One of the great horror films from one of the great filmmakers, THE SHINING is a simple horror tale, raised to another level by perfect tone and Stanley Kubrick's uncanny knowledge of the filmic language. Based on a Stephen King novel, Kubrick and Diane Johnson altered the story a great deal, boiling it down to its essence. Upon multiple viewings, the film still has the ability to create unsettling feelings and dread.
Jack Torrance (Jack Nicholson, THE DEPARTED) is a wannabe writer who takes a job as the caretaker for the long winter at the remote Overlook Hotel. Upon taking the job, the manager Stuart Ullman (Barry Nelson, "Stopover in a Quiet Town" episode of THE TWILIGHT ZONE) warns Jack that a previous caretaker went crazy during the winter season and murdered his family there. Jack doesn't seem phased, because he is looking forward to having months of time to write his first novel. Accompanying him is his wife Wendy (Shelley Duvall, 3 WOMEN) and their young son Danny (Danny Lloyd, WILL: THE AUTOBIOGRAPHY OF G. GORDON LIDDY), who has an imaginary friend named Tommy living in his mouth. At the Overlook, the head cook Dick Hallorann (Scatman Crothers, THE KING OF MARVIN GARDENS) discusses the special abilities that he and Danny share. Both are telepaths who can see the past and future. And the future looks scary for the Torrances as Jack becomes increasingly unstable under the influence of the ghosts of the hotel.
Setting plays a huge role in this film. Kubrick does a magnificent job of setting the locale up. From the wide, God-view shots of the long winding road leading to the hotel to the vast, dated grandeur of the hotel to the mysterious hedge maze, the setting is like a character. The production design by Roy Walker and the art direction by Leslie Tomkins are perfect. John Alcott's cinematography is haunting. He knows exactly when to counter brightly lit scenes with shadowy atmosphere. The use of wide, POV and tracking shots are used perfectly. Unsettlingly images are shot at a distance and held on to build uneasiness. Kubrick chooses the right times to put us into the point of view of characters as they enter potential danger. When Jack enters room 237, it's frightening as we view the experience through his eyes. The long tracking shots of Danny riding his big wheel around the hotel builds tension as we don't know what will pop up around the next turn. This is only heightened by the sound of the big wheel moving across the hard floors then periodically across carpet silencing the wheels. The sound and music work together to enhance the uneasiness of the tone. Like the big wheel, Kubrick and his sound crew often isolate single sounds, which only enhance the otherworldly quality of the environment.
Nicholson is perfect as the volatile Jack Torrance. His slip into insanity just adds to the overall building of tension. He plays Jack as a very personable man at first, but we know he has had a violent past. Slowly Jack's behavior becomes more erratic. It's a frightening performance. Nicholson is also given some classic lines. Duvall shows her limitations at times, but when it comes to playing scared, she's up for the task. Lloyd, who was only six when the film was made, has an intensity and focus that is creepy. Kubrick protected the child by not making him aware that he was even in a horror film. Uninterested in remaining an actor, he now works as a biology teacher. It stands as one of the great child performances.
As a symbol of its influence, redrum and "Here's Johnny" are part of the pop culture now. This horror classic is a collection of perfectly joined pieces. Kubrick selected his work carefully. Like he did with sci-fi in 2001 and the war picture in PATHS OF GLORY and FULL METAL JACKET, he put his distinct stamp on the horror genre with THE SHINING. He understands how the unknown is often scarier than the gruesome. It's proof that a master filmmaker can make art out of any genre.
Rick DeMott
Animation World Network
Creator of Rick's Flicks Picks
