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The Shining (1980)

 -  Horror  -  23 May 1980 (USA)
8.5
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Ratings: 8.5/10 from 460,300 users   Metascore: 61/100
Reviews: 1,247 user | 231 critic | 10 from Metacritic.com

A family heads to an isolated hotel for the winter where an evil and spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future.

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(novel), (screenplay), 1 more credit »
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Title: The Shining (1980)

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Cast

Cast overview, first billed only:
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Danny Lloyd ...
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Philip Stone ...
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Lia Beldam ...
Billie Gibson ...
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David Baxt ...
Forest Ranger #1
Manning Redwood ...
Forest Ranger #2
Lisa Burns ...
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Storyline

Signing a contract, Jack Torrance, a normal writer and former teacher agrees to take care of a hotel which has a long, violent past that puts everyone in the hotel in a nervous situation. While Jack slowly gets more violent and angry of his life, his son, Danny, tries to use a special talent, the "Shining", to inform the people outside about whatever that is going on in the hotel. Written by J. S. Golden

Plot Summary | Plot Synopsis

Taglines:

A masterpiece of modern horror See more »

Genres:

Horror

Certificate:

R | See all certifications »

Parents Guide:

 »
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Details

Official Sites:

Country:

|

Language:

Release Date:

23 May 1980 (USA)  »

Also Known As:

Stanley Kubrick's 'The Shining'  »

Filming Locations:

 »

Box Office

Budget:

$19,000,000 (estimated)

Gross:

SEK 6,140,088 (Sweden)
 »

Company Credits

Production Co:

, ,  »
Show detailed on  »

Technical Specs

Runtime:

(cut) | (cut) (European) | (original)

Sound Mix:

Color:

Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

According to Stephen King, the title is inspired by the refrain in the Plastic Ono Band's song, "Instant Karma" (by John Lennon), which features the chorus: "We all shine on". See more »

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. See more »

Quotes

[first lines]
Jack Torrance: Hi, I've got an appointment with Mr. Ullman. My name is Jack Torrance.
See more »

Crazy Credits

The party music plays over the closing credits. After it ends, we hear the Overlook Hotel ghosts applaud. They then talk amongst themselves until their voices fade away. See more »

Connections

Referenced in Peter Greenaway in Indianapolis (1997) See more »

Soundtracks

Rocky Mountains
(uncredited)
Written and Performed by Wendy Carlos and Rachel Elkind
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Eeriness surpassed by class
24 November 2008 | by (Greece) – See all my reviews

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.


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