A mentally unstable veteran works as a nighttime taxi driver in New York City, where the perceived decadence and sleaze fuels his urge for violent action by attempting to liberate a presidential campaign worker and an underage prostitute.
Robert De Niro,
Haunted by a persistent writer's block, the aspiring author and recovering alcoholic, Jack Torrance, drags his wife, Wendy, and his gifted son, Danny, up snow-capped Colorado's secluded Overlook Hotel after taking up a job as an off-season caretaker. As the cavernous hotel shuts down for the season, the manager gives Jack a grand tour, and the facility's chef, the ageing Mr Hallorann, has a fascinating chat with Danny about a rare psychic gift called "The Shining", making sure to warn him about the hotel's abandoned rooms, and, in particular, the off-limits Room 237. However, instead of overcoming the dismal creative rut, little by little, Jack starts losing his mind, trapped in an unforgiving environment of seemingly endless snowstorms, and a gargantuan silent prison riddled with strange occurrences and eerie visions. Now, the incessant voices inside Jack's head demand sacrifice. Is Jack capable of murder?Written by
While director Stanley Kubrick was famously very demanding and intimidating on set, to the point of driving both Shelley Duvall and Scatman Crothers to tears, he had a good relationship with the young Danny Lloyd. In later interviews as an adult Lloyd mentioned that Kubrick even used to play ball with him; for years after the movie Kubrick sent Christmas cards to the Lloyd family and even phoned Danny to congratulate him for his high school graduation. See more »
Danny writes 'redrum' on the bathroom door with lipstick. When Jack starts chopping the door, the writing is gone. See more »
Hi, I've got an appointment with Mr. Ullman. My name is Jack Torrance.
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THE END appears as the closing credits have finished. See more »
Stanley Kubrick shot Jack's typewriter pages in different languages for release in different countries. Such localized versions were released internationally in theaters, on video and on TV. The DVD releases of 2001 and 2007, however, only feature the English version of the text. See more »
What can I say about the scariest movie I have ever seen that has not already been said by others more articulate than yours truly? Do not view this film expecting to see a screen version of the Stephen King novel. Rather, this is a Stanley Kubrick film, and to fully appreciate it one should judge it within the context of Kubrick's entire body of work as a serious filmmaker. Thematically, THE SHINING relates most closely to 2001: A SPACE ODYSSEY, though flourishes of PATHS OF GLORY, A CLOCKWORK ORANGE and BARRY LYNDON do manage to figure prominently in the film's overall technique.
In a nutshell (no pun intended), Jack Nicholson and Shelly Duvall co-star with Oregon's Timberline Lodge - enlisted to portray the exterior of the Overlook Hotel - in a story that appears on the surface to be about ghosts and insanity, but deals with issues of child abuse, immortality and duality.
What the film might lack initially in terms of coherence is more than made up for in technique. Garrett Brown (the male voice in those old Molson Golden commercials), inventor of the Steadicam, chases young Danny Lloyd through hotel corridors and an amazing snow maze, providing magic-carpet-ride fluidity to scenes that ten years earlier would have been impossible to accomplish. If the film starts off too slow, remember who the director is. This man likes to take his time, and the results are well worth it: incredible aerial shots of the Overlook Hotel; horrific Diane Arbus-inspired twins staring directly at us; portentous room 237 and its treasure trove of terrible secrets; elevators that gush rivers of blood in slow-motion; Jack Torrance's immortality found via the hotel (akin to David Bowman's journey through the Space Gate); and some of the best use of pre-existing music ever assembled for a motion picture.
It would take a book to examine and defend the film's strong points and drawbacks. If you've never seen it, you owe it to yourself to watch it alone with the lights off, with no interruptions, and make sure that it's raining. This is a cinematic experience that changed my life at the age of 14. Makes a great double feature with Robert Wise's 1963 thriller THE HAUNTING.
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