The Shining (film)

The Shining is a 1980 psychological horror film produced and directed by Stanley Kubrick and co-written with novelist Diane Johnson. It is based on Stephen King's novel of the same name and stars Jack Nicholson, Shelley Duvall, Danny Lloyd and Scatman Crothers. The film presents the descent into insanity of a recovering alcoholic and aspiring novelist (Nicholson) who takes a job as winter caretaker for a haunted mountain resort hotel with his wife (Duvall) and clairvoyant son (Lloyd).

Production took place almost exclusively in England at EMI Elstree Studios, with sets based on real locations. Kubrick often worked with a small crew, which allowed him to do many takes, sometimes to the exhaustion of the actors and staff. The new Steadicam mount was used to shoot several scenes, giving the film an innovative and immersive look and feel.

The film was released in the United States on May 23, 1980 by Warner Bros., and in the United Kingdom on October 2 by Columbia Pictures through Columbia-EMI-Warner Distributors. There were several versions for theatrical releases, each of which was cut shorter than the preceding cut; about 27 minutes was cut in total. Reactions to the film at the time of its release were mixed; King criticized the film due to its deviations from the novel. The film received two controversial nominations at the first Razzies in 1981—Worst Director and Worst Actress—the latter of which was later rescinded in 2022 due to Kubrick's alleged treatment of Duvall on set. Critical response to the film has since become favorable.

Frequently cited as one of the best horror films and one of the greatest films of all time, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant" in 2018. A sequel titled Doctor Sleep based on King's 2013 novel of the same name was adapted to film and released in 2019.

Jack Torrance takes a winter caretaker position at the remote Overlook Hotel in the Colorado Rocky Mountains, which closes every winter season. After his arrival, manager Stuart Ullman informs Jack that a previous caretaker, Charles Grady, killed his wife, two young daughters and himself in the hotel a decade prior.

In Boulder, Jack's son, Danny, has a premonition and seizure. Jack's wife, Wendy, tells the doctor about a past incident when Jack accidentally dislocated Danny's shoulder during a drunken rage. Jack has been sober ever since. Before leaving for the seasonal break, the Overlook's head chef, Dick Hallorann, informs Danny of a telepathic ability the two share, which he calls "shining". Hallorann tells Danny that the hotel also has a "shine" due to residue from unpleasant past events and warns him to avoid Room 237.

A month passes and Danny starts having frightening visions, including of the murdered Grady twins. Meanwhile, Jack's mental health deteriorates; he suffers from writer's block, is prone to violent outbursts, and has dreams of killing his family. Danny gets lured to room 237 by unseen forces, and Wendy later finds him with signs of physical trauma for which she blames Jack. Jack sulks in the ballroom, where ghostly bartender Lloyd entices him back to drinking. Wendy tells him that Danny was attacked by a "crazy woman" in room 237. Jack investigates and encounters a hideous female ghost in the bathroom but tells Wendy he saw nothing. He blames Danny for inflicting the bruises on himself and reacts angrily when Wendy suggests leaving the hotel. Danny enters a trance and telepathically contacts Hallorann. Returning to the ballroom, Jack finds it filled with ghostly figures including waiter Delbert Grady, who urges Jack to "correct" his wife and child.

Wendy finds Jack's manuscript written with nothing but countless repetitions of the proverb “All work and no play makes Jack a dull boy”. When Jack threatens her life, Wendy knocks him unconscious with a baseball bat and locks him in the kitchen pantry, but she and Danny cannot leave because Jack previously sabotaged the hotel's two-way radio and snowcat. Back in their hotel room, Danny says “redrum” repeatedly and writes the word in lipstick on the bathroom door. Wendy sees the word in the mirror and realizes that it is actually “murder” spelled backward.

Jack is freed by Grady and goes after Wendy and Danny with an axe. Danny escapes outside through the bathroom window, and Wendy fights Jack off with a knife when he tries to break through the door. Hallorann, having flown back to Colorado from his Florida vacation, reaches the hotel in another snowcat. His arrival distracts Jack, who ambushes and murders him in the lobby, then pursues Danny into the hedge maze. Wendy runs through the hotel looking for Danny, encountering the hotel's ghosts, Hallorann’s bloody corpse, and a vision of cascading blood from an elevator similar to Danny's premonition.

In the hedge maze, Danny carefully backtracks to mislead Jack and hides behind a snowdrift. Jack plunges onward without a trail and becomes lost. Danny and Wendy reunite and leave in Hallorann's snowcat, leaving Jack to freeze to death in the maze.

In a photograph in the hotel hallway, Jack is pictured standing amidst a crowd of party revelers from July 4, 1921.

In the European cut, all of the scenes involving Jackson and Burton were removed but the credits remained unchanged. Dennen is on-screen in all versions of the film, albeit to a limited degree (and with no dialogue) in the European cut.

The actresses who played the ghosts of the murdered Grady daughters, Lisa and Louise Burns, are identical twins. The characters in the book and film script are sisters, not twins. In the film's dialogue, Ullman says that he thinks that they were "about eight and ten". Nonetheless, they are frequently referred to in discussions about the film as "the Grady twins".

There is a resemblance in the staging of the Grady girls and the "Twins" photograph by Diane Arbus according to Arbus' biographer, Patricia Bosworth, the Kubrick assistant who cast and coached them, Leon Vitali, and by numerous Kubrick critics. Kubrick both met Arbus personally and studied photography under her during his time as photographer for Look magazine; Kubrick's widow says he did not deliberately model the Grady girls on Arbus' photograph, in spite of widespread attention to the resemblance.

Film critic Jonathan Romney writes that the film has been interpreted in many ways, including addressing the topics of the crisis in masculinity, sexism, corporate America, and racism. "It's tempting to read The Shining as an Oedipal struggle not just between generations but between Jack's culture of the written word and Danny's culture of images", Romney writes, "Jack also uses the written word to more mundane purpose – to sign his 'contract' with the Overlook. 'I gave my word', ... which we take to mean 'gave his soul' in the ... Faustian sense. But maybe he means it more literally – by the end ... he has renounced language entirely, pursuing Danny through the maze with an inarticulate animal roar. What he has entered into is a conventional business deal that places commercial obligation ... over the unspoken contract of compassion and empathy that he seems to have neglected to sign with his family."

Among interpreters who see the film reflecting more subtly the social concerns that animate other Kubrick films, one of the early viewpoints was discussed in an essay by ABC reporter Bill Blakemore titled "Kubrick's 'Shining' Secret: Film's Hidden Horror Is The Murder of the Indian", first published in The Washington Post on July 12, 1987. He believes that indirect references to American killings of Native Americans pervade the film, as exemplified by the Amerindian logos on the baking powder in the kitchen and the Amerindian artwork that appears throughout the hotel, though no Native Americans are seen. 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:

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 Fourth 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.

The artwork of Indigenous Canadian artist Norval Morrisseau can be seen throughout the film, including the paintings The Great Earth Mother (1976), and Flock of Loons (1975).

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's 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 places Kubrick's vision of a haunted hotel in line with a long literary tradition of hotels in which sinister events occur, from Stephen Crane's short story "The Blue Hotel" (which Kubrick admired) to the Swiss Berghof in Thomas Mann's novel The Magic Mountain, about a snowbound sanatorium high in the Swiss Alps in which the protagonist witnesses a series of events which are a microcosm of the decline of Western culture.