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The Shining is a 1980 horror film produced and directed by Stanley Kubrick and co-written with novelist Diane Johnson. It is based on Stephen King's 1977 novel of the same name and stars Jack Nicholson, Danny Lloyd, Shelley Duvall, and Scatman Crothers. Nicholson plays Jack Torrance, a writer and recovering alcoholic who accepts a new position as the off-season caretaker of the Overlook Hotel. Lloyd plays his young son Danny, who has psychic abilities ("the shining"), which he learns about from head chef Dick Hallorann (Crothers). Danny's imaginary friend Tony warns him the hotel is haunted before a winter storm leaves the family snowbound in the Colorado Rockies. Jack's sanity deteriorates under the influence of the hotel and the residents, and Danny and his mother Wendy (Duvall) face mortal danger.
Production took place almost exclusively at EMI Elstree Studios, with sets based on real locations. Kubrick often worked with a small crew, which allowed him to do many takes, sometimes to the exhaustion of the actors and staff. The new Steadicam mount was used to shoot several scenes, giving the film an innovative and immersive look and feel.
In 2012, The Shining was ranked the 75th greatest film of all time in the Sight & Sound directors' poll.[7] In 2018, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[8] A sequel titled Doctor Sleep based on King's 2013 novel of the same name was adapted to film and released in 2019.
Jack is freed by Grady and goes after Wendy and Danny with an axe. Danny escapes outside through the bathroom window, and Wendy fights Jack off with a knife when he tries to break through the door. Hallorann, having flown back to Colorado from his Florida vacation to respond to Danny's telepathic SOS, reaches the hotel in another snowcat. His arrival distracts Jack, who ambushes and murders him in the lobby, then pursues Danny into the hedge maze. Wendy runs through the hotel looking for Danny, encountering the hotel's ghosts and a vision of cascading blood similar to Danny's premonition.
In the European cut, all of the scenes involving Jackson and Burton were removed but the credits remained unchanged. Dennen is on-screen in all versions of the film, albeit to a limited degree (and with no dialogue) in the European cut.
The actresses who played the ghosts of the murdered Grady daughters, Lisa and Louise Burns, are identical twins.[9] The characters in the book and film script are merely sisters, not twins. In the film's dialogue, Ullman says he thinks they were "about eight and ten". Nonetheless, they are frequently referred to in discussions about the film as "the Grady twins".
Before making The Shining, Kubrick directed the film Barry Lyndon (1975), a highly visual period film about an Irishman who attempts to make his way into the British aristocracy. Despite its technical achievements, the film was not a box-office success in the United States and was derided by critics for being too long and too slow. Kubrick, disappointed with Barry Lyndon's lack of success, realized he needed to make a film that would be commercially viable as well as artistically fulfilling. Stephen King was told that Kubrick had his staff bring him stacks of horror books as he planted himself in his office to read them all: "Kubrick's secretary heard the sound of each book hitting the wall as the director flung it into a reject pile after reading the first few pages. Finally one day the secretary noticed it had been a while since she had heard the thud of another writer's work biting the dust. She walked in to check on her boss and found Kubrick deeply engrossed in reading a copy of the manuscript of The Shining".[14]
Speaking about the theme of the film, Kubrick stated that "there's something inherently wrong with the human personality. There's an evil side to it. One of the things that horror stories can do is to show us the archetypes of the unconscious; we can see the dark side without having to confront it directly".[15]
Nicholson was Kubrick's first choice for the role of Jack Torrance; other actors considered included Robert De Niro (who said the film gave him nightmares for a month),[16] Robin Williams, and Harrison Ford, all of whom met with Stephen King's disapproval.[17] Kris Kristofferson was Kubrick's backup choice if Nicholson had declined.[18] King, for his part, disavowed Nicholson because he thought that, since his part in One Flew Over the Cuckoo's Nest, the viewer would tend to consider him an unstable individual from the beginning. For this reason, King preferred Jon Voight, Michael Moriarty, or Martin Sheen for the role, who would more faithfully represent the profile of the ordinary individual who is gradually driven to madness.[19][20] In any case, from the beginning the writer was told that the actor for the lead role "was not negotiable."[21][22]
Although Nicholson initially suggested that Jessica Lange would be a better fit for the role of Wendy,[23] Shelley Duvall knew early that she was the one cast for the role (Nicholson would work with Lange on his next movie, The Postman Always Rings Twice). Wendy's character in the film differs notably, appearing less capable and more vulnerable than the novel. Throughout the filming Kubrick pushed Duvall hard; it is said that the scene in which, armed with the baseball bat, she walks backward up the stairs before the attack of her husband (one of the most reshot scenes in all of cinema), she was not representing a terrified woman; Shelley was literally "terrified".[24][25][26][27] According to The Guinness Book of Records, Kubrick demanded the shot be repeated 127 times.[28]
The director's initial candidate to play the Torrances' son was Cary Guffey (Close Encounters of the Third Kind), but the young actor's parents prevented him, claiming that the film was too gruesome for a child. In his search to find the right actor to play Danny, Kubrick sent a husband-and-wife team, Leon (who portrayed Lord Bullingdon in Barry Lyndon) and Kersti Vitali, to Chicago, Denver, and Cincinnati to create an interview pool of 5,000 boys over a six-month period. These cities were chosen since Kubrick was looking for a boy with an accent that fell between Jack Nicholson's and Shelley Duvall's speech patterns, with Nicholson coming from New Jersey and Duvall from Texas.[29] During the filming, the young actor selected, Danny Lloyd, was protected in a special way by Kubrick; the boy believed at all times that he was shooting a drama, not a horror movie. Following his role in the 1982 film Will: G. Gordon Liddy, Lloyd abandoned his acting career.[30][31]
While most of the interior shots, and even some of the Overlook exterior shots, were shot on studio sets, a few exterior shots were shot on location by a second-unit crew headed by Jan Harlan. Saint Mary Lake and Wild Goose Island in Glacier National Park, Montana was the filming location for the aerial shots of the opening scenes, with the Volkswagen Beetle driving along Going-to-the-Sun Road. The Timberline Lodge on Mount Hood in Oregon was filmed for a few of the establishing shots of the fictional Overlook Hotel; absent in these shots is the hedge maze, something the Timberline Lodge does not have. The Ahwahnee Hotel (the Overlook Hotel's main interior) and the Timberline Lodge (the Overlook Hotel's main exterior) were both designed by architect Gilbert Stanley Underwood, in the 1920s and 1930s respectively.[36]
In 1977, a Warner Bros. executive, John Calley, sent Kubrick the proofs of what would become the novel.[38] Its author, Stephen King, was already at that time a best-selling author who, after the blockbuster of Carrie, could boast of successes in adaptations for the big screen. For his part, Kubrick had been considering directing a horror film for some time; a few years before, while Barry Lyndon disappointed at the box office,[39] another Warner film he had refused to direct, The Exorcist,[40] directed by William Friedkin, was breaking box office records around the world.
Asked what it was that attracted Kubrick to the idea of adapting the novel by the popular writer, a regular on the best-seller lists, his executive producer (and brother-in-law) Jan Harlan revealed that Kubrick wanted to "try" in this film genre, although with the condition of being able to change King's novel. And that condition would finally be guaranteed by contract.[41]
The script was written by the director himself with the collaboration of novelist Diane Johnson. Kubrick had rejected the initial version of the draft, written by King, as too literal an adaptation of the novel.[42][43] Furthermore, the filmmaker did not believe in ghost stories because that "would imply the possibility that there was something after death," and he did not believe there was anything, "not even hell." Instead, Johnson, who was teaching a Gothic novel seminar at the University of California at Berkeley at the time, seemed like a better fit for the project.[44] Deep down, Johnson looked down on Stephen King's literature; shortly after the premiere, in an interview with the Parisian magazine Positif, she stated:
It was the first time that I had read to the end a novel that was sent to me with a view to a possible film adaptation. I was absorbed in its reading and it seemed to me that its plot, ideas and structure were much more imaginative than usual in the horror genre; I thought that a great movie could come from there.[46]
The Shining had a very prolonged and arduous production period, often with very long workdays. Principal photography took over a year to complete, due to Kubrick's highly methodical nature. Actress Shelley Duvall did not get along with Kubrick, frequently arguing with him on set about lines in the script and her acting techniques. She eventually became so overwhelmed by the stress of her role that she became physically ill for months.[citation needed] At one point, she was under so much stress that her hair began to fall out.[citation needed] The shooting script was being changed constantly, sometimes several times a day, adding more stress. Nicholson eventually became so frustrated with the ever-changing script that he would throw away the copies that the production team had given him to memorize, knowing that it was going to change anyway.[citation needed] He learned most of his lines just minutes before filming them.[citation needed] Nicholson was living in London with his then-girlfriend Anjelica Huston and her younger sister, Allegra, who testified to his long shooting days.[47] Joe Turkel stated in a 2014 interview that they rehearsed the "bar scene" for six weeks and that the shoot day lasted from 9 a.m. to 10:30 p.m., with Turkel recollecting that his clothes were soaked in perspiration by the end of the day's shoot. He also described it as his favorite scene in the film.[48]
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