After a space merchant vessel perceives an unknown transmission as a distress call, its landing on the source moon finds one of the crew attacked by a mysterious lifeform, and they soon realize that its life cycle has merely begun.
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
The throwing around of the tennis ball inside the Overlook Hotel was Jack Nicholson's idea. The script originally only specified that "Jack is not working". See more »
When Danny first discovers Room 237 while riding his tricycle, there is a door to the top right of him that is closed. In the next shot of him looking at Room 237, that same door is now open. See more »
Hi, I've got an appointment with Mr. Ullman. My name is Jack Torrance.
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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 »
When released theatrically in the United States, the film ran approx. 146 minutes. However, as explained above, three weeks into its release, Kubrick cut the 2 minute coda from the end of the film, reducing its length to 144 minutes. After meeting with poor reviews and erratic box office, Kubrick decided to further edit the film for its theatrical release outside the US. He cut approximately 31 minutes of footage, reducing the length to 113 minutes. The 144 minute 'US version' is often erroneously called the director's cut when in fact director Kubrick regards both the 119 minute version and the 144 minute version as director's cuts. Nevertheless, the longer version is the version now most commonly available. The following is a list of all the scenes or parts of scenes not present in the shorter 'European version':
After the first scene with Wendy (Shelley Duvall) and Danny (Danny Lloyd), the film cuts back to Jack (Jack Nicholson) at the Overlook, where his interview with Stuart Ullman (Barry Nelson) continues. Jack is introduced to Bill Watson (Barry Dennen), and Ullman tells Watson that Jack used to work as a schoolteacher. Jack says he became a writer because he needed a change in his life. Ullman then explains that the Overlook is closed every winter from the end of October to the following May, because it would be too expensive to keep the roads open, and he points out that the site was chosen specifically for its seclusion.
When Danny first 'sees' the Grady twins in his bathroom at home, he blacks out. When he awakes, he is being examined by a doctor (Anne Jackson). This entire examination scene, and the subsequent conversations were all cut. Danny says that before his black-out he was talking to Tony, "the little boy who lives inside my mouth". Wendy and the Doctor then talk in private, and Wendy mentions an incident in which Jack dislocated Danny's shoulder in a drunken fit of temper, at which time he swore never to touch alcohol again. That was five months ago, and since then, he has kept his word.
During their tour of the Overlook, Jack and Wendy are brought into the Colorado Lounge, and Wendy asks if the Indian designs are authentic. Ullman explains that they are based on ancient Navajo and Apache motifs. He then mentions the prestigious history of the hotel, saying it was a stopping place for the jet set, for four presidents, movie stars and "all the best people".
The beginning of the scene where Ullman shows Jack and Wendy the hotel grounds has been cut. He points out "our famous hedge maze" and warns them not to go in unless they have an hour or so to spare.
Prior to the introduction of Dick Hallorann (Scatman Crothers), Ullman shows off The Gold Room and explains that all liquor is removed during the winter so as to reduce insurance costs. Hallorann is then introduced, and the secretary Susie (Alison Coleridge) appears, having found Danny outside the games room. Ullman then leaves with Jack, and Hallorann takes Wendy around the kitchen.
Some of Danny's conversation with Hallorann has been cut. Danny asks Hallorann if he is scared of the Overlook, and Hallorann replies that he isn't, but that "some places are like people, some shine and some don't. I guess you could say the Overlook Hotel here has something about it that's like shining."
The first few shots of Wendy wheeling the breakfast tray through the corridors have been cut.
The end of the scene where Wendy brings Jack his breakfast has been cut. He comments that he has never been as happy or as comfortable anywhere as he is in the Overlook and Wendy reveals that she thought the place was scary when they first arrived. Jack replies that he fell in love with it straight away and he felt as if he had been there before.
The scene of Jack throwing the ball against the wall is shorter.
After Wendy and Danny explore the maze, a sequence has been cut showing Wendy working in the kitchen while a TV announcer talks of a search in the mountains for a missing woman, and a snow-storm that is predicted to be moving in on Colorado.
Following the scene in which Jack loses his temper with Wendy for interrupting him, the title THURSDAY was deleted.
After the scene in which Danny is confronted by the Grady twins in the corridor, and they invite him to play with them, a scene has been cut in which Wendy and Danny are watching TV. Danny asks if he can go to his room to get his toy fire-engine and Wendy tells him to be quiet because Jack is sleeping.
Some dialogue has been cut from the first conversation between Jack and Lloyd (Joe Turkel). Jack toasts, "Here's to five miserable months on the wagon and all the irreparable harm that it's caused me". Lloyd then asks him how things are, and Jack comments that they could be a whole lot better, that he is having trouble with his wife. Lloyd comments, "Women! Can't live with 'em. Can't live without 'em", and Jack wholeheartedly agrees.
After he has returned from examining Room 237, Jack's conversation with Wendy is slightly shorter.
After the scene between Jack and Grady (Philip Stone), a sequence has been cut in which Wendy is seen crying and talking to herself, musing about the possibility of getting down the mountain in the Sno-cat, and of calling the Forest Rangers. She then hears Danny calling out "red rum" over and over, but when she tries to talk to him, she is only 'answered' by Tony, who tells her that Danny can't hear her.
A scene has been cut in which Hallorann tries to get through to the Overlook by calling the Ranger station. They tell him that they've tried to get through several times but there has been no answer, and they offer to try again later.
Prior to the shot of Hallorann's plane, the title 8AM has been deleted.
On the plane, Hallorann asks a stewardess what time they are due to land in Denver and she tells him at 8.20. Jack is then seen typing in the lounge of the Overlook. Hallorann's plane lands at the airport and he calls Larry Durkin (Tony Burton), a garage owner, to rent a Sno-cat so as to get up to the Overlook. Durkin says the mountain roads are completely blocked off, and Hallorann explains that the people looking after the hotel turned out to be "completely unreliable assholes". Hallorann estimates that it will take him five hours to drive from the airport to collect the cat, and Larry says the Sno-cat will be waiting for him when he arrives.
The beginning of the scene in which Wendy finds Jack's type-written pages has been cut. She and Danny are watching television and she looks at her watch, telling Danny that she is going to talk to his father for a few minutes and that he should stay there. She picks up the baseball bat before leaving.
In the final scene, when Jack is pursuing Danny through the maze and Wendy is being confronted by some of the Overlook spooks, a short scene where she encounters a group of skeletons sitting at a table with a champagne bottle and glasses has been cut.
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.
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