Shining Film Movies / TV VideoReady Player One - The Shining (2018)
Erich und Sword & Sorcery Streissler, in der ein Nachtwchter erschossen wurde, dass auf Amazone Love Film gesamten Gelnde ein Fluch liegt. - NavigationsmenüVon einer Auseinandersetzung mit Amerikas blutiger Vergangenheit bis Goastbusters zu Hinweisen, dass die Mondlandung doch nur inszeniert war, ist scheinbar alles drin.
What he has entered into is a conventional business deal that places commercial obligation Among interpreters who see the film reflecting more subtly the social concerns that animate other Kubrick films, one of the earliest viewpoints was discussed in an essay by ABC reporter Bill Blakemore entitled "Kubrick's 'Shining' Secret: Film's Hidden Horror Is The Murder Of The Indian", first published in The Washington Post on July 12, Stuart Ullman tells Wendy that when building the hotel, a few Indian attacks had to be fended off since it was constructed on an Indian burial ground.
Blakemore's general argument is that the film is a metaphor for the genocide of Native Americans. He notes that when Jack kills Hallorann, the dead body is seen lying on a rug with an Indian motif.
The blood in the elevator shafts is, for Blakemore, the blood of the Indians in the burial ground on which the hotel was built.
The date of the final photograph, July 4, is meant to be ironic. Blakemore writes:  . As with some of his other movies, Kubrick ends The Shining with a powerful visual puzzle that forces the audience to leave the theater asking, "What was that all about?
At the head of the party is none other than the Jack we've just seen in Film writer John Capo sees the film as an allegory of American imperialism.
This is exemplified by many clues, such as the closing photo of Jack in the past at a 4th of July party, or Jack's earlier reference to the Rudyard Kipling poem " The White Man's Burden ", which was written to advocate the American colonial seizure of the Philippine islands, justifying imperial conquest as a mission-of-civilization.
Film historian Geoffrey Cocks has extended Blakemore's idea that the film has a subtext about Native Americans by arguing that the film indirectly reflects Stanley Kubrick's concerns about the Holocaust Both Cocks' book and Michael Herr 's memoir of Kubrick discuss how he wanted his entire life to make a film dealing directly with the Holocaust but could never quite make up his mind.
Cocks, writing in his book The Wolf at the Door: Stanley Kubrick, History and the Holocaust , proposed a controversial theory that all of Kubrick's work is informed by the Holocaust; there is, he says, a holocaust subtext in The Shining.
This, Cocks believes, is why Kubrick's screenplay goes to emotional extremes, omitting much of the novel's supernaturalism and making the character of Wendy much more hysteria-prone.
Cocks claims that Kubrick has elaborately coded many of his historical concerns into the film with manipulations of numbers and colors and his choice of musical numbers, many of which are post-war compositions influenced by the horrors of World War II.
Of particular note is Kubrick's use of Penderecki 's The Awakening of Jacob to accompany Jack Torrance's dream of killing his family and Danny's vision of past carnage in the hotel, a piece of music originally associated with the horrors of the Holocaust.
Cocks's work has been anthologized and discussed in other works on Stanley Kubrick films, though sometimes with skepticism.
Julian Rice, writing in the opening chapter of his book Kubrick's Hope , believes Cocks's views are excessively speculative and contain too many strained "critical leaps" of faith.
Rice holds that what went on in Kubrick's mind cannot be replicated or corroborated beyond a broad vision of the nature of good and evil which included concern about the Holocaust but Kubrick's art is not governed by this one obsession.
Geoffrey Cocks notes that the film contains many allusions to fairy tales, both Hansel and Gretel and the Three Little Pigs ,  with Jack Torrance identified as the Big Bad Wolf , which Bruno Bettelheim interprets as standing for "all the asocial unconscious devouring powers" that must be overcome by a child's ego.
The saying "all work and no play makes Jack a dull boy" appeared first in James Howell's Proverbs in English, Italian, French and Spanish Roger Ebert notes that the film does not really have a "reliable observer", with the possible exception of Dick Hallorann.
Ebert believes various events call into question the reliability of Jack, Wendy and Danny. Kubrick is telling a story with ghosts the two girls, the former caretaker and a bartender , but it isn't a "ghost story", because the ghosts may not be present in any sense at all except as visions experienced by Jack or Danny.
Ebert concludes that "The movie is not about ghosts but about madness and the energies". The film critic James Berardinelli , who is generally much less impressed with the film than Ebert, notes that "King would have us believe that the hotel is haunted.
Kubrick is less definitive in the interpretations he offers. In some sequences, there is a question of whether or not there are ghosts present.
In the scenes where Jack sees ghosts, he is always facing a mirror or, in the case of his storeroom conversation with Grady, a reflective, highly polished door.
Film reviewer James Berardinelli notes "It has been pointed out that there's a mirror in every scene in which Jack sees a ghost, causing us to wonder whether the spirits are reflections of a tortured psyche.
Kubrick's reliance on mirrors as visual aids for underscoring the thematic meaning of this film portrays visually the internal transformations and oppositions that are occurring to Jack Torrance psychologically.
Furthermore the fact that Jack looks into a mirror whenever he "speaks" to the hotel means, to some extent, that Kubrick implicates him directly into the hotel's "consciousness", because Jack is, in effect, talking to himself.
Ghosts are the implied explanation for Jack's seemingly physically impossible escape from the locked storeroom. In an interview of Kubrick by scholar Michel Ciment , the director made comments about the scene in the book that may imply he similarly thought of the scene in the film as a key reveal in this dichotomy:.
It seemed to strike an extraordinary balance between the psychological and the supernatural in such a way as to lead you to think that the supernatural would eventually be explained by the psychological: 'Jack must be imagining these things because he's crazy.
It's not until Grady, the ghost of the former caretaker who axed to death his family, slides open the bolt of the larder door, allowing Jack to escape, that you are left with no other explanation but the supernatural.
Early in the film, Stuart Ullman tells Jack of a previous caretaker, Charles Grady, who, in , succumbed to cabin fever, murdered his family and then killed himself.
Later, Jack meets a ghostly butler named Grady. Jack says that he knows about the murders, claiming to recognize Grady from pictures, but the butler introduces himself as Delbert Grady.
It is to say he is two people: the man with choice in a perilous situation and the man who has 'always' been at the Overlook.
It's a mistake to see the final photo as evidence that the events of the film are predetermined: Jack has any number of moments where he can act other than the way he does and that his poor choices are fueled by weakness and fear perhaps merely speaks all the more to the questions about the personal and the political that The Shining brings up.
In the same way Charles had a chance — once more, perhaps — to not take on Delbert's legacy, so Jack may have had a chance to escape his role as 'caretaker' to the interests of the powerful.
It's the tragic course of this story that he chooses not to. Jack in the photo has 'always' been at the Overlook; Jack the caretaker chooses to become part of the hotel.
The film's assistant editor Gordon Stainforth has commented on this issue, attempting to steer a course between the continuity-error explanation on one side and the hidden-meaning explanation on the other; "I don't think we'll ever quite unravel this.
Was his full name Charles Delbert Grady? Perhaps Charles was a sort of nickname? Perhaps Ullman got the name wrong?
But I also think that Stanley did NOT want the whole story to fit together too neatly, so [it is] absolutely correct, I think, to say that 'the sum of what we learn refuses to add up neatly'.
At the end of the film, the camera moves slowly towards a wall in the Overlook and a photograph, revealed to include Jack seen at the middle of a party.
In an interview with Michel Ciment, Kubrick said that the photograph suggests that Jack was a reincarnation of an earlier official at the hotel.
Film critic Jonathan Romney, while acknowledging the absorption theory, wrote:. As the ghostly butler Grady Philip Stone tells him during their chilling confrontation in the men's toilet, 'You're the caretaker, sir.
You've always been the caretaker. But if his picture has been there all along, why has no one noticed it? After all, it's right at the center of the central picture on the wall, and the Torrances have had a painfully drawn-out winter of mind-numbing leisure in which to inspect every corner of the place.
Is it just that, like Poe's purloined letter , the thing in plain sight is the last thing you see? When you do see it, the effect is so unsettling because you realise the unthinkable was there under your nose — overlooked — the whole time.
Artist Juli Kearns first identified and created maps of spatial discrepancies in the layout of the Overlook Hotel, the interiors of which were constructed in studios in England.
These spatial discrepancies included windows appearing in impossible places, such as in Stuart Ullman's office, which is surrounded by interior hallways, and apartment doorways positioned in places where they cannot possibly lead to apartments.
The audience is deliberately made not to know where they're going. People say The Shining doesn't make sense. Well spotted!
It's a ghost movie. It's not supposed to make sense. It's clear instantly there's something foul going on.
At the little hotel, everything is like Disney, all kitsch wood on the outside — but the interiors don't make sense.
Those huge corridors and ballrooms couldn't fit inside. In fact, nothing makes sense. The film differs from the novel significantly with regard to characterization and motivation of action.
The most obvious differences are those regarding the personality of Jack Torrance the source of much of author Stephen King's dissatisfaction with the film.
The room number has been changed to Timberline Lodge , located on Mount Hood in Oregon , was used for the exterior shots of the fictional Overlook Hotel.
The Lodge requested that Kubrick not depict Room featured in the book in The Shining , because future guests at the Lodge might be afraid to stay there, and a nonexistent room, , was substituted in the film.
Contrary to the hotel's expectations, Room is requested more often than any other room at Timberline. There are fringe analyses relating this number change to rumors that Kubrick faked the first Moon landing , as there are approximately , miles between the Earth and the Moon average is , miles  , and claiming that the film is a subtle confession of his involvement.
The novel initially presents Jack as likeable and well-intentioned, yet haunted by the demons of alcohol and authority issues. Nonetheless, he becomes gradually overwhelmed by what he sees as the evil forces in the hotel.
At the novel's conclusion, it is suggested that the evil hotel forces have possessed Jack's body and proceeded to destroy all that is left of his mind during a final showdown with Danny.
He leaves a monstrous entity that Danny is able to divert while he, Wendy and Dick Hallorann escape. Jack kills Dick Hallorann in the film, but only wounds him in the novel.
King attempted to talk Stanley Kubrick out of casting Jack Nicholson even before filming began, on the grounds that he seemed vaguely sinister from the very beginning of the film, and had suggested Jon Voight among others for the role.
Only in the novel does Jack hear the haunting, heavy-handed voice of his father, with whom he had a troubled relationship. However, the novel gives much more detail about Jack's problems with drinking and alcohol.
The film prolongs Jack's struggle with writer's block. Kubrick's co-screenwriter Diane Johnson believes that in King's novel, Jack's discovery of the scrapbook of clippings in the boiler room of the hotel, which gives him new ideas for a novel, catalyzes his possession by the ghosts of the hotel, while at the same time unblocking his writing.
Jack is no longer a blocked writer, but now filled with energy. In her contribution to the screenplay, Johnson wrote an adaptation of this scene, which to her regret Kubrick later excised, as she felt this left the father's change less motivated.
Stephen King stated on the DVD commentary of the miniseries of The Shining that the character of Jack Torrance was partially autobiographical, as he was struggling with both alcoholism and unprovoked rage toward his family at the time of writing.
Kubrick's version of Torrance is much closer to the tyrannical Hal from Kubrick's A Space Odyssey and Alex from Kubrick's A Clockwork Orange than he is to King's more conflicted, more sympathetically human characterization.
From Thomas Allen Nelson's Kubrick: Inside a Film Artist's Maze : "When Jack moves through the reception area on his way to a 'shining' over the model maze, he throws a yellow tennis ball past a stuffed bear and Danny's Big Wheel, which rests on the very spot a Navajo circle design where Hallorann will be murdered.
Below, on a winding mountain road, Jack's diminutive yellow Volkswagen journeys through a tree-lined maze, resembling one of Danny's toy cars or the yellow tennis ball seen later outside of Room Danny Torrance is considerably more open about his supernatural abilities in the novel, discussing them with strangers such as his doctor.
The same is true of Dick Hallorann, who in his journey back to the Overlook in the book, talks with others with the "shining" ability, while in the film he lies about his reason for returning to the Overlook.
Danny in the novel is generally portrayed as unusually intelligent across the board. Although Danny has supernatural powers in both versions, the novel makes it clear that his apparent imaginary friend "Tony" really is a projection of hidden parts of his own psyche, though heavily amplified by Danny's psychic "shining" abilities.
At the end it is revealed that Danny Torrance's middle name is "Anthony". Wendy Torrance in the film is relatively meek, submissive, passive, gentle, and mousy; this is shown by the way she defends Jack even in his absence to the doctor examining Danny.
It is implied that she has perhaps been abused by Jack as well. In the novel, she is a far more self-reliant and independent personality, who is tied to Jack in part by her poor relationship with her parents.
Writing in Hollywood's Stephen King , author Tony Magistrale writes about the mini-series remake:. De Mornay restores much of the steely resilience found in the protagonist of King's novel and this is particularly noteworthy when compared to Shelley Duvall's exaggerated portrayal of Wendy as Olive Oyl revisited: A simpering fatality of forces beyond her capacity to understand, much less surmount.
Co-screenwriter Diane Johnson stated that in her contributions to the script, Wendy had more dialogue, and that Kubrick cut many of her lines, possibly due to his dissatisfaction with actress Shelley Duvall's delivery.
Johnson believes that the earlier draft of the script portrayed Wendy as a more-rounded character. In the novel, Jack's interviewer, Ullman, is highly authoritarian, a kind of snobbish martinet.
The film's Ullman is far more humane and concerned about Jack's well-being, as well as smooth and self-assured.
Only in the novel does Ullman state that he disapproves of hiring Jack but higher authorities have asked that Jack be hired.
In Stanley Kubrick and the Art of Adaptation , author Greg Jenkins writes "A toadish figure in the book, Ullman has been utterly reinvented for the film; he now radiates charm, grace and gentility.
From Kubrick: Inside a Film Artist's Maze : Ullman tells Jack that the hotel's season runs from May 15 to October 30, meaning that the Torrances moved in on Halloween October Stephen King provides the reader with a great deal of information about the stress in the Torrance family early in the story,  including revelations of Jack's physical abuse of Danny and Wendy's fear of Danny's mysterious spells.
Kubrick tones down the early family tension and reveals family disharmony much more gradually than does King. In the film, Danny has a stronger emotional bond with Wendy than with Jack, which fuels Jack's rather paranoid notion that the two are conspiring against him.
In the novel Jack recovers his sanity and goodwill through the intervention of Danny while this does not occur in the film.
Writing in Cinefantastique magazine, Frederick Clarke suggests, "Instead of playing a normal man who becomes insane, Nicholson portrays a crazy man attempting to remain sane.
More broadly, the defective boiler is a major element of the novel's plot, entirely missing from the film version. Because of the limitations of special effects at the time, the living topiary animals of the novel were omitted and a hedge maze was added,   acting as a final trap for Jack Torrance as well as a refuge for Danny.
In the film, the hotel possibly derives its malevolent energy from being built on a Native American burial ground.
In the novel, the reason for the hotel's manifestation of evil is possibly explained by a theme present in King's previous novel Salem's Lot as well as Shirley Jackson 's The Haunting of Hill House : a physical place may absorb the evils that transpire there and manifest them as a vaguely sentient malevolence.
In the novel, Jack does a great deal of investigation of the hotel's past through a scrapbook,  a subplot almost omitted from the film aside from two touches: a brief appearance of the scrapbook beside the typewriter, and Jack's statement to the ghost of Grady that he knows his face from an old newspaper article describing the latter's horrific acts.
Kubrick in fact shot a scene where Jack discovers the scrapbook but removed it during post-production, a decision which co-screenwriter Diane Johnson lamented.
Some of the film's most iconic scenes, such as the ghost girls in the hallway and the torrent of blood from the elevators, are unique to the film.
The most notable of these would be the typewritten pages Wendy discovers on Jack's desk. Although Stephen King fans were critical of the novel's adaptation on the grounds that Kubrick altered and reduced the novel's themes, a defense of Kubrick's approach was made in Steve Biodrowski's review of the film.
His review of the film is one of the few to go into detailed comparison with the novel. He writes, "The result Both parodies and homages to The Shining are prominent in U.
Director Tim Burton , who credits Kubrick as an influence, modeled the characters of Tweedledum and Tweedledee in his version of Alice in Wonderland on the Grady girls like so many viewers of the film, Burton identifies the girls as twins in spite of Ullman's dialogue to the contrary.
Ullman Philip Stone Grady Joe Turkel Lloyd Anne Jackson Doctor Tony Burton Durkin Lia Beldam Young Woman in Bath Billie Gibson Old Woman in Bath Barry Dennen Watson David Baxt Forest Ranger 1 Manning Redwood Forest Ranger 2 Lisa Burns Edit Storyline 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.
Edit Did You Know? Trivia Jack's typewriter was an Adler Eagle. Goofs During Torrance's second visit to the Gold Room bar, the level of whiskey in the glass goes up between takes, though the bartender hasn't made a move to refill it.
Quotes [ first lines ] Jack Torrance : Hi, I've got an appointment with Mr. My name is Jack Torrance. Crazy Credits THE END appears as the closing credits have finished.
Alternate Versions Early releases featured end credits in the same blue as in the opening titles, instead of the white credits seen today.
Was this review helpful to you? Bruce McCabe. Shock effect and graphic imagery don't compensate for the sense of pointlessness and even distaste that is left at the end of the movie.
Ernest Leogrande. I have never watched The Shining and not been blown away. It's an absolute clinic in atmosphere, tension, family drama, production design, cinematography, and so much more.
Kent Garrison. Primarily about building an atmosphere and a feeling of unease; something could pop out at any second, but it doesn't have to in order to startle viewers.
Mike Massie. Bill Newcott. It just didn't speak to me. I thought it was way too long and a little too slow in pace.
Justin Brown. One of the best movies of all time Brandon Collins. David Nusair. Top Box Office. Critics SIGN UP LOG IN. Home Box Office TV DVD MORE.
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Need some streaming picks for the month? Here are the buzz-worthy titles you're going to want to mark on your calendar. On highways across America, a tribe of people called The True Knot travel in search of sustenance.
They look harmless-mostly old, lots of polyester, and married to their RVs. But as Dan Torrance knows, and tween Abra Stone learns, The True Knot are quasi-immortal, living off the "steam" that children with the "shining" produce when they are slowly tortured to death.
Haunted by the inhabitants of the Overlook Hotel where he spent one horrific childhood year, Dan has been drifting for decades, desperate to shed his father's legacy of despair, alcoholism, and violence.
Finally, he settles in a New Hampshire town, an AA community that sustains him, and a job at a nursing home where his remnant "shining" power provides the crucial final comfort to the dying.
Aided by a prescient cat, he becomes "Doctor Sleep. Written by Stephen King. This is easily one of the better film adaptations of a Stephen King novel, and also one of the better films I've seen this year.
Yet again, professional film critics have proven they mostly have no idea about the cinema of the fantastic fantasy, SF, and horror.
If you're a fan of the genre, you'll love this film - ignore the critics. All Titles TV Episodes Celebs Companies Keywords Advanced Search.
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Geek Culture. Box Office Mojo. The Numbers. Rotten Tomatoes. Retrieved 10 June Stephen King 's The Shining. The Shining Doctor Sleep Jack Torrance Danny Torrance Wendy Torrance Dick Hallorann Rose the Hat.
The Shining Crime at the Chinese Restaurant Room The Stanley Hotel " All work and no play makes Jack a dull boy " " The Shinning ".
Adaptations of works by Stephen King. Cujo The Dead Zone Christine Cat's Eye Silver Bullet The Running Man Tales from the Darkside: The Movie Graveyard Shift Needful Things The Dark Half Dolores Claiborne Thinner The Night Flier The Green Mile Hearts in Atlantis Dreamcatcher Secret Window Riding the Bullet No Smoking The Mist Dolan's Cadillac A Good Marriage Mercy Cell The Dark Tower Gerald's Game In the Tall Grass Carrie The Rage: Carrie 2 Carrie Carrie Creepshow Creepshow 2 Creepshow 3 Children of the Corn The Final Sacrifice Urban Harvest The Gathering Fields of Terror Isaac's Return Revelation Children of the Corn Genesis Runaway Children of the Corn Stand by Me The Shawshank Redemption Apt Pupil Firestarter Rekindled Maximum Overdrive Trucks Pet Sematary Pet Sematary Two Pet Sematary Misery Julie Ganapathi The Mangler The Mangler 2 Reborn The Lawnmower Man Beyond Cyberspace It It Chapter Two Salem's Lot A Return to Salem's Lot Salem's Lot It Woh Sometimes They Come Back Sometimes They Come Back Again Sometimes They Come Back This theory is all about a poster in the playroom of the Overlook Hotel.
When Danny is playing darts in that room, he turns around and finds the Grady twins standing in the entrance.
The caretaker job, then, was just a front so the government could test mind control techniques on isolated subjects, and everything the Torrances went through was nothing more than hallucinations.
This theory not only gives The Shining a darker turn but also gives meaning to the over-analyzed s cene of the man in the tuxedo and the one in a bear costume.
Kubrick might have told his own, twisted version of the Greek myth of Theseus and the Minotaur with the help of characters created by Stephen King.Eddart Stark weist Jack darauf hin, dass Danny versuche, Hallorann in die Angelegenheit hinzuziehen, und dass sein Sohn gefährliche, übernatürliche Fähigkeiten habe. Es dauert nicht lange Mut Zur Liebe die dunklen Vorahnungen und blutigen Visionen, die The Eloise Asylum Jungen schon kurz nach dem Einzug das erste mal begegnen, zur Realität werden: Vater Jack beginnt immer mehr, den Verstand zu verlieren. Wendy Carlos. Jack erfriert im Irrgarten. Retrieved August 8, Real Shining Film. Soundtracks Midnight with the Stars and You Written by Harry M. Archived from the original on July 13, WandaVision: Lautlose Morde 1. In accordance with stipulations contained in Kubrick's will, DVD releases show the film in open matte i. Horror film critic Peter Bracke, reviewing the Blu-ray release in High-Def Digestwrote:. Navy Cis La Season 8 from the original on November 14, Navigation Tablet Tv Schauen Personal tools Email Ku logged in Talk Contributions Create account Log in. February 10, September 20, In JuneDoctor Sleep writer and director Mike Flanaganconfirmed that the film would be a sequel to the film. But in Kubrick's The Shiningthe characters are largely in the grip of forces beyond their control. Rate This. Archived Rtlplus Programm Heute the original on August 10,