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The Shining (1980)

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

Director:

Stanley Kubrick

Writers:

Stephen King (novel), Stanley Kubrick (screenplay) | 1 more credit »
Popularity
162 ( 104)

Director's Trademarks: A Guide to Stanley Kubrick's Films

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Cast

Cast overview, first billed only:
Jack Nicholson ... Jack Torrance
Shelley Duvall ... Wendy Torrance
Danny Lloyd ... Danny
Scatman Crothers ... Hallorann
Barry Nelson ... Ullman
Philip Stone ... Grady
Joe Turkel ... Lloyd
Anne Jackson ... Doctor
Tony Burton ... Durkin
Lia Beldam Lia Beldam ... Young Woman in Bath
Billie Gibson Billie Gibson ... Old Woman in Bath
Barry Dennen ... Watson
David Baxt ... Forest Ranger 1
Manning Redwood ... Forest Ranger 2
Lisa Burns Lisa Burns ... Grady Daughter
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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:

The tide of terror that swept America IS HERE [UK Poster] See more »

Genres:

Drama | Horror

Certificate:

R | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official Facebook

Country:

UK | USA

Language:

English

Release Date:

13 June 1980 (USA) See more »

Also Known As:

The Shining See more »

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Box Office

Budget:

$19,000,000 (estimated)

Opening Weekend USA:

$622,337, 26 May 1980, Limited Release

Gross USA:

$44,017,374, 31 December 1980
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

(cut) | (cut) (European) | (original) | (US dvd release: B002VWNIDG)

Sound Mix:

Mono

Color:

Color

Aspect Ratio:

1.33 : 1
See full technical specs »
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Did You Know?

Trivia

During filming, Stanley Kubrick made the cast watch Eraserhead (1977), Rosemary's Baby (1968), and The Exorcist (1973) to put them in the right frame of mind. 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 movie's opening titles are also the only instance in any Kubrick film where scrolling credits, rather than title cards, are used. See more »

Alternate Versions

ABC edited 4 minutes from the film for its 1983 network television premiere. See more »

Connections

Referenced in Psych: Heeeeere's Lassie (2012) See more »

Soundtracks

De Natura Sonoris No. 2
Music by Krzysztof Penderecki
Performed by Narodowa Orkiestra Symfoniczna Polskiego Radia w Katowicach (uncredited)
Conducted by Krzysztof Penderecki (uncredited)
See more »

Frequently Asked Questions

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User Reviews

Eeriness surpassed by class
24 November 2008 | by chaos-rampantSee 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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