Haunted by a persistent writer's block, the aspiring author and recovering alcoholic, Jack Torrance, drags his wife, Wendy, and his gifted son, Danny, up snow-capped Colorado's secluded Overlook Hotel after taking up a job as an off-season caretaker. As the cavernous hotel shuts down for the season, the manager gives Jack a grand tour, and the facility's chef, the ageing Mr Hallorann, has a fascinating chat with Danny about a rare psychic gift called "The Shining", making sure to warn him about the hotel's abandoned rooms, and, in particular, the off-limits Room 237. However, instead of overcoming the dismal creative rut, little by little, Jack starts losing his mind, trapped in an unforgiving environment of seemingly endless snowstorms, and a gargantuan silent prison riddled with strange occurrences and eerie visions. Now, the incessant voices inside Jack's head demand sacrifice. Is Jack capable of murder?Written by
In the German-language version instead of "All work and no play makes Jack a dull boy," Kubrick used "Never put off til tomorrow what may be done today." See more »
Wendy's hand placement on the bat when Jack is chasing her up the stairs. Up until the time she hits Jack with the bat, her hands are half way up the bat but when she hits Jack with the bat, her hands are at the base of the bat. 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, less than one week 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 Snow-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.
Amazing achievement in filmmaking and the art of terror.
Chilling, majestic piece of cinematic fright, this film combines all the great elements of an intellectual thriller, with the grand vision of a director who has the instinctual capacity to pace a moody horror flick within the realm of his filmmaking genius that includes an eye for the original shot, an ice-cold soundtrack and an overall sense of dehumanization. This movie cuts through all the typical horror movies like a red-poker through a human eye, as it allows the viewer to not only feel the violence and psychosis of its protagonist, but appreciate the seed from which the derangement stems. One of the scariest things for people to face is the unknown and this film presents its plotting with just that thought in mind. The setting is perfect, in a desolate winter hideaway. The quietness of the moment is a character in itself, as the fermenting aggressor in Jack Torrance's mind wallows in this idle time, and breeds the devil's new playground. I always felt like the presence of evil was dormant in all of our minds, with only the circumstances of the moment, and the reasons given therein, needed to wake its violent ass and pounce over its unsuspecting victims. This film is a perfect example of this very thought.
And it is within this film's subtle touches of the canvas, the clackity-clacks of the young boy's big wheel riding along the empty hallways of the hotel, the labyrinthian garden representing the mind's fine line between sane and insane, Kubrick's purposely transfixed editing inconsistencies, continuity errors and set mis-arrangements, that we discover a world guided by the righteous and tangible, but coaxed away by the powerful and unknown. I have never read the book upon which the film is based, but without that as a comparison point, I am proud to say that this is one of the most terrifying films that I have ever seen. I thought that the runtime of the film could've been cut by a little bit, but then again, I am not one of the most acclaimed directors in the history of film, so maybe I should keep my two-cent criticisms over a superb film, to myself. All in all, this movie captures your attention with its grand form and vision, ropes you in with some terror and eccentric direction, and ties you down and stabs you in the heart with its cold-eyed view of the man's mind gone overboard, creepy atmosphere and the loss of humanity.
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