Shining

Even though The Shining is over a quarter of a century old, I challenge anyone to not get freaked out by Jack Nicholson's descent into madness. This is a rare example of something so unique that no one has been able to rip it off; instead it has been referenced time and again in pop culture. The twins, the elevator of blood, RedRum, the crazy nonsense "writing"... this should be seen, if for nothing else, to understand all the allusions to it in daily life. The film is simultaneously scary, suspenseful, beautiful, and psychologically intriguing. It has the classic mystery of Hitchcock and the terror of a modern thriller. And it has what horror movies usually lack: a great script.

Kubrick, King and Nicholson, the writing was literally on the wall, and I don't mean RedRum, forty years on, and The Shining is still a masterpiece.

Kubrick takes King's fantastic book, and builds on it, bringing the story to life in his own inimitable way. It's dark, it's bleak, it's terrifying, a masterpiece in storytelling. You watch as the central character's mental collapse is played out in a spine chilling fashion.

Gorgeous camera work, incredible visuals, that opening is iconic. So many incredible, visual moments, the twins, lift, barman etc, no wonder it's been parodied multiple times over the years, famously by The Simpsons.

An iconic role for Jack Nicholson, he is incredible, well supported by a terrific cast.

It's a classic, 10/10.

Sometimes all good horror needs is a good idea. But sometimes, rarely indeed, a horror masterpiece will reach us by the hand of a Kubrick, with the adept, elusive touch of a great artist to guide the vision, and we know what separates it from all else.

Okay, the story has enough promise that even a hired gun would have to try to fail. Heck, even Stephen King himself didn't fare so bad. It's how Kubrick perceives King's universe however, how he fills the frame with it, that renders THE SHINING a feast for the senses.

Horror that will reach us through the mind and body alike, an assault as it were, tending eventually its pitch to a crescendo, yet curiously not without a delicate lull.

Kubrick's cinema is, as usually, a sight to behold. We get the adventurous camera that prowls through the lavish corridors of the Overlook Hotel like it is some kind of mystic labyrinth rife for exploration, linear tracking shots exposing impeccably decorated interiors in symmetric grandeur. The geometrical approach in how Kubrick perceives space reminds me very much of Japanese directors of some 10 years before. In that what is depicted in the frame, the elements of narrative, is borderline inconsequential to how they all balance and harmonize together.

Certain images stand out in this. The first shot of Jack's typewriter, ominously accompanied by the off-screen thumps of a ball, drums of doom that seem to emanate from the very walls or the typewriter itself, an instrument of doom in itself as is later shown. A red river flowing through the hotel's elevators in a poetry of slow motions. Jack hitting the door with the axe, the camera moving along with him, tracking the action as it happens, as though it's the camera piercing through the door and not the axe. The ultra fast zoom in the kid's face violently thrusting us inside his head before we see the two dead girls from his POV. And of course, the epochal bathroom scene.

Much has been said of Jack Nicholson's obtrusive overacting. His mad is not entirely successful, because, well, he's Jack Nicholson. The guy looks half-mad anyway. Playing mad turns him into an exaggerated caricature of himself. Shelley Duvall on the other hand is one of the most inspired casting choices Kubrick ever made. Coming from a streak of fantastic performances for Robert Altman in the seventies (3 WOMEN, THIEVES LIKE US, NASHVILLE), she brings to her character the right amounts of swanlike fragility and emotional distress. A delicate, detached thing thrown in with the mad.

When Jack Torrance (Nicholson) is offered a job as winter caretaker for the Overlook Hotel he accepts it as an opportunity to work on his novel in an isolated environment. He is told stories of the last caretaker going mad and butchering his family but isn't deterred. He arrives at the Overlook Hotel with his wife (Duvall) and child Danny (Lloyd) and is shown around the hotel by the cook (Scatman Crothers) who has the gift of perception. The cook warns Danny that the hotel can be of particular danger for those with the gift. It's only a matter of time before Jack begins to act increasingly erratic.

This is one of Jack Nicholson's finest roles, his increasingly unhinged character is amusing and terrifying in almost equal measures. Duvall plays the role of the terrorised wife quite well - she does look like she's genuinely filled with fear - but doesn't have much else to do. Lloyd is excellent as the boy, although he doesn't have too much emotion to express. However no doubt that this is Jack's show.

The story doesn't stick to King's novel and is better for it; this is Kubrick's Shining. The film has plenty of genuinely scary moments but manages to keep a creepy atmosphere all through - especially as the ghosts come out and Jack begins to move between his reality and the reality that is gradually claiming him.

Kubrick is excellent here, his cold direction adds to the overall creep factor of the film. It's one of the best examples of his masterful touch.

Overall this is an excellent horror movie - because the focus is on horror and fear rather than gore alone (as with modern horrors). Jack is excellent in one of his best roles ever and the whole package is delivered in a cold creepy manner by a sadly lost director.

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.