Television adaptation of Stephen King novel that follows a recovering alcoholic professor. He ends up taking a job as a winter caretaker for a remote Colorado hotel which he seeks as an opportunity to finish a piece of work. With his wife and son with him, the caretaker settles in, only to see visions of the hotel's long deceased employees and guests. With evil intentions, they manipulate him into his dark side which takes a toll on him and his family.Written by
In Doctor Sleep, Stephen King writes about a paranormal group called The True Knot (psychic vampires) that live off the steam (emotions) produced by people during 9/11. One of them has a premonition of 9/11. The True Knot can still sense the impressions and emotions of the people who died at the Overlook when examining the foundations. The True Knot can use Danny's memories of the Overlook against him. Jack appears to Danny after The True Knot are defeated like at the end of the series. See more »
Reflected in the Overlook's main doors, behind Watson. See more »
[Addressing the Overlook Hotel]
Hello, you old bitch. You're just as ugly in wintertime as you are in summertime.
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DVD contains 11 deleted scenes:
Danny at the doctor's office; they briefly discuss Tony.
Brief scene with Danny and Jack conversing.
A brief scene where the Torrences step outside the hotel and observe that they are snowed in.
A scene which originally occurred after the "217 lady" scene. Jack says that Wendy and Danny can leave the hotel ASAP and that he will stay. He also shows Wendy the lipstick he found, and describes how he believes Danny's strangle wounds were self-inflicted.
A fireside chat between Wendy and Danny, in which he tells her that he hears the ghosts in the hotel, talking, laughing, and screaming.
Two scenes which originally occurred after Jack is locked inside the vault. Wendy leaves Danny to get some food, and Danny tells her that he called to Dick. Then a scene in which Wendy returns and Danny says that Dick may not have heard him.
A brief scene showing Grady releasing Jack from the vault, and Jack exiting and grabbing the mallet.
A brief scene in which Danny encounters a female ghost, and he tells her he isn't afraid of her, that only his father can hurt him now. The ghost vanishes, and Jack then appears to "punish" him.
A climatic ballroom scene in which the "party guests" and the orchestra all melt in gruesome fashion.
An outtake featuring orchestra conductor Gage Creed (played by Stephen King) melting in gruesome fashion.
Stephen King has been called the "undisputed master of horror" for good reason. His novels are atmospheric, insightful to the human condition, funny and of course scary as Hell. The Shining has always been one of his best novels and I beleive should go down in history as one of the greatest American novels of all time.
Yes, Kings mastery of the written word is undisputed but his mastery of the motion picture is... spotty.
The adaptations of Kings movies have always been hit or miss. Firestarter, Cujo, Children of the Corn, Salems Lot. All dreck. Bought for the marquee value of Kings name alone and hacked to peices by first year film school dropouts. Oh yes it is very obvious why King wants more creative control over the movies with his name on them. They dont take away from the novels but they make King look like a no-talent sell-out. While no doubt King is a sell-out (he's the Krusty the Clown of the written word) as far as his movies and the books he's written in the last decade go, many fine directors with their own sense of vision have made excellent adaptations of his novels, among them; Rob Reiner (Stand by Me, Misery), Frank Darabont (The Shawshank Redemption, The Green Mile) and of course Stanly Kubrick.
Kubrick was one of the last true filmmakers on Earth, his passing in 99 was a tragedy. Stanley was a visionary, he would look at the written word and figure out a way to make it compelling visually, to set a pace and a mood, this man knew how to make films.
King does not.
Stephen Kings adaptations of his own work have always been atrocious and they violate almost every rule of great screenwriting in the book. He uses flashbacks and voice over and his dialogue is always on the nose. When King writes a screeplay he doesnt just make a point once and expect the audience to be intelligent enough to put two and two together, no he hits you over the head again and again with the same point until you dont care any more. As a novelist he's a master, as a screenwriter he's amauterish and obvious. Pet Semetary, The Stand, Storm of the Century, Rose Red, Maximum Overdrive all suffer from this crap. The adaptations King writes are no better than the hack jobs that other writers have made of his works.
Stanley Kubrick didnt adapt every irrelevant little incident in The Shining that may have been integral to understanding the characters on the written page because they would be irrelevant on the screen. The things King thinks you need to know can be played for subtext and the actors can carry the truth of the characters themselves. Kubrick made a movie about an isolated place that pushes a man to madness and murder. That was the spirit of the book and that was the spirit of Kubricks movie. It was terrifying and grand. A work worthy of a master of film.
Kings adaptation was simple, trite and never scary. He should be ashamed to be called "the undisputed master of horror" and have this peice of dung on his resumee.
Stephen King should leave filmmaking to filmmakers like Kubrick and not to two bit hacks like Mick Garris (Critters 2: The Main Course). But then King wanted a lapdog to direct an animated audio book and not a motion picture masterpeice. Luckily this film will be collecting dust in trashbins across America and Kubricks movie will be the one long remembered.
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