWendythathesawnothing.WendyandJackargueoverwhetherDannyshouldbe
removedfromthehotelandafuriousJackreturnstotheGoldRoom,nowfilledwithghostsattendingaball.He
meetstheghostofGradywhotellsJackthathemust"correct"hiswifeandchildandthatDannyhasreachedout
toHallorannusinghis"talent".Meanwhile,Halloranngrowsconcernedaboutwhat'sgoingonatthehotelandflies
backtoColorado.Dannystartscallingout"redrum"andgoesintoatrance,referringtohimselfas"Tony".
WhilesearchingforJack,Wendydiscovershehasbeentypingpagesofarepetitivemanuscript:"allworkandno
playmakesJackadullboy".ShebegsJacktoleavethehotelwithDanny,buthethreatensherbeforesheknocks
himunconsciouswithabaseballbat.Shedragshimintothekitchenandlockshiminthepantry,butsheand
Dannyarebothtrappedatthehotel:Jackhasdisabledthehotel'stwowayradioandsnowcat.Later,Jackconverses
throughthepantrydoorwithGrady,whounlocksthedoor.
Dannywrites"REDRUM"ontheoutsideofthebathroomdoorinthefamily'slivingquarters.WhenWendysees
thewordreversedinthebedroommirror,thewordisrevealedtobe"MURDER".Jackbeginshackingthroughthe
quarters'maindoorwithafirefighter'saxe.WendysendsDannythroughthebathroomwindow,butitwillnotopen
sufficientlyforhertopass.Jackbreaksthroughthebathroomdoor,shouting"Here'sJohnny!",butretreatsafter
Wendyslasheshishandwithabutcher'sknife.HearingHallorannarrivinginasnowcatheborrowed,Jackleaves
theroom.HemurdersHallorannwiththeaxeinthelobbyandpursuesDannyintothehedgemaze.Wendyruns
throughthehotellookingforDanny,encounteringghostsandthecascadeofbloodDannyenvisionedinBoulder.
ShealsofindsHallorann'scorpseinthelobby.DannylaysafalsetrailtomisleadJack,whoisfollowinghis
footprints,beforehidingbehindadrift.DannyescapesfromthemazeandreuniteswithWendytheyescapein
Hallorann'ssnowcat,whileJackfreezestodeathinthesnow.InaphotographinthehotelhallwaydatedJuly4,
1921,JackTorrancesmilesamidacrowdofpartyrevelers.
Cast
JackNicholsonasJackTorrance
ShelleyDuvallasWendyTorrance
DannyLloydasDannyTorranceandthevoiceofTony
ScatmanCrothersasDickHallorann
BarryNelsonasStuartUllman
PhilipStoneasDelbertGrady
JoeTurkelasLloyd
AnneJacksonasDoctor
TonyBurtonasLarryDurkin
LiaBeldamasYoungWomanInBath
BillieGibsonasOldWomanInBath
BarryDennenasBillWatson
LisaBurnsasGradyDaughter#1
LouiseBurnsasGradyDaughter#2
IntheshorterEuropeancut,allofthescenesinvolvingJacksonandBurtonarecut(althoughtheirnamesstill
appearinthecredits).Dennenisonscreeninbothversionsofthefilm,albeittoalimiteddegree(andwithno
dialogue)intheshortercut.
TheactresseswhoplayedtheghostsofthemurderedGradydaughters,LisaandLouiseBurns,areidentical
twins[13]however,thecharactersinthebookandfilmscriptaremerelysisters,nottwins.Inthefilm'sdialogue,
Mr.Ullmanidentifiesthemas"abouteightandten."Nonetheless,theyarefrequentlyreferredtoindiscussions
aboutthefilmas"theGradytwins."
TheresemblanceinthestagingoftheGradygirlsandthe"Twins"photographbyDianeArbushasbeennotedboth
byArbus'biographer,PatriciaBosworth,[14]theKubrickassistantwhocastandcoachedthem,LeonVitali,[15]and
bynumerousKubrickcritics.[16]AlthoughKubrickbothmetArbuspersonallyandstudiedphotographyunderher
duringhisyouthfuldaysasphotographerforLookmagazine,Kubrick'swidowsayshedidnotdeliberatelymodel
theGradygirlsonArbus'photograph,inspiteofwidespreadattentiontotheresemblance.[17]
Production
Genesis
BeforemakingTheShining,StanleyKubrickhaddirectedthe1975movie
BarryLyndon,ahighlyvisualperiodfilmaboutanIrishmanwhoattempts
tomakehiswayintotheEnglisharistocracy.Despiteitstechnical
achievements,thefilmwasnotaboxofficesuccessintheUnitedStates
andwasderidedbycriticsforbeingtoolongandtooslow.Kubrick, SaintMaryLakewithitsWildGoose
disappointedwithBarryLyndon'slackofsuccess,realizedheneededto Islandisseenduringtheopening
makeafilmthatwouldbecommerciallyviableaswellasartistically sceneofTheShining.
fulfilling.StephenKingwastoldthatKubrickhadhisstaffbringhim
stacksofhorrorbooksasheplantedhimselfinhisofficetoreadthemall:
"Kubrick'ssecretaryheardthesoundofeachbookhittingthewallasthedirectorflungitintoarejectpileafter
readingthefirstfewpages.Finallyonedaythesecretarynoticedithadbeenawhilesinceshehadheardthethud
ofanotherwriter'sworkbitingthedust.ShewalkedintocheckonherbossandfoundKubrickdeeplyengrossedin
readingTheShining."[18]
Speakingaboutthethemeofthefilm,Kubrickstatedthat"there'ssomethinginherentlywrongwiththehuman
personality.There'sanevilsidetoit.Oneofthethingsthathorrorstoriescandoistoshowusthearchetypesofthe
unconsciouswecanseethedarksidewithouthavingtoconfrontitdirectly".[19]
Casting
NicholsonwasKubrick'sfirstchoicefortheroleofJackTorranceotheractorsconsideredincludedRobertDe
Niro(whoclaimsthefilmgavehimnightmaresforamonth),[20]RobinWilliams,andHarrisonFord,allofwhom
metwithStephenKing'sdisapproval.[21]InhissearchtofindtherightactortoplayDanny,Kubricksentahusband
andwifeteam,LeonandKerstiVitali,toChicago,Denver,andCincinnatitocreateaninterviewpoolof5,000
boysoverasixmonthperiod.ThesecitieswerechosensinceKubrickwaslookingforaboywithanaccentwhich
fellinbetweenJackNicholson'sandShelleyDuvall'sspeechpatterns.[22]
Shooting
Interiorsets
HavingchosenKing'snovelasabasisforhisnextproject,andafterapreproductionphase,Kubrickhadsets
constructedonsoundstagesatEMIElstreeStudiosinBorehamwood,Hertfordshire,Britain.Someoftheinterior
designsoftheOverlookHotelsetwerebasedonthoseoftheAhwahneeHotelinYosemiteNationalPark.To
enablehimtoshootthescenesinchronologicalorder,heusedseveralstagesatEMIElstreeStudiosinorderto
makeallsetsavailableduringthecompletedurationofproduction.ThesetfortheOverlookHotelwasatthetime
thelargesteverbuiltatElstree,includingalifesizerecreationoftheexteriorofthehotel.[23]InFebruary1979,
thesetatElstreewasbadlydamagedinafire,causingadelayintheproduction.[24][25]
Exteriorlocations
Whilemostoftheinteriorshots,andevensomeoftheOverlookexterior
shots,wereshotonstudiosets,afewexteriorshotswereshotonlocation
byasecondunitcrewheadedbyJanHarlan.SaintMaryLakeandWild
GooseIslandinGlacierNationalPark,Montanawasthefilminglocation
fortheaerialshotsoftheopeningscenes,withtheVolkswagenBeetle
drivingalongGoingtotheSunRoad.TheTimberlineLodgeonMount
HoodinOregonwasfilmedforafewoftheexteriorshotsofthefictional
OverlookHotelnotablyabsentintheseshotsisthehedgemaze,something
Thesetdesignfortheinteriorscenes
theTimberlineLodgedoesnothave.
oftheOverlookHotelwasmodeled
OuttakesoftheopeningpanoramashotswerelaterusedbyRidleyScottfor inlargepartsontheAhwahnee
theclosingmomentsoftheoriginalcutofthefilmBladeRunner(1982). Hotel.TheAhwahnee'slobbywasthe
modelforthesetofthelobbycreated
atElstreeStudios.
Shooting
TheShininghadaprolongedandarduousproductionperiod,oftenwithverylongworkdays.Principalphotography
tookoverayeartocomplete,duetoKubrick'shighlymethodicalnature.ActressShelleyDuvalldidnotgeton
withKubrick,frequentlyarguingwithhimonsetaboutlinesinthescript,heractingtechniquesandnumerous
otherthings.Duvalleventuallybecamesooverwhelmedbythestressofherrolethatshebecamephysicallyillfor
months.Atonepoint,shewasundersomuchstressthatherhairbegantofallout.Theshootingscriptwasbeing
changedconstantly,sometimesseveraltimesaday,addingmorestress.JackNicholsoneventuallybecameso
frustratedwiththeeverchangingscriptthathewouldthrowawaythecopiesthattheproductionteamwouldgive
tohimtomemorize,knowingthatitwasjustgoingtochangeanyway.Helearnedmostofhislinesjustminutes
beforefilmingthem.NicholsonwaslivinginLondonwithhisthengirlfriendAnjelicaHustonandheryounger
sister,Allegra,whotestifiedtohislongshootingdays.[26]
ForthefinalGoldRoomsequence,Kubrickinstructedtheextras(viamegaphone)nottotalk,"buttomime
conversationtoeachother.Kubrickknewfromyearsofscrutinizingthousandsoffilmsthatextrascouldoften
mimetheirbusinessbynoddingandusinglargegesturesthatlookfake.Hetoldthemtoactnaturallytogivethe
sceneachillingsenseoftimetrippingrealismasJackwalksfromtheseventiesintotheroaringtwenties".[27]
Forinternationalversionsofthefilm,Kubrickshotdifferenttakesof
Wendyreadingthetypewriterpagesindifferentlanguages.Foreach
language,asuitableidiomwasused:German(Wasduheutekannst
besorgen,dasverschiebenichtaufmorgen"Neverputofftilltomorrow
whatmaybedonetoday"),Italian(Ilmattinohaloroinbocca"The
morninghasgoldinitsmouth"),French(UnTiensvautmieuxquedeux
Tul'auras"One'hereyougo'isworthmorethantwo'you'llhaveit' ",
theequivalentof"Abirdinthehandisworthtwointhebush"),Spanish
(Nopormuchomadrugaramanecemstemprano"Nomatterhowearly
Originaltypewriterfromthefilm. yougetup,youcan'tmakethesunriseanysooner.")[28]Thesealternate
shotswerenotincludedwiththeDVDrelease,whereonlytheEnglish
phrase"allworkandnoplaymakesJackadullboy"wasused.
ThedoorthatJackchopsthroughwiththeaxeneartheendofthefilmwasarealdoor.Kubrickhadoriginallyshot
thisscenewithafakedoor,butNicholson,whohadworkedasavolunteerfiremarshal,toreitdowntooquickly.
Jack'sline,"Heeeere'sJohnny!",istakenfromEdMcMahon'sfamousintroductiontoTheTonightShowStarring
JohnnyCarson,andwasimprovisedbyNicholson.Kubrick,whohadlivedinEnglandforsometime,was
unawareofthesignificanceoftheline,andnearlyusedadifferenttake.[29]CarsonlaterusedtheNicholsonclipto
openhis1980anniversaryshowonNBC.
JoeTurkelstatedina2014interviewthattheyrehearsedthe"barscene"forsixweeks,startingat9a.m.and
finishingat10:30p.m.eachday,withTurkelrecollectingthathisclotheswouldbesoakedinhisownsweatbythe
endofeveryday'sshoot.Healsoaddedthatitwashisfavoritesceneinthefilm.[30]
Duringproduction,KubrickscreenedDavidLynch'sEraserhead(1977)tothecastandcrew,toconveythemood
hewantedtoachieveforthefilm.[31]
Steadicam
TheShiningwasamongthefirsthalfdozenfilms(afterthe1976filmsBoundforGlory,MarathonMan,and
Rocky),tousethenewlydevelopedSteadicam,[32]astabilizingmountforamotionpicturecamera,which
mechanicallyseparatestheoperator'smovementfromthecamera's,allowingsmoothtrackingshotswhilethe
operatorismovingoveranunevensurface.Itessentiallycombinesthestabilizedsteadyfootageofaregularmount
withthefluidityandflexibilityofahandheldcamera.TheinventoroftheSteadicam,GarrettBrown,washeavily
involvedwiththeproductionofTheShining.Brownhasdescribedhisexcitementtakinghisfirsttourofthesets
whichoffered"furtherpossibilitiesfortheSteadicam".ThistourconvincedBrowntobecomepersonallyinvolved
withtheproduction.Kubrickwasnot"justtalkingofstuntshotsandstaircases".Ratherhewouldusethe
Steadicam"asitwasintendedtobeusedasatoolwhichcanhelpgetthelenswhereit'swantedinspaceand
timewithouttheclassiclimitationsofthedollyandcrane".Brownusedan18mmCookelensthatallowedthe
Steadicamtopasswithinaninchofwallsanddoorframes.[33]BrownpublishedanarticleinAmerican
Cinematographerabouthisexperience,[34]andcontributedtotheaudiocommentaryonthe2007DVDrelease.
KubrickpersonallyaidedinmodifyingtheSteadicam'svideotransmission
technology.BrownstateshisownabilitiestooperatetheSteadicamwere
refinedbyworkingonKubrick'sfilm.Forthisfilm,Browndevelopeda
twohandedtechnique,whichenabledhimtomaintainthecameraatone
heightwhilepanningandtiltingthecamera.Inadditiontotrackingshots
frombehind,theSteadicamenabledshootinginconstrictedroomswithout
flyingoutwalls,orbackingthecameraintodoors.Brownnotesthat:
Oneofthemosttalkedaboutshotsinthepictureistheeerie
trackingsequencewhichfollowsDannyashepedalsathigh Thesetdesignfortheinteriorscenes
speedthroughcorridoraftercorridoronhisplasticBigWheel oftheOverlookHotelwasmodeled
tricycle.Thesoundtrackexplodeswithnoisewhenthewheelis inlargepartsontheAhwahneeHotel.
onwoodenflooringandisabruptlysilentasitcrossesover Ahwahnee'sGreatLoungewas
carpet.Weneededtohavethelensjustafewinchesfromthe recreatedontheElstreeStudiossetas
floorandtotravelrapidlyjustbehindoraheadofthebike. theColoradoLounge.
ThisrequiredtheSteadicamtobeonaspecialmountmodeledonawheelchairinwhichtheoperatorsatwhile
pullingaplatformwiththesoundman.Theweightoftheriganditsoccupantsprovedtobetoomuchforthe
originaltireshowever,resultinginablowoutonedaythatalmostcausedaseriouscrash.Solidtireswerethen
mountedontherig.Kubrickalsohadahighlyaccuratespeedometermountedontherigsoastoduplicatetheexact
tempoofagivenshotsothatBrowncouldperformtakeafteridenticaltake.[35]Brownalsodiscusseshowthe
scenesinthehedgemazewereshotwithaSteadicam.
Musicandsoundtrack
ThestylisticallymodernistartmusicchosenbyKubrickissimilartotherepertoirehefirstexploredin2001:A
SpaceOdyssey.AlthoughtherepertoirewasselectedbyKubrick,theprocessofmatchingpassagesofmusicto
motionpicturewasleftalmostentirelyatthediscretionofmusiceditorGordonStainforth,whoseworkonthisfilm
isknownfortheattentiontofinedetailsandremarkablyprecisesynchronizationwithoutexcessivesplicing.[36]
ThesoundtrackalbumonLPwaswithdrawnduetoproblemswithlicensingofthemusic.[37]Itremainsonly
availableonvinyl(therehasneverbeenaCDrelease)andisdifficulttofind.[38]TheLPsoundtrackomitssome
piecesheardinthefilm,andalsoincludescompleteversionsofpiecesofwhichonlyfragmentsareheardinthe
film.
Thenonoriginalmusiconthesoundtrackisasfollows:
1."Lontano"byGyrgyLigeti,ErnestBourconductingtheSouthwestGermanRadioSymphonyOrchestra
(WergoRecords)
2."MusicforStrings,PercussionandCelesta"byBlaBartk,HerbertvonKarajanconductingtheBerlin
PhilharmonicOrchestra(DeutscheGrammophon)
3."Utrenja"excerptsfromthe"Ewangelia"and"KanonPaschy"movementsbyKrzysztofPenderecki,
AndrzejMarkowskiconductingtheWarsawNationalPhilharmonicOrchestra(PolskieNagraniaRecords)
4."TheAwakeningofJacob","DeNaturaSonorisNo.1"(thelatternotonthesoundtrackalbum,Cracow
PhilharmonicOrchestraconductedbyHenrykCzy)and"DeNaturaSonorisNo.2"byKrzysztof
Penderecki(WarsawNationalPhilharmonicOrchestra,conductedbyAndrzejMarkowski,PolskieNagrania
Records)
5."Home",performedbyHenryHallandtheGleneaglesHotelBand(ColumbiaRecords)
6."It'sAllForgottenNow"byAlBowlly,performedbyRayNobleandHisOrchestra(notonthesoundtrack
album)
7."Masquerade",performedbyJackHyltonandHisOrchestra(notonsoundtrack)
8."Kanon(forstringorchestra)"byKrzysztofPenderecki(notonsoundtrack)
9."Polymorphia(forstringorchestra)"byKrzysztofPenderecki,CracowPhilharmonicOrchestraconductedby
HenrykCzy(notonsoundtrack)
10."Midnight,theStarsandYou"byAlBowlly,performedbyRayNobleandHisOrchestra(noton
soundtrack)
UpontheirarrivalatElstreeStudios,WendyCarlosandRachelElkindwereshownthefirstversionofthefilmby
Kubrick:"Thefilmwasalittleonthelongside.Thereweregreatgobsofscenesthatnevermadeittothefilm.
TherewasawholestrangeandmysticalsceneinwhichJackNicholsondiscoversobjectsthathavebeenarranged
inhisworkingspaceintheballroomwitharrowsandthings.Hewalksdownandthinkshehearsavoiceanda
ghostthrowsaballbacktohim.Noneofthatmadeittothefinalfilm.Wescoredalotofthose.Wedidn'tknow
whatwasgoingtobeusedforsure".[39]CarloshassaidthatshewassodisillusionedbyKubrick'sactionsthatshe
vowednevertoworkwithhimagain.Herownmusicwasreleasedinitsnearentiretyin2005aspartofher
RediscoveringLostScorescompilation.[40]
Postreleaseedit
Afteritspremiereandaweekintothegeneralrun(witharunningtimeof146minutes),Kubrickcutasceneatthe
endthattookplaceinahospital.ThesceneshowsWendyinabedtalkingwithMr.Ullmanwhoexplainsthat
Jack'sbodycouldnotbefoundhethengivesDannyayellowtennisball,presumablythesameonethatJackwas
throwingaroundthehotel.Thisscenewassubsequentlyphysicallycutoutofprintsbyprojectionistsandsentback
tothestudiobyorderofWarnerBros.,thefilm'sdistributor.Thiscutthefilm'srunningtimeto144minutes.As
notedbyRogerEbert:
IfJackdidindeedfreezetodeathinthelabyrinth,ofcoursehisbodywasfoundandsoonerrather
thanlater,sinceDickHallorannalertedtheforestrangerstoserioustroubleatthehotel.IfJack'sbody
wasnotfound,whathappenedtoit?Wasitneverthere?Wasitabsorbedintothepastanddoesthat
explainJack'spresenceinthatfinalphotographofagroupofhotelpartygoersin1921?DidJack's
violentpursuitofhiswifeandchildexistentirelyinWendy'simagination,orDanny's,ortheirs?...
Kubrickwaswisetoremovethatepilogue.Itpulledonerugtoomanyoutfromunderthestory.At
somelevel,itisnecessaryforustobelievethethreemembersoftheTorrancefamilyareactually
residentsinthehotelduringthatwinter,whateverhappensorwhatevertheythinkhappens.
Europeanversion
ForitsreleaseinEurope,Kubrickcutabout25minutesfromthefilm.[41][42][43]Theexcisedscenesincludeda
longermeetingbetweenJackandWatsonatthehotel,Dannybeingattendedbyadoctor(AnneJackson)including
referencestoTonyandhowDannywasonceinjuredbyJackinadrunkenrage,morefootageofHallorann's
attemptstogettothehotelduringthesnowstormincludingasequencewithagarageattendant(TonyBurton),
extendeddialoguescenesatthehotel,andascenewhereWendydiscoversagroupofskeletonsinthehotellobby
duringtheclimax.JacksonandBurtonarecreditedintheEuropeanprint,despitetheirscenesbeingexcisedfrom
themovie.AccordingtoHarlan,Kubrickdecidedtocutsomesequencesbecausethefilmwas"notverywell
received",andafterWarnerBros.complainedaboutitsambiguityandlength.[44]
ThescenewhereJackwritesobsessivelyonthetypewriter"AllworkandnoplaymakesJackadullboy"wasshot
changingthelanguageofthetypescriptinItalian,French,Spanish,German,becausethefilmwouldbedubbedin
theselanguagesintheirrespectivecountries:[45]
Italian:Ilmattinohal'oroinbocca("Themorninghasgoldin(its)mouth",Englishequivalentof"Theearly
birdcatchestheworm")
Spanish:Nopormuchomadrugaramanecemstemprano("Evenifyouwakeupearly,itnotbemorning
before")
German:WasDuheutekannstbesorgen,dasverschiebenichtaufMorgen("Don'tputoffuntiltomorrow
whatyoucandotoday")
French:UnTiensvautmieuxquedeuxTul'auras("A"Holdthis"isbetterthantwo"Youwillhaveit"")
IntheItalianversion,NicholsonwasdubbedbyGiancarloGiannini.Kubricksenthimacongratulationsletterfor
hisexcellentworkasvoiceactor.
TwoalternativetakeswereusedinaBritishtelevisioncommercial.[46]
Homemedia
TheU.S.premierebyABConMay6,1983[47]startedwithaplacardsaying,"TONIGHTSFILMDEALSWITH
THESUPERNATURAL,ASAPOSSESSEDMANATTEMPTSTODESTROYHISFAMILY."[48]Withthe
movie'sambiguities,itisnotknownhowKubrickfeltaboutorifheagreedwiththisproclamation.Theplacard
alsosaidthatthefilmwaseditedfortelevisionandwarnedaboutthecontent.[46]
TheU.S.region1DVDofthefilmisthelonger(144minute)editofthefilm.TheEuropean(includingUK)
region2DVDistheshorter(119minute)version.OnBritishtelevision,theshortversionplayedonChannel4
onceandonSkyMoviesnumeroustimesinthemidnineties.Allotherscreenings,beforeandsincethese,have
beenoneitherITVorITV4andhavebeenthelongerU.S.edit.TheGermanDVDshowstheshortversion,asseen
inGermantelevisionscreenings.
InaccordancewithstipulationscontainedinKubrick'swill,DVDreleasesshowthefilminopenmatte(i.e.,with
morepicturecontentvisiblethaninmovietheaters).ThesceneinwhichWendydiscoversherhusband'swork
(consistingonlyofasimpleproverb:"allworkandnoplaymakesJackadullboy"repeatedlytypedonnumerous
pages)wasshotwithdifferentproverbsinatleastfivelanguages(English,French,Spanish,ItalianandGerman).
Nevertheless,mostDVDreleasesshowtheEnglishversion,disregardingthedublanguage.
DVDsinbothregionscontainacandidflyonthewall33minutedocumentarymadebyKubrick'sdaughterVivian
(whowas17whenshefilmedit)entitledMakingTheShining,originallyshownonBritishtelevisionin1980.She
alsoprovidedanaudiocommentarytrackaboutherdocumentaryforitsDVDrelease.Itappearsevenonpre2007
editionsofTheShiningonDVD,althoughmostDVDsofKubrickfilmsbeforethenweredevoidofdocumentaries
oraudiocommentaries.Ithassomecandidinterviewsandveryprivatemomentscaughtonset,suchasarguments
withcastanddirector,momentsofanononsenseKubrickdirectinghisactors,ScatmanCrothersbeing
overwhelmedwithemotionduringhisinterview,ShelleyDuvallcollapsingfromexhaustionontheset,andJack
Nicholsonenjoyingplayinguptothebehindthescenescamera.[49]
Reception
Initialreviews
TheShininghadaslowstartattheboxoffice,butgainedmomentum,eventuallydoingwellcommerciallyduring
thesummerof1980andmakingWarnerBros.aprofit.Itopenedatfirsttomixedreviews.JanetMaslinofThe
NewYorkTimeslaudedNicholson'sperformanceandpraisedtheOverlookHotelasaneffectivesettingforhorror,
butwrotethat"thesupernaturalstoryknowsfrustratinglylittlerhymeorreason[]Eventhefilm'smoststartling
horrificimagesseemoverbearingandperhapsevenirrelevant."[50]Varietywascritical,saying,"Witheverythingto
workwith,...KubrickhasteamedwithjumpyJackNicholsontodestroyallthatwassoterrifyingaboutStephen
King'sbestseller."[51]Acommoninitialcriticismwastheslowpacing,whichwashighlyatypicalofhorrorfilmsof
thetime.[52]RogerEbertdidnotreviewthefilmonhistelevisionshowwhenfirstreleased,[53]andinprint
complainedthatitwashardtoconnectwithanyofthecharacters.[54]ItwastheonlyoneofKubrick'slastnine
filmstoreceivenonominationsatallfromeithertheOscarsorGoldenGlobes,butwasnominatedforapairof
RazzieAwards,includingWorstDirectorandWorstActress(Duvall),[55]inthefirstyearthatawardwas
given.[56][57][58][59]
Reappraisal
TimCahillofRollingStonenotedinaninterviewwithKubrickthatby1987therewasalreadya"critical
reevaluationof[TheShining]inprocess".[60]AswithmostKubrickfilms,morerecentanalyseshavetreatedthe
filmmorefavorably.Viewerssubsequentlydecidedtheslowpacingactuallycontributestothefilm'shypnotic
quality.[52]FilmwebsiteRottenTomatoes,whichcompilesreviewsfromawiderangeofcritics,givesthefilma
scoreof87%"CertifiedFresh".[61]
In2006,RogerEbert,whowasinitiallycriticalofthework,inductedTheShiningintohisGreatMoviesseries,
saying,"StanleyKubrick'scoldandfrighteningTheShiningchallengesustodecide:Whoisthereliableobserver?
Whoseideaofeventscanwetrust?[]ItisthiselusiveopenendednessthatmakesKubrick'sfilmsostrangely
disturbing."[62]
HorrorfilmcriticPeterBrackereviewingtheBlurayreleaseinHiDefDigestwrites:
Justastheghostlyapparitionsofthefilm'sfictionalOverlookHotelwouldplaytricksonthemindof
poorJackTorrance,sotoohasthepassageoftimechangedtheperceptionofTheShiningitself.Many
ofthesamereviewerswholambastedthefilmfor"notbeingscary"enoughbackin1980nowrankit
amongthemosteffectivehorrorfilmsevermade,whileaudienceswhohatedthefilmbackthennow
vividlyrecallbeing"terrified"bytheexperience.TheShininghassomehowrisenfromtheashesofits
ownbadpresstoredefineitselfnotonlyasaseminalworkofthegenre,butperhapsthemoststately,
artfulhorrorevermade.
TheShiningiswidelyacclaimedbytoday'scritics,andhasbecomeastapleofpopculture.[52][63]In2001,thefilm
wasranked29thonAFI's100Years...100ThrillslistandJackTorrancewasnamedthe25thgreatestvillainonthe
AFI's100Years...100HeroesandVillainslistin2003.In2005,thequote"Here'sJohnny!"wasranked68on
AFI's100Years...100MovieQuoteslist.ItwasnamedthealltimescariestfilmbyChannel4,[64]TotalFilm
labeleditthe5thgreatesthorrorfilm,[65]andBravoTVnamedoneofthefilm'sscenes6thontheirlistofthe100
ScariestMovieMoments.Inaddition,filmcriticsKimNewman[66]andJonathanRomney[67]bothplaceditintheir
toptenlistsforthe2002Sight&Soundpoll.DirectorMartinScorseseplacedTheShiningonhislistofthe11
scariesthorrorfilmsofalltime.[68]MathematiciansatLondon'sKing'sCollegeusedstatisticalmodelinginastudy
commissionedbySkyMoviestoconcludethatTheShiningwasthe"perfectscarymovie"duetoaproperbalance
ofvariousingredientsincludingshockvalue,suspense,goreandsizeofthecast.[69][70]Itwasvotedthe62nd
greatestAmericanfilmevermadeina2015pollconductedbyBBC.[71]
Analysisofchangeinperception
In1999,JonathanRomneydiscussedKubrick'sperfectionismanddispelledothers'initialargumentsthatthefilm
lackedcomplexity:"ThefinalscenealonedemonstrateswhatarichsourceofperplexityTheShiningoffers[...]
lookbeyondthesimplicityandtheOverlookrevealsitselfasapalaceofparadox".Romneyfurtherexplains:[72]
ThedominatingpresenceoftheOverlookHoteldesignedbyRoyWalkerasacompositeof
Americanhotelsvisitedinthecourseofresearchisanextraordinaryvindicationofthevalueofmise
enscne.It'sareal,complexspacethatwedon'tjustseebutcometovirtuallyinhabit.The
confinementispalpable:horrorcinemaisanartofclaustrophobia,makingusloathtostayinthe
cinemabutunabletoleave.Yetit'scombinedwithasortofagoraphobiaweareasfrightenedofthe
hotel'scavernousvastnessasofitscorridors'enclosure....Thefilmsetsupacomplexdynamic
betweensimpledomesticityandmagnificentgrandeur,betweenthesupernaturalandthemundanein
whichtheviewerisdisorientedbythecombinationofspaciousnessandconfinement,andan
uncertaintyastojustwhatisrealornot.
ResponsebyStephenKing
Speakingaboutthethemeofthefilm,Kubrickstatedthat"there'ssomethinginherentlywrongwiththehuman
personality.There'sanevilsidetoit.Oneofthethingsthathorrorstoriescandoistoshowusthearchetypesofthe
unconsciouswecanseethedarksidewithouthavingtoconfrontitdirectly".[19]StephenKinghasbeenquotedas
sayingthatalthoughKubrickmadeafilmwithmemorableimagery,itwaspoorasanadaptation[73]andthatitis
theonlyadaptationofhisnovelsthathecould"rememberhating".[74]However,inKing's1981nonfictionbook
DanseMacabre,helistedKubrick'sfilmamongthoseheconsideredtohave"contributedsomethingofvaluetothe
[horror]genre"andmentioneditasoneofhis"personalfavorites".[75]Beforethe1980movieKingoftensaidhe
gavelittleattentiontothefilmadaptationsofhiswork.[76]
Kinghimselfwassufferingfromalcoholismatthetimehewrotethenovel,
thereforegivingastrongautobiographicalelementtothestory.Hehas
expresseddisappointmentthathisnovel'simportantthemes,suchasthe
disintegrationoffamilyandthedangersofalcoholism,arelessprevalentin
thefilm.KingalsoviewedthecastingofNicholsonasamistake,arguingit
wouldresultinarapidrealizationamongaudiencesthatJackwould
ultimatelygomad,duetoNicholson'sfamousidentificationwiththe
characterofMcMurphyinOneFlewOvertheCuckoo'sNest(1975).King
hadsuggestedthatamoreeverymanlikeactorsuchasJonVoight,
ChristopherReeve,orMichaelMoriartyplaytherole,sothatJack's
subsequentdescentintomadnesswouldbemoreunnerving.[76]
InaninterviewwiththeBBC,KingalsocriticizedShelleyDuvall's
performanceinthefilm,stating"(S)he'sbasicallyjusttheretoscreamand
bestupid,andthat'snotthewomanthatIwroteabout."[77]
AuthorStephenKingwasan
Overtheyears,contradictionshaveariseninthediscussionofKing's
executiveproducerforafaithful1997
criticisms.Theauthoroncesuggestedthathedislikedthefilm's
adaptation,andcontinuestohold
downplayingofthesupernaturalKinghadenvisionedJackasavictimof
mixedfeelingsregardingKubrick's
thegenuinelyexternalforceshauntingthehotel,whereasKingfeltKubrick
version.
hadviewedthehauntinganditsresultingmalignancyascomingfrom
withinJackhimself.[78]InOctober2013,however,journalistLauraMiller
wrotethatthediscrepancybetweenthetwowasalmostthecompleteopposite:theJackTorranceofthenovelwas
corruptedbyhisownchoicesparticularlyalcoholismwhereasinKubrick'sadaptationthecausesareactually
moresurrealandambiguous:[79]
Kingis,essentially,anovelistofmorality.Thedecisionshischaractersmakewhetheritsto
confrontapackofvampiresortobreak10yearsofsobrietyarewhatmattertohim.Butin
KubricksTheShining,thecharactersarelargelyinthegripofforcesbeyondtheircontrol.Itsafilm
inwhichdomesticviolenceoccurs,whileKingsnovelisaboutdomesticviolenceasachoicecertain
menmakewhentheyrefusetoabandonadelusional,defensiveentitlement.AsKingseesit,Kubrick
treatshischaracterslikeinsectsbecausethedirectordoesntreallyconsiderthemcapableofshaping
theirownfates.Everythingtheydoissubordinatetoanoverweening,irresistibleforce,whichis
Kubrickshighlydevelopedaesthetictheyareitsslaves.InKingsTheShining,themonsterisJack.
InKubricks,themonsterisKubrick.
King'softcitedremarkaboutKubrickbeingamanwhothinkstoomuchandfeelstoolittleisoften
misconstruedasaremarkonKubrick'sobsessiveanddetachedapproachtodirectingactors,butitisactuallyaless
disparagingreferencetoKubrick'sskepticismregardingtheverisimilitudeofthesupernatural,whichemergedin
preproductionconversationsbetweenKingandKubrick.ThefullcontextofKing'swellknownquoteis:
Partsofthefilmarechilling,chargedwitharelentlesslyclaustrophobicterror,butothersfallflat.Not
thatreligionhastobeinvolvedinhorror,butavisceralskepticsuchasKubrickjustcouldn'tgraspthe
sheerinhumanevilofTheOverlookHotel.Sohelooked,instead,forevilinthecharactersandmade
thefilmintoadomestictragedywithonlyvaguelysupernaturalovertones.Thatwasthebasicflaw:
becausehecouldn'tbelieve,hecouldn'tmakethefilmbelievabletoothers.What'sbasicallywrong
withKubrick'sversionofTheShiningisthatit'safilmbyamanwhothinkstoomuchandfeelstoo
littleandthat'swhy,forallitsvirtuosoeffects,itnevergetsyoubythethroatandhangsontheway
realhorrorshould.[80]
MarkBrowning,acriticofKing'swork,observedthatKing'snovelsfrequentlycontainanarrativeclosurethat
completesthestory,whichKubrick'sfilmlacks.[81]BrowninghasinfactarguedthatKinghasexactlytheopposite
problemofwhichheaccusedKubrick.King,hebelieves,"feelstoomuchandthinkstoolittle".
KingwasalsodisappointedbyKubrick'sdecisionnottofilmatTheStanleyHotelinEstesPark,Colorado,which
inspiredthestory(adecisionKubrickmadesincethehotellackedsufficientsnowandelectricity).However,King
finallysupervisedthe1997televisionadaptationalsotitledTheShining,filmedatTheStanleyHotel.
TheanimosityofKingtowardKubrick'sadaptationhasdulledovertime.Duringaninterviewsegmentonthe
Bravochannel,KingstatedthatthefirsttimehewatchedKubrick'sadaptation,hefoundittobe"dreadfully
unsettling".
Nonetheless,writingintheafterwordofDoctorSleep,KingprofessedcontinueddissatisfactionwiththeKubrick
film.Hesaidofit"...ofcoursetherewasStanleyKubrick'smoviewhichmanyseemtorememberforreasonsI
haveneverquiteunderstoodasoneofthescariestfilmstheyhaveeverseen.Ifyouhaveseenthemoviebutnot
readthenovel,youshouldnotethatDoctorSleepfollowsthelatterwhichis,inmyopinion,theTrueHistoryofthe
TorranceFamily."
Awardsandnominations
Award Subject Nominee Result

WorstActress ShelleyDuvall
RazzieAward
WorstDirector Nominated
StanleyKubrick
BestDirector
BestSupportingActor ScatmanCrothers Won
SaturnAward BestHorrorFilm
WendyCarlos Nominated
BestMusic
RachelElkind
Socialinterpretations
FilmcriticJonathanRomneywritesthatthefilmhasbeeninterpretedinmanydifferentwaysasbeingaboutthe
crisisinmasculinity,sexism,corporateAmerica,andracism:"It'stemptingtoreadTheShiningasanOedipal
strugglenotjustbetweengenerationsbutbetweenJack'scultureofthewrittenwordandDanny'scultureof
images...."Romneywrites,"Jackalsousesthewrittenwordtomoremundanepurposetosignhis'contract'with
theOverlook.'Igavemyword,'[..]whichwetaketomean'gavehissoul'inthe[..]Faustiansense.Butmaybehe
meansitmoreliterallybytheend[..]hehasrenouncedlanguageentirely,pursuingDannythroughthemazewith
aninarticulateanimalroar.Whathehasenteredintoisaconventionalbusinessdealthatplacescommercial
obligation[..]overtheunspokencontractofcompassionandempathythatheseemstohaveneglectedtosignwith
hisfamily."[61]Thesevariedinterpretationsspawnedthe2012documentaryRoom237,directedbyRodney
Ascher,whichprovidesanindepthexplorationofvariousinterpretationsof,andmythssurrounding,thefilm.
NativeAmericans
Amonginterpreterswhoseethefilmreflectingmoresubtlythesocialconcernsthat
animateotherKubrickfilms,oneoftheearliestandmostwellknownviewpoints
wasdiscussedinanessaybyABCreporterBillBlakemoreentitled"Kubrick's
'Shining'Secret:Film'sHiddenHorrorIsTheMurderOfTheIndian",first
publishedinTheWashingtonPostonJuly12,1987.[84][85]Hebelievesthatindirect
referencestoAmericankillingsofNativeAmericanspervadethefilmas
exemplifiedbytheIndianlogosonthebakingpowderinthekitchenandIndian
artworkthatappearsthroughoutthehotel,thoughnoNativeAmericansareever
seen.StuartUllmantellsWendythatwhenbuildingthehotelafewIndianattacks
hadtobefendedoffsinceitwasconstructedonanIndianburialground.
Blakemore'sgeneralargumentisthatthefilmasawholeisametaphorforthe
genocideofNativeAmericans.HenotesthatwhenJackkillsHallorann,thedead
bodyisseenlyingonarugwithanIndianmotif.Thebloodintheelevatorshafts
Thefilm'siconicsequencein is,forBlakemore,thebloodoftheIndiansintheburialgroundonwhichthehotel
whichJackplaceshishead wasbuilt.Assuch,thefactthatthedateofthefinalphotographisJuly4ismeant
onthebrokendoorandsays, tobedeeplyironic.Blakemorewrites,
"Here'sJohnny!",echoes
scenesinbothD.W.
Griffith'sBrokenBlossoms
Aswithsomeofhisothermovies,KubrickendsTheShiningwitha
andtheSwedishhorrorfilm
powerfulvisualpuzzlethatforcestheaudiencetoleavethetheater
asking,"Whatwasthatallabout?"TheShiningendswithanextremely
ThePhantom
longcamerashotmovingdownahallwayintheOverlook,reaching
Carriage. [82][83] eventuallythecentralphotoamong21photosonthewall.Thecaption
reads:"OverlookHotelJuly4thBall1921."Theanswertothispuzzle,
isthatmostAmericansoverlookthefactthatJulyFourthwasnoball,
noranykindofIndependenceday,fornativeAmericansthattheweak
AmericanvillainofthefilmisthereembodimentoftheAmerican
menwhomassacredtheIndiansinearlieryearsthatKubrickis
examiningandreflectingonaproblemthatcutsthroughthedecades
andcenturies.
BlakemorealsoseesthisfilmassimilartootherKubrickfilmswhereevilforcesgetweakmentodotheirbidding.
FilmwriterJohnCaposeesthefilmasanallegoryofAmericanimperialism.Thisisexemplifiedbymanyclues
theclosingphotoofJackinthepastata4thofJulyparty,orJack'searliercitationoftheRudyardKiplingpoem
"TheWhiteMan'sBurden".[86]ThepoemhasbeeninterpretedasrationalizingtheEuropeancolonizationofnon
whitepeople,whileJack'slinehasbeeninterpretedasreferringtoalcoholism,fromwhichhesuffers.
GeoffreyCocksandKubrick'sconcernwiththeHolocaust
FilmhistorianGeoffreyCockshasextendedBlakemore'sideathatthefilmhasasubtextaboutNativeAmericans
toarguingthatthefilmindirectlyreflectsStanleyKubrick'sconcernsabouttheHolocaust(BothCocks'bookand
MichaelHerr'smemoirofKubrickdiscusshowhewantedhisentirelifetomakeafilmdealingdirectlywiththe
Holocaust,butcouldneverquitegetthehandleonitthatsatisfiedhim).Cocksisaculturalhistorianbestknown
fordescribingtheimpactoftheHolocaustonsubsequentWesternculture.Cocks,writinginhisbookTheWolfat
theDoor:StanleyKubrick,HistoryandtheHolocaust,proposedacontroversialtheorythatallofKubrick'swork
isinformedbytheHolocaustthereis,hesays,astrong(thoughhidden)holocaustsubtextinTheShining.This,
Cocksbelieves,iswhyKubrick'sscreenplaygoestoemotionalextremes,omittingmuchofthenovel's
supernaturalismandmakingthecharacterofWendymuchmorehysteriaprone.[87]CocksplacesKubrick'svision
ofahauntedhotelinlinewithalongliterarytraditionofhotelsinwhichsinistereventsoccur,fromStephen
Crane'sshortstory"TheBlueHotel"(whichKubrickadmired)totheSwissBerghofinThomasMann'snovelThe
MagicMountain,[88]aboutasnowboundsanatoriumhighintheSwissAlpsinwhichtheprotagonistwitnessesa
seriesofeventswhichareamicrocosmofthedeclineofWesternculture.Inkeepingwiththistradition,Kubrick's
filmfocusesondomesticityandtheTorrances'attempttousethisimposingbuildingasahomewhichJack
Torrancedescribesas"homey".
CocksclaimsthatKubrickhaselaboratelycodedmanyofhishistoricalconcernsintothefilmwithmanipulations
ofnumbersandcolorsandhischoiceofmusicalnumbers,manyofwhicharepostwarcompositionsinfluencedby
thehorrorsofWorldWarII.OfparticularnoteisKubrick'suseofPenderecki'sTheAwakeningofJacob[89]to
accompanyJackTorrance'sdreamofkillinghisfamilyandDanny'svisionofpastcarnageinthehotel,apieceof
musicoriginallyassociatedwiththehorrorsoftheHolocaust.Assuch,Kubrick'spessimisticendingincontrastto
StephenKing'soptimisticoneisinkeepingwiththemotifsthatKubrickwoveintothestory.
Cocks'workhasbeenanthologizedanddiscussedinotherworksonStanleyKubrickfilms,butsometimeswith
skepticism.Inparticular,JulianRicewritingintheopeningchapterofhisbookKubrick'sHopebelievesCocks'
viewsareexcessivelyspeculativeandcontaintoomanystrained"criticalleaps"offaith.Riceholdsthatwhatwent
oninKubrick'smindcannotbereplicatedorcorroboratedbeyondabroadvisionofthenatureofgoodandevil
(whichincludedconcernabouttheHolocaust),butKubrick'sartisnotgovernedbythisonesingleobsession.[90]
DianeJohnson,coscreenwriterforTheShining,commentedonCocks'observationsandholdsthatpreoccupation
withtheJewishHolocaustonKubrick'spartcouldverylikelyhavemotivatedhisdecisiontoplacethehotelona
NativeAmericanburialground,althoughKubrickneverdirectlymentionedittoher.[91]
Literaryallusions
GeoffreyCocksnotesthatthefilmcontainsmanyallusionstofairytales,bothHanselandGretelandtheThree
LittlePigs,[87]withJackTorranceidentifiedastheBigBadWolf,whichBrunoBettelheiminterpretsasstanding
for"alltheasocialunconsciousdevouringpowers"thatmustbeovercomebyachild'sego.
Thesaying"allworkandnoplaymakesJackadullboy"appearedfirstinJamesHowell'sProverbsinEnglish,
Italian,FrenchandSpanish(1659).[92]
Ambiguitiesinthefilm
RogerEbertnotesthatthefilmdoesnotreallyhavea"reliableobserver",withthepossibleexceptionofDick
Hallorann.EbertbelievesvariouseventscallintoquestionthereliabilityofJack,Wendy,andDannyatvarious
points.[93]ThisleadsEberttoconcludethat:
Kubrickistellingastorywithghosts(thetwogirls,theformercaretakerandabartender),butitisn'ta
"ghoststory",becausetheghostsmaynotbepresentinanysenseatallexceptasvisionsexperienced
byJackorDanny.
Ebertultimatelyconcludesthat"Themovieisnotaboutghostsbutaboutmadnessandtheenergies".Likewise,
filmcriticJamesBerardinelli(whoisgenerallymuchlessimpressedwiththefilmthanEbert),notesthat"King
wouldhaveusbelievethatthehotelishaunted.Kubrickislessdefinitiveintheinterpretationsheoffers."Hedubs
thefilmafailureasaghoststory,butbrilliantasastudyof"madnessandtheunreliablenarrator."[94]
Ghostsvs.cabinfever
Insomesequences,thereisaquestionofwhetherornotthereareghostspresent.InthesceneswhereJacksees
ghostsheisalwaysfacingamirror,orinthecaseofhisstoreroomconversationwithGrady,areflective,highly
polisheddoor.FilmreviewerJamesBerardinellinotes"Ithasbeenpointedoutthatthere'samirrorineveryscene
inwhichJackseesaghost,causingustowonderwhetherthespiritsarereflectionsofatorturedpsyche."[95]In
Hollywood'sStephenKing,TonyMagistralewrites:
Kubrick'srelianceonmirrorsasvisualaidsforunderscoringthethematicmeaningofthisfilm
portraysvisuallytheinternaltransformationsandoppositionsthatareoccurringtoJackTorrance
psychologically.Through...thesedevices,Kubrickdramatizesthehotel'smethodicalassaulton
Torrance'sidentity,itsabilitytostimulatethemyriadofselfdoubtsandanxietiesbycreating
opportunitiestowarpTorrance'sperspectiveonhimselfand[hisfamily].Furthermorethefactthat
Jacklooksintoamirrorwheneverhe"speaks"tothehotelmeans,tosomeextent,thatKubrick
implicateshimdirectlyintothehotel's"consciousness",becauseJackis,ineffect,talkingto
himself.[96]
GhostsaretheimpliedexplanationforJack'sescapefromthelockedstoreroom.InaninterviewbyscholarMichel
Ciment,Kubrickstated:
Itseemedtostrikeanextraordinarybalancebetweenthepsychologicalandthesupernaturalinsucha
wayastoleadyoutothinkthatthesupernaturalwouldeventuallybeexplainedbythepsychological:
'Jackmustbeimaginingthesethingsbecausehe'scrazy.'Thisallowedyoutosuspendyourdoubtof
thesupernaturaluntilyouweresothoroughlyintothestorythatyoucouldacceptitalmostwithout
noticing...It'snotuntilGrady,theghostoftheformercaretakerwhoaxedtodeathhisfamily,slides
opentheboltofthelarderdoor,allowingJacktoescape,thatyouareleftwithnootherexplanation
butthesupernatural.[97]
ThetwoGradys
Earlyinthefilm,StuartUllmantellsJackofapreviouscaretaker,CharlesGrady,who,in1970,succumbedto
cabinfever,murderedhisfamilyandthenkilledhimself.Later,JackmeetsaghostlybutlernamedGrady.Jack
saysheknowsaboutthemurders,claimingtorecognizeGradyfrompictureshowever,thebutlerintroduces
himselfasDelbertGrady.
GordonDahlquistofTheKubrickFAQarguesthatthenamechange"deliberatelymirrorsJackTorrancebeingboth
thehusbandofWendy/fatherofDannyandthemysteriousmanintheJulyFourthphoto.Itistosayheistwo
people:themanwithchoiceinaperiloussituationandthemanwhohas'always'beenattheOverlook.It'sa
mistaketoseethefinalphotoasevidencethattheeventsofthefilmarepredetermined:Jackhasanynumberof
momentswherehecanactotherthanthewayhedoes,andthathis(poor)choicesarefueledbyweaknessandfear
perhapsmerelyspeaksallthemoretothequestionsaboutthepersonalandthepoliticalthatTheShiningbringsup.
InthesamewayCharleshadachanceoncemore,perhapstonottakeonDelbert'slegacy,soJackmayhave
hadachancetoescapehisroleas'caretaker'totheinterestsofthepowerful.It'sthetragiccourseofthisstorythat
hechoosesnotto."[98]Dahlquist'sargumentisthatDelbertGrady,the1920sbutler,andCharlesGrady,the1970s
caretaker,ratherthanbeingeithertwodifferentpeopleorthesamearetwo'manifestations'ofasimilarentitya
partpermanentlyatthehotel(Delbert)andthepartwhichisgiventhechoiceofwhethertojointhelegacyofthe
hotel'smurderouspast(Charles),justasthemaninthephotoisnotexactlyJackTorrance,butnorishesomeone
entirelydifferent.Jackinthephotohas'always'beenattheOverlook,Jackthecaretakerchoosestobecomepartof
thehotel.Thefilm'sassistanteditorGordonStainforthhascommentedonthisissue,attemptingtosteeracourse
betweenthecontinuityerrorexplanationononesideandthehiddenmeaningexplanationontheother"Idon't
thinkwe'lleverquiteunravelthis.WashisfullnameCharlesDelbertGrady?PerhapsCharleswasasortof
nickname?PerhapsUllmangotthenamewrong?ButIalsothinkthatStanleydidNOTwantthewholestorytofit
togethertooneatly,so[itis]absolutelycorrect,Ithink,tosaythat'thesumofwhatwelearnrefusestoaddup
neatly'."[98]
Kubrick'sotherdoubling/mirroringeffectsinthefilm:
1."Jack'sinterviewwithUllman,whoseconfidentaffabilitycontrastswithJack'sunconvincingnonchalance,
pairsoffwiththemeetingbetweenWendyandafemaledoctor,whosesomberandprofessionalwomanhood
reactsinstunneddisbelieftoWendy'sexplanationforanoldinjuryinflictedonDannybyhisdrunkenfather.
2.Duringtheinterview,JackandUllmanarejoinedbyahotelemployeenamedBillWatson,whoseonlyreal
distinction(andfunction)ishisstrikingphysicalresemblancetoJack,especiallywhenseenfrombehind.
3.TheGradysisterswholookliketwinsbutwhoareactuallydoubles(theiragesofeightandtenare
establishedinJack'sinterviewwithUllman).
4.OntwooccasionsUllmansaysgoodbyetotwoyoungfemaleemployees.
5.IntheMiamibedroom,twopaintingsshowingablacknudewomanonoppositewalls(mirroring)areseen
justbeforeHallorannexperiencesa"shining".
6.TwoversionsofthesamenudewomaninhabitthegreenbathroominRoom237.
7.Thefilmnotonlycontainstwomazes(thehedgesoutside,whichare,appropriately,13feethigh,andthe
modelinside),buttheOverlookitselfisamazeand,significantly,breaksdownintotwosections,oneold
andoneremodeled,onepast,onepresent.(DuringWendy'sinitialtourofthekitchenwithHallorannshe
remarksthatitislikeamaze,andshelatercharacterizesthefastemptyinghotelas"likeaghostship".)
8.TherearetwoJackTorrances,theonewhogoesmadandfreezestodeathinpresenttimeandtheonewho
appearsina1921photographthathangsonthegoldcorridorwallinsidetheOverlook."[99]
Thephotograph
Attheendofthefilm,thecameramovesslowlytowardsawallintheOverlookanda1921photograph,revealed
toincludeJackTorranceseenatthemiddleofa1921party.InaninterviewwithMichelCiment,Kubrickovertly
declaredthatthephotographsuggeststhatJackwasareincarnationofanearlierofficialatthehotel.[100]Still,this
hasnotstoppedinterpretersfromdevelopingalternativereadings,suchasthatJackhasbeen"absorbed"intothe
OverlookHotel.FilmcriticJonathanRomney,whileacknowledgingtheabsorptiontheory,wrote
AstheghostlybutlerGrady(PhilipStone)tellshimduringtheirchillingconfrontationinthemen's
toilet,'You'rethecaretaker,sir.You'vealwaysbeenthecaretaker.'Perhapsinsomeearlierincarnation
Jackreallywasaroundin1921,andit'shispresentdayselfthatistheshadow,thephantom
photographiccopy.Butifhispicturehasbeenthereallalong,whyhasnoonenoticedit?Afterall,it's
rightatthecenterofthecentralpictureonthewall,andtheTorranceshavehadapainfullydrawnout
winterofmindnumbingleisureinwhichtoinspecteverycorneroftheplace.Isitjustthat,likePoe's
purloinedletter,thethinginplainsightisthelastthingyousee?Whenyoudoseeit,theeffectisso
unsettlingbecauseyourealisetheunthinkablewasthereunderyournoseoverlookedthewhole
time.[72]
SpatiallayoutoftheOverlookHotel
ScreenwriterToddAlcotthasnoted:
Muchhasbeenwritten,someofitquiteintelligent,aboutthespatialanomaliesandinconsistenciesin
TheShining:thereareroomswithwindowsthatshouldnotbethereanddoorsthatcouldntpossibly
leadtoanywhere,roomsappeartobeinoneplaceinonesceneandanotherplaceinanother,wall
fixturesandfurniturepiecesappearanddisappearfromscenetoscene,propsmovefromoneroomto
another,andthelayoutoftheOverlookmakesnophysicalsense.[101]
ArtistJuliKearnsfirstidentifiedandcreatedmapsofspatialdiscrepanciesintheoveralllayoutoftheOverlook
Hotellocation,theinteriorsofwhichwereconstructedinstudiosinEngland.Thesespatialdiscrepanciesincluded
windowsappearinginimpossibleplaces,suchasinStuartUllman'sofficewhichissurroundedbyinterior
hallways,andapartmentdoorwayspositionedinplaceswheretheycannotpossiblyleadtoapartments.[102]Rob
Agerisanotherproponentofthistheory.[103][104]JanHarlan,anExecutiveProduceronTheShining,wasasked
aboutthediscontinuityofsetsbyXanBrooksofTheGuardianandconfirmedthediscontinuitywasintentional,
"Thesetwasverydeliberatelybuilttobeoffbeatandoffthetrack,sothatthehugeballroomwouldneveractually
fitinside.Theaudienceisdeliberatelymadenottoknowwherethey'regoing.PeoplesayTheShiningdoesn't
makesense.Wellspotted!It'saghostmovie.It'snotsupposedtomakesense."[105]Harlanfurtherelaboratedto
KateAbbotforthesamenewspaper,"StephenKinggavehimthegoaheadtochangehisbook,soStanleyagreed
andwroteamuchmoreambiguousscript.It'sclearinstantlythere'ssomethingfoulgoingon.Atthelittlehotel,
everythingislikeDisney,allkitschwoodontheoutsidebuttheinteriorsdon'tmakesense.Thosehugecorridors
andballroomscouldn'tfitinside.Infact,nothingmakessense."[106]
Comparisonwiththenovel
Thefilmdiffersfromthenovelsignificantlywithregardtocharacterizationandmotivationofaction.Themost
obviousdifferencesarethoseregardingthepersonalityofJackTorrance(thesourceofmuchofauthorStephen
Kingsdissatisfactionwiththefilm).[73][107][108]
Motivationofghosts
Inthefilm,themotiveoftheghostsisapparentlyto"reclaim"Jack(eventhoughGradyexpressesaninterestin
Danny's"shining"ability),whoseemstobeareincarnationofapreviouscaretakerofthehotel,assuggestedbythe
1920sphotographofJackattheendofthefilmandJack'srepeatedclaimstohave"notjustadejavu".[109]The
filmisevenmorefocusedonJack(asopposedtoDanny)thanthenovel.
Roomnumber
Theroomnumber217hasbeenchangedto237.TimberlineLodge,locatedonMt.HoodinOregon,wasusedfor
theexteriorshotsofthefictionalOverlookHotel.TheLodgerequestedthatKubricknotdepictRoom217
(featuredinthebook)inTheShining,becausefutureguestsattheLodgemightbeafraidtostaythere,anda
nonexistentroom,237,wassubstitutedinthefilm.Contrarytothehotel'sexpectations,Room217isrequested
moreoftenthananyotherroomatTimberline.[110][111]
TherearefringeanalysesrelatingthisnumberchangetorumorsthatKubrickfakedthefirstmoonlanding,asthere
areapproximately237,000milesbetweenEarthandMoon(averageis238,855miles[112])andthemovieisasubtle
confessionofhisinvolvement.[113]Anothertheoryisanobsessionwiththenumber42anditsformsinthemovie
andtheproductofthedigitsin237is42.[114]
JackTorrance
ThenovelpresentsJackasinitiallylikableandwellintentionedbuthauntedbythedemonsofalcoholand
authorityissues.Nonetheless,hebecomesgraduallyoverwhelmedbytheevilforcesinthehotel.Atthenovel's
conclusion,thehotelforceshavepossessedJack'sbodyandproceedtodestroyallthatisleftofhismindduringa
finalshowdownwithDanny,leavingamonstrousentitythatDannyisabletodivertwhilehe,WendyandDick
Halloranescape.[115]Thefilm'sJackisestablishedassomewhatsinistermuchearlierinthestoryanddiesina
differentmanner.JackactuallykillsDickHalloranninthefilm,butonlywoundshiminthenovel.Kingattempted
totalkStanleyKubrickoutofcastingJackNicholsonevenbeforefilmingbegan,onthegroundsthatheseemed
vaguelysinisterfromtheverybeginningofthefilm,andhadsuggestedJonVoightamongothersforthe
role.[116][117]
OnlyinthenoveldoesJackhearthehaunting,heavyhandedvoiceofhisfatherwithwhomhehadatroubled
relationship.[118]Inboththenovelandfilm,Jack'sencounterwiththeghostlybartenderispivotaltoJack's
deterioration.However,thenovelgivesmuchmoredetailaboutJack'sproblemswithdrinkingandalcohol.
ThefilmprolongsJack'sstrugglewithwriter'sblock.Kubrick'scoscreenwriterDianeJohnsonbelievesthatin
King'snovel,Jack'sdiscoveryofthescrapbookofclippingsintheboilerroomofthehotelwhichgiveshimnew
ideasforanovelcatalyzeshispossessionbytheghostsofthehotel,whileatthesametimeunblockinghiswriting.
Jackisnolongerablockedwriter,butnowfilledwithenergy.Inhercontributiontothescreenplay,shewrotean
adaptationofthisscene,whichtoherregretKubricklaterexcised,asshefeltthisleftthefather'schangeless
motivated.[119]KubrickshowedJack'scontinuedblockagequitelateinthefilmwiththe"allworkandnoplay
makesJackadullboy"scene,whichdoesnotappearinthenovel.
StephenKinghasopenlystatedontheDVDcommentaryofthe1997miniseriesofTheShiningthatthecharacter
ofJackTorrancewaspartiallyautobiographical,ashewasstrugglingwithbothalcoholismandunprovokedrage
towardhisfamilyatthetimeofwriting.[120]TonyMagistralewroteaboutKubrick'sversionofJackTorrancein
Hollywood'sStephenKing:
Kubrick'sversionofTorranceismuchclosertothetyrannicalHal(fromKubrick's2001:ASpace
Odyssey)andAlex(fromKubrick'sAClockworkOrange)thanheistoKing'smoreconflicted,more
sympatheticallyhumancharacterization.[121]
FromThomasAllenNelson'sKubrick:InsideaFilmArtist'sMaze:"WhenJackmovesthroughthereceptionarea
onhiswaytoa'shining'overthemodelmaze,hethrowsayellowtennisballpastastuffedbearandDanny'sBig
Wheel,whichrestsontheveryspot(aNavajocircledesign)whereHallorannwillbemurdered."Jack'stennisball
mysteriouslyrollsintoDanny'scircleoftoycarsjustbeforetheboywalksthroughtheopendoorofRoom237.
"Inthefilm'sopening,thecamerafromabovemovesoverwaterandthroughmountainswiththeeaseofabirdin
flight.Below,onawindingmountainroad,Jack'sdiminutiveyellowVolkswagenjourneysthroughatreelined
maze,resemblingoneofDanny'stoycarsortheyellowtennisballseenlateroutsideofRoom237."[122]
DannyTorrance
DannyTorranceisconsiderablymoreopenabouthissupernaturalabilitiesinthenovel,discussingthemwith
strangerssuchashisdoctor.[123]Inthefilm,heisquitesecretiveaboutthemevenwithhisprimementorDick
Halloran,whoalsohastheseabilities.(ThesameistrueofDickHalloran,whoinhisjourneybacktotheOverlook
inthebook,talkswithotherswiththe"shining"ability,whileinthefilmheliesabouthisreasonforreturningto
theOverlook.)Dannyinthenovelisgenerallyportrayedasunusuallyintelligentacrosstheboard.[124]Inthefilm,
heismoreordinary,thoughwithapreternaturalgift.Inthenovel,Dannyismuchmorebondedtohisfatherthanin
thefilm.
AlthoughDannyhassupernaturalpowersinbothversions,thenovelmakesitclearthathisapparentimaginary
friend"Tony"reallyisaprojectionofhiddenpartsofhisownpsyche,thoughheavilyamplifiedbyDanny's
psychic"shining"abilities.AttheenditisrevealedthatDannyTorrance'smiddlenameis"Anthony".[125]
WendyTorrance
WendyTorranceinthefilmisrelativelymeek,submissive,passive,gentle,andmousythisisshownbytheway
shedefendsJackeveninhisabsencetothedoctorexaminingDanny.Itisimpliedshehasperhapsbeenabusedby
himaswell.Inthenovel,sheisafarmoreselfreliantandindependentpersonalitywhoistiedtoJackinpartby
herpoorrelationshipwithherparents.[126]Inthenovel,sheneverdisplayshysteriaorcollapsesthewayshedoes
inthefilm,butremainscoolandselfreliant.WritinginHollywood'sStephenKing,authorTonyMagistralewrites
abouttheminiseriesremake:
DeMornayrestoresmuchofthesteelyresiliencefoundintheprotagonistofKing'snovelandthisis
particularlynoteworthywhencomparedtoShelleyDuvall'sexaggeratedportrayalofWendyasOlive
Oylrevisited:Asimperingfatalityofforcesbeyondhercapacitytounderstand,muchless
surmount.[127]
CoscreenwriterDianeJohnsonstatedthatinhercontributionstothescript,Wendyhadmoredialogue,andthat
Kubrickcutmanyofherlines,possiblyduetohisdissatisfactionwithactressShelleyDuvall'sdelivery.Johnson
believestheearlierdraftofthescriptportrayedWendyasamoreroundedcharacter.[128]
StuartUllman
Inthenovel,Jack'sauthorityissuesaretriggeredbythefactthathisinterviewer,Ullman,ishighlyauthoritarian,a
kindofsnobbishmartinet.Thefilm'sUllmanisfarmorehumaneandconcernedaboutJack'swellbeing,aswellas
smoothandselfassured.OnlyinthenoveldoesUllmanstatethathedisapprovesofhiringJackbuthigher
authoritieshaveaskedthatJackbehired.[129]Ullman'sbossynatureinthenovelisoneofthefirststepsinJack's
deterioration,whereasinthefilm,Ullmanserveslargelyasanexpositor.
InStanleyKubrickandtheArtofAdaptation,authorGregJenkinswrites"Atoadishfigureinthebook,Ullman
hasbeenutterlyreinventedforthefilmhenowradiatescharm,graceandgentility."[130]
FromKubrick:InsideaFilmArtist'sMaze:UllmantellsJackthatthehotel'sseasonrunsfromMay15toOctober
30,meaningtheTorrancesmovedinonHalloween.OnUllmann'sdesknexttoasmallAmericanflagsitsametal
cupcontainingpencilsandapenandaminiaturereplicaofanax.
"WhenUllman,himselfallsmiles,relatesasafootnotethestoryabouttheformercaretakerwho'seemedperfectly
normal'butneverthelesscutuphisfamilywithanax,Jack'sobviousinterest(asifhe'srecallingoneofhisown
nightmares)andhisinsincerecongeniality(earlysignsofapersonalitymalfunction)leadtheviewertobelievethat
thefilm'sdefinitionofhismadnesswillbefarmorecomplex."[131]
Familydynamics
StephenKingprovidesthereaderwithagreatdealofinformationaboutthestressintheTorrancefamilyearlyin
thestory,[132]includingrevelationsofJack'sphysicalabuseofDannyandWendy'sfearofDanny'smysterious
spells.Kubricktonesdowntheearlyfamilytensionandrevealsfamilydisharmonymuchmoregraduallythandoes
King.Inthefilm,DannyhasastrongeremotionalbondwithWendythanwithJack,whichfuelsJack'srather
paranoidnotionthatthetwoareconspiringagainsthim.
Plotdifferences
InthenovelJackrecovershissanityandgoodwillthroughtheinterventionofDannywhilethisdoesnotoccurin
thefilm.WritinginCinefantastiquemagazine,FrederickClarkesuggests"Insteadofplayinganormalmanwho
becomesinsane,Nicholsonportraysacrazymanattemptingtoremainsane."[133]Inthenovel,Jack'sfinalactisto
enableWendyandDannytoescapethehotelbeforeitexplodesduetoadefectiveboiler,killinghim.[134]Thefilm
endswiththehotelstillstanding.Morebroadly,thedefectiveboilerisamajorelementofthenovel'splot,entirely
missingfromthefilmversion.
Becauseofthelimitationsofspecialeffectsatthetime,thelivingtopiaryanimalsofthenovelwereomittedanda
hedgemazewasadded,[135][136]actingasafinaltrapforJackTorranceaswellasarefugeforDanny.
Inthefilm,thehotelpossiblyderivesitsmalevolentenergyfrombeingbuiltonanIndianburialground.Inthe
novel,thereasonforthehotel'smanifestationofevilispossiblyexplainedbyathemepresentinKing'sprevious
novelSalem'sLotaswellasShirleyJackson'sTheHauntingofHillHouse:aphysicalplacemayabsorbtheevils
thattranspirethereandmanifestthemasavaguelysentientmalevolence.[137]Thefilm'sHallorannspeaksto
DannyaboutthatphenomenonoccurringattheOverlook.Inthenovel,Jackdoesagreatdealofinvestigationof
thehotel'spastthroughascrapbook,[138]asubplotalmostomittedfromthefilmasidefromtwotouches:abrief
appearanceofthescrapbookbesidethetypewriter,andJack'sstatementtotheghostofGradythatheknowshis
facefromanoldnewspaperarticledescribingthelatter'shorrificacts.KubrickinfactshotascenewhereJack
discoversthescrapbookbutremoveditduringpostproduction,adecisionwhichcoscreenwriterDianeJohnson
lamented.[139]
Someofthefilm'smostfamousiconicscenes,suchastheghostgirlsinthehallwayandthetorrentofbloodfrom
theelevators,areuniquetothefilm.ThemostnotableofthesewouldbethetypewrittenpagesWendydiscoverson
Jack'sdesk.[140]Similarly,manyofthemostmemorablelinesofdialogue("Wordsofwisdom"and"Here's
Johnny!")areheardexclusivelyinthefilm.
Filmadaptationcommentary
AlthoughStephenKingfanswerecriticalofthenovel'sadaptationonthegroundsthatKubrickalteredand
reducedthenovel'sthemes,adefenseofKubrick'sapproachwasmadeinSteveBiodrowski'sreviewofthe
film.[141]Hearguesthatasinearlierfilms,Kubrickstrippedoutthebackstoryofthefilm,reducingitdowntoa
"basicnarrativeline",makingthecharactersmorelikearchetypes.Hisreviewofthefilmisoneofthefewtogo
intodetailedcomparisonwiththenovel.Hewrites,"Theresult...[is]abrilliant,ambitiousattempttoshootahorror
filmwithouttheGothictrappingsofshadowsandcobwebssooftenassociatedwiththegenre."
Inpopularculture
BothparodiesandhomagestoTheShiningareprominentinUKandU.S.popularculture,particularlyinfilms,TV
shows,videogamesandmusic.[142][143][144][145]Imagesandscenesfrequentlyreferencedare:theGradygirlsinthe
hallway,theword"Redrum",thebloodspillingoutoftheelevatordoors[146]andJackstickinghisheadthroughthe
holeinthebathroomdoor,saying,"Here'sJohnny."ThetricyclesceneinwhichDannyseestheGradygirlsandthe
"here'sJohnny"sceneareseenonadriveintheatrescreeninthemovieTwisterjustbeforeatornadoripsthe
screendown.[147]
DirectorTimBurton(whocreditsKubrickasaninfluence)modeledthecharactersofTweedledumand
TweedledeeontheGradygirlsinhisversionofAliceinWonderland(likesomanyviewersofthefilm,Burton
identifiesthegirlsastwinsinspiteofUllman'sdialoguetothecontrary).[148]
TheSimpsonsepisode"TreehouseofHorrorV"includesaparodytitled"TheShinning".Inaddition,Sherriand
Terri,thetwinsinBart's4thgradeclass,arevisuallysimilartotheGradygirls.[149][150]
RemingtonSteeleepisode"EtchedInSteele"includesareferencetoTheShiningwhenSteeleusesoneofhis
customarycinematicreferencestoexplaintheconceptofwriter'sblocktohiscolleagueLauraHolt.[151]
FiveepisodesofthedramaGilmoreGirlsreferencethefilm.OneepisodecontainsLorelai'sline"Well,welikeour
Internetslow,okay?Wecanturniton,walkaround,dance,makeasandwich.WithDSL,there'snodancing,no
walking,andwe'dstarve.It'dbeallworkandnoplay.HaveyounotseenTheShining,Mom?"[152]
KateBush's1982albumTheDreamingcontainsthesong"GetOutofMyHouse",inspiredprimarilybythe
novel.[153]
SoundclipsofUllmanwarningJackaboutcabinfeverwithJack'sreassurancesappearinSwedishgothband
Katatonia'ssong"Endtime"onthealbumBraveMurderDay.[154]
Theplotofthefilmisthebasisforthemusicvideofor"TheKill"byThirtySecondstoMars.[155]
HeavymetalartistSlipknotpayhomagetothefilmintheirfirstmusicvideofortheirsong"SpitItOut",directed
byThomasMignone.Thevideoconsistsofconceptualimageryofthebandmemberseachportrayingcharacters
enactingiconicscenesfromthefilm,withJoeyJordisonasDannyTorranceShawnCrahanandChrisFehnasthe
GradytwinsCoreyTaylorasJackTorranceMickThomsonasLloydtheBartenderCraigJonesasDick
HallorannJamesRootasWendyTorrancePaulGrayasHarryDerwentandSidWilsonasthecorpseinthe
bathtub.ThevideowasbannedfromMTVforovertlygraphicandviolentdepictions,includingCoreyTaylor's
smashingthroughadoorwithanaxeandthescenewhereinJamesRootviciouslyassaultsCoreyTaylorwitha
baseballbat.Mignoneandthebandeventuallyreeditedalessviolentversion,whichwassubsequentlyairedon
MTV.[156][157]
"Here'sJohnny!"wasparodiedbyBritishcomedianLennyHenryinacontroversialadvertisementforPremier
Inn.[158]
JohnnyCageparodiesthe"here'sJohnny"sceneaspartofhisfatalityinMortalKombatXwhereheshoveshis
handsbehindtheopponentinwhichhethensaysthelinebypeepinghisfacethroughtheopenedtorso.[159]
IntheScreamQueensepisode"PumpkinPatch",Chaneldemandsthatherpumpkinpatchpartyhaveanexact
replicaofthehedgemazewhichplaysacentralpartoftheepisode.Alsointheepisode,Chanel#5hastwotwin
boyfriends,RodgerandDodger.[160]
TheLittleSistersinthefallenunderwaterutopiaRapture,introducedinthe2007videogameBioShock,were
partlyinspiredbytheGradytwins.[161]
TheAngryBirdsMoviecontainsascenewithtwopigsdressedastheGradytwins.[162]
Seealso
Listofghostfilms
ANightmareonFaceTime,a2012episodeofSouthParkparodyingthefilm
Room237,a2012documentaryaboutinterpretationsofTheShining
TreehouseofHorrorV,a1994episodeofTheSimpsonsthatfeaturesasketchparodyingthefilm
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Externallinks
TheShining(http://www.imdb.com/title/tt0081505/)attheInternet
Wikiquotehasquotations
MovieDatabase
relatedto:TheShining
TheShining(http://tcmdb.com/title/title.jsp?stid=89937)attheTCM (film)
MovieDatabase
TheShining(http://www.boxofficemojo.com/movies/?id=shining.ht WikimediaCommonshas
m)atBoxOfficeMojo mediarelatedtoThe
TheShining(https://www.rottentomatoes.com/m/shining/)atRotten Shining(film).
Tomatoes
TheShining(http://www.metacritic.com/movie/theshining)atMetacritic
StanleyKubrick(http://www.visualmemory.co.uk),whichincludes"TheKubrickSite"and"TheKubrick
FAQ"
Kubrick'sTheShining(http://idyllopuspress.com/idyllopus/film/shining_toc.htm),ashotbyshotanalysisby
JuliKearns
TheOverlookHotel(http://www.theoverlookhotel.com/),ephemerarelatedtoTheShining
StaircasestoNowhere:MakingStanleyKubricksTheShining(http://vimeo.com/66584974),anoral
historytoldbyseveralcrewmembers
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