The Shining is an 1980 horror film loosely based on Stephen King's novel of the same name. It was directed by Stanley Kubrick and starred Jack Nicholson and Shelley Duvall.Jack Torrance (Nicholson) is an alcoholic writer who takes a job as a winter caretaker for the old and luxurious Overlook Hotel, which every winter becomes completely snowed in. He brings along his wife Wendy (Duvall) and son Danny (Danny Lloyd).As time passes, strange things start happening: Danny discovers he has psychic powers and starts receiving odd visions. In the meantime, Jack starts becoming more and more unstable: he had been warned that the previous caretaker snapped and killed his family, but that wouldn't happen again...right?In a serious case of either Tempting Fate or Paranoia Fuel, The Shining is screened every year at midwinter for those "wintering-over" at the Amundsen-Scott South Pole Station, alongside The Thing. The Stanley Hotel in Colorado, which inspired King's novel, has a channel on their cable TV that plays the film twenty-four hours a day.Some interpretations of the film's themes are explored in the Documentary, Room 237.Not to be confused with the Shining Series of videogames.
This film provides examples of:
Adaptation Dye-Job: Wendy and Jack are blonde in the novel, but have black hair in the movie.
Inverted with Wendy. She's described as being conventionally attractive in the book, whereas in the film she's portrayed by Shelley Duvall, who is more waif-like and fragile-looking than her novel counterpart.
Adaptational Heroism: In the book, Mr Ullman is a condescending, overbearing Smug Snake who epitomises everything Jack hates about authority figures and makes it clear that he doesn't want Jack at the hotel. In the film, he is very friendly, polite and completely approves of Jack as the caretaker.
In the climax where crazed Jack goes after Danny outside in the heavily snowed-in hedge maze with the full intent in killing his own son. What makes this worse it that Wendy is inside the house desperately searching for Danny, and has absolutely no idea where he is.
Also, mid-film, when Danny appears with a huge bruise on his neck, and tells his mother that a crazy stranger strangled him.
Alien Geometries: The layout of the hotel makes no sense whatsoever. Stuart Ullman's office has a nice big window in the middle of the building, the Colorado Room has multiple floor to ceiling windows with a mystery hallway behind them. The hotel interiors have nice right angles while the outside doesn't. The freezer flips sides of the hallway between shots. The spaces between the doorways in Room 237's hallway are far too small to actually contain any rooms of that size. This was done deliberately for dramatic/horror effect.
Not to mention Grady before him, who unfortunately succeeded in carrying out his rampage.
Axe Before Entering: One of the most famous examples, played straight but also turned Up to Eleven in that, while Jack is hacking his way through the door, the camera follows the motion of the axe, thereby briefly making the axe a POV character.
Big Damn Heroes: Subverted. Hallorann spends some time travelling back to the Overlook, only to have his grand rescue cut short when he gets an axe to the chest courtesy of Jack, only a few minutes after he arrives. The fact that he brought a vehicle allows Wendy and Danny to escape, however.
Bloody Horror: One of the iconic images from this film is the scene with an elevator full of blood pouring out and flooding a hallway.
Chekhov's Skill: Danny walks through the maze with his mother near the beginning of the film. It comes in handy.
Coordinated Clothes: The creepy sisters wear the same light blue dresses with pink ribbons. The identical look multiplies the creep out factor.
Creepy Twins: Grady's daughters. Actually, they are specifically described in both book and film as not twins (ages 8 and 10) but in the movie they were played by real-life twin actresses.
Daylight Horror: As horrific as it is, there are few scenes that are literally dark. It's a well-lit movie.
Dead Person Impersonation: Implied to be the case with the ghosts, with the Overlook merely assuming their forms. Grady for instance starts off kindly and incredibly cordial, but the moment Jack recognises him and mentions the murder of his wife and children at his hands, his entire demeanour changes and starts radiating pure malevolence.
Deal with the Devil: Hinted at in the bar scene. Jack says he'd give his soul for a drink, cue creepy bartender appearing with a full stock of booze.
To a certain extent, downplaying the more overtly supernatural elements of the novel. Kubrick's version gives the impression that Jack was well on the way to Ax-Crazy before the Overlook got hold of him.
The film can actually be read as there being no supernatural elements at all - it's all in the minds of the characters. However, this interpretation makes little sense as stuff that happens to the other characters is foreshadowed to Danny by Tony. The final shot essentially kills any non-supernatural interpretation dead, although it doesn't really explain anything, either.
Duality Motif: The film uses a lot of this, with mirror reflections and symmetrical items such as double-doors, to reinforce the dual-nature of the hotel (which is practically a character itself) as well as Jack Torrance with his inner demons.
Evil Eyebrows: Even if you knew nothing about Jack Nicholson before seeing this movie, you'd still be able to guess what's going to happen to him just by looking at his eyebrows alone, to the point where King objected to the casting of Nicholson and begged Kubrick to reconsider.
Fan Disservice: The hot girl in the bathroom. She appears fully naked and upfront, yet it still looks creepy rather than sexy. On top of that, she turns into a rotten naked old corpse-woman who cackles in the creepiest manner possible!
Fanservice: Many would argue that the first naked lady in the bathroom was more fanservicey than not.
Stephen King himself considered Jack Nicholson's casting to be sort of a spoiler in this regard also, considering Nicholson's best-known film at the time was One Flew Over The Cuckoo's Nest - where he plays a crazy guy.
Getting Crap Past the Radar: Allegedly Kubrick told the MPAA that the torrent rushing out of the elevators was rusty water and not blood in order to get the movie's trailer shown. At the time the MPAA did not allow blood to be depicted in trailers.
I Never Told You My Name: When Hallorann calls little Danny Torrance "Doc", his parents ask how Hallorann knew they call him Doc. Hallorann answers by saying Danny just looks like a Doc, but the real reason is that Danny and Hallorann both share a psychic ability, "the shining".
Maybe Magic, Maybe Mundane: The film is more ambiguous towards the supernatural aspects of the story. However, the titular "Shining" is equally effective in both the film and the book - warning clearly of danger seconds before the axe hits the bathroom door.
Mythology Gag: Kubrick dispensed with several of the novel's plot points but kept references to them in the movie. The book explains just where Danny's imaginary friend "Tony" comes from, who the dead lady in the bathtub is, and who the person in the dog costume delivering a blow job is. The film keeps these elements but with no explanation. Also, Kubrick did not use the novel's climax— exploding boiler destroys the hotel—but still showed the boiler in a couple of scenes.
No, Except Yes: This line, as Jack has pretty much lost it and starts menacing his wife.
Jack: I'm not gonna hurt ya. You didn't let me finish my sentence. I said I'm not gonna hurt ya. I'm just gonna bash your brains in. I'm gonna bash them right the fuck in!
Ominous Latin Chanting: As Jack is chasing down Danny through the hedge maze and Wendy is in the Overlook Hotel desperately searching for Danny, starting to hallucinate, you can hear ominous Old Church Slavonic chanting from Penderecki's Utrenja.
Precision F-Strike: The first of abuse of Wendy by Jack is verbal, telling her quietly to "start [leaving him alone] right now and get the fuck out of here." As his sanity breaks, he starts using the word a little bit more liberally.
Psycho Strings: Half the score sounds very much like Bernard Herrmann's work, but it's actually avant-garde music by Bela Bartok, György Ligeti and Krzysztof Pendercki.
The Radio Dies First: When Jack decides to kill Wendy and Danny, one of his first acts is to disable the radio so she cannot call for help.
Re Cut: When the film premiered, it had a final scene in which Ullman visits Wendy and Danny at the hospital and explains that Jack's body could not be found. About three weeks into release, Kubrick ordered this scene excised from all prints.
Kubrick then trimmed an additional 30 minutes of footage for the film's European theatrical release. This shorter cut, which was his preferred version of the film, is also used for non-US DVD releases.
Room Full of Crazy: "All work and no play makes Jack a dull boy." It's particularly unsettling because of the sheer number of pages, with the tacit implication that Jack has been gradually losing his mind almost from the instant the family arrived in the hotel.
Sanity Slippage: The hotel causes every caretaker to lose his mind. Stephen King stated his book was about a normal man who goes crazy, and that Stanley Kubrick's film was about a crazy man who goes absolutely bonkers.
Shoot the Shaggy Dog: A major subplot is Dick Hallorann trying to contact and subsequently save the Torrances. As soon as he arrives at the Overlook, Jack axes him and he dies.
Subverted Trope: His arrival with a Snow-Cat is what allows Wendy and Danny to escape the hotel, so Hallorann technically succeeded in saving them.
Slasher Movie: The movie was a much different take on the kind of slasher movies that were becoming popular at the time. It's much more psychological; basically it's what happens when Stanley Kubrick makes one. Notably, there are only two deaths in the film.
Slasher Smile: Just look at a picture of Jack during the "Here's Johnny!" scene. Of course, he is played by Jack Nicholson, so that sort of thing is expected.
"I love you, Danny. I love you more than anything else in the whole world. And I would never do anything to hurt ya, never. You know that, don't ya? Huh?" to Bela Bartok's somber and menacing Music for Percussion, Strings and Celesta.
Also hearing the light-hearted Road Runner cartoons in the background of otherwise deadly serious scenes.
Surreal Horror: The movie doesn't explain many of the strange things that happen in the hotel. It is also left deliberately vague whether or not there are supernatural causes at work, or just figments of the characters' imaginations.
Tap on the Head: Wendy hits Jack on the head with a baseball bat and he falls down a flight of stairs. It's unclear which actually knocks him unconscious, but either way he's awake less than an hour later, with nothing more than a headache and a small gash for his trouble.
Through the Eyes of Madness: It's kept deliberately vague whether the strange goings-on at the Overlook are "real" or just a product of Jack's deteriorating mental state.
Wendy jokes about having to leave a trail of bread crumbs to find her way around the hotel.
Uncanny Valley: Deliberately invoked by Nicholson's acting towards the beginning of the film; he seems to be cheery and dapper, but there's just something off about it, and it all feels horribly phony. Most likely done to call attention to his need for a drink.
Villainous Breakdown: As Jack chases Danny into the maze and begins to slowly freeze to death, his words become more slurred and begin to degenerate until Jack is just bellowing like an ox.
Villain Protagonist: Debatable. If one interprets the film strictly psychologically, Jack could certainly be considered one of these. However, if one accepts the supernatural interpretation, then the hotel itself (or perhaps what inhabits it) is the real villain.
Writers Cannot Do Math: Wendy tells the doctor that Danny's shoulder had been dislocated six months earlier. Later, while bitching to Lloyd the Bartender, Jack says that the dislocated shoulder incident had happened three years earlier.
Also, when talking to Lloyd, when taking his first drink, he says "Here's to five months on the wagon, and all the irreparable harm it's done," calling to mind how Wendy said Jack had stopped drinking when he hurt Danny, yet just a moment later, he makes the "three years" comment. It may have been to show just how much Jack is losing it, that he can no longer correctly recall important things like that, and can only focus on his desire for alcohol.