The Shining Afilmywap

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StanleyKubrick's cold and frightening "The Shining"challenges us to decide: Who is the reliable observer? Whose idea of events canwe trust? In the opening scene at a job interview, the characters seem reliableenough, although the dialogue has a formality that echoes the small talk on thespace station in "2001." We meet Jack Torrance (Jack Nicholson), aman who plans to live for the winter in solitude and isolation with his wifeand son. He will be the caretaker of the snowbound Overlook Hotel. His employerwarns that a former caretaker murdered his wife and two daughters, andcommitted suicide, but Jack reassures him: "You can rest assured, Mr.Ullman, that's not gonna happen with me. And as far as my wife is concerned,I'm sure she'll be absolutely fascinated when I tell her about it. She's aconfirmed ghost story and horror film addict."

Dopeople talk this way about real tragedies? Will his wife be absolutelyfascinated? Does he ever tell her about it? Jack, wife Wendy (Shelley Duvall)and son Danny (Danny Lloyd) move into the vast hotel just as workers areshutting it down for the winter; the chef, Dick Hallorann (Scatman Crothers)gives them a tour, with emphasis on the food storage locker ("You folkscan eat up here a whole year and never have the same menu twice"). Thenthey're alone, and a routine begins: Jack sits at a typewriter in the greathall, pounding relentlessly at his typewriter, while Wendy and Danny puttogether a version of everyday life that includes breakfast cereal, toys and alot of TV. There is no sense that the three function together as a lovingfamily.

Danny:Is he reliable? He has an imaginary friend named Tony, who speaks in a lowerregister of Danny's voice. In a brief conversation before the family is leftalone, Hallorann warns Danny to stay clear of Room 237, where the violence tookplace, and he tells Danny they share the "shining," the psychic giftof reading minds and seeing the past and future. Danny tells Dick that Tonydoesn't want him to discuss such things. Who is Tony? "A little boy wholives in my mouth."

Tonyseems to be Danny's device for channeling psychic input, including a shockingvision of blood spilling from around the closed doors of the hotel elevators.Danny also sees two little girls dressed in matching outfits; although we knowthere was a two-year age difference in the murdered children, both girls lookcuriously old. If Danny is a reliable witness, he is witness to specializedvisions of his own that may not correspond to what is actually happening in thehotel.

Thatleaves Wendy, who for most of the movie has that matter-of-fact banality thatShelley Duvall also conveyed in Altman's "3 Women." She is acompanion and playmate for Danny, and tries to cheer Jack until he tells her,suddenly and obscenely, to stop interrupting his work. Much later, shediscovers the reality of that work, in one of the movie's shocking revelations.She is reliable at that moment, I believe, and again toward the end when shebolts Jack into the food locker after he turns violent.

Butthere is a deleted scene from "The Shining" (1980) that casts Wendy'sreliability in a curious light. Near the end of the film, on a frigid night,Jack chases Danny into the labyrinth on the hotel grounds. His son escapes, andJack, already wounded by a baseball bat, staggers, falls and is seen the nextday, dead, his face frozen into a ghastly grin. He is looking up at us fromunder lowered brows, in an angle Kubrick uses again and again in his work. Hereis the deletion, reported by the critic Tim Dirks: "A two-minuteexplanatory epilogue was cut shortly after the film's premiere. It was ahospital scene with Wendy talking to the hotel manager; she is told thatsearchers were unable to locate her husband's body."

IfJack did indeed freeze to death in the labyrinth, of course his body was found-- and sooner rather than later, since Dick Hallorann alerted the forestrangers to serious trouble at the hotel. If Jack's body was not found, whathappened to it? Was it never there? Was it absorbed into the past, and doesthat explain Jack's presence in that final photograph of a group of hotelpartygoers in 1921? Did Jack's violent pursuit of his wife and child existentirely in Wendy's imagination, or Danny's, or theirs?

Theone observer who seems trustworthy at all times is Dick Hallorann, but hisusefulness ends soon after his midwinter return to the hotel. That leaves uswith a closed-room mystery: In a snowbound hotel, three people descend intoversions of madness or psychic terror, and we cannot depend on any of them foran objective view of what happens. It is this elusive open-endedness that makesKubrick's film so strangely disturbing.

Yes,it is possible to understand some of the scenes of hallucination. When Jackthinks he is seeing other people, there is always a mirror present; he may betalking with himself. When Danny sees the little girls and the rivers of blood,he may be channeling the past tragedy. When Wendy thinks her husband has gonemad, she may be correct, even though her perception of what happens may beskewed by psychic input from her son, who was deeply scarred by his father'sbrutality a few years earlier. But what if there is no body at the end?

Kubrickwas wise to remove that epilogue. It pulled one rug too many out from under thestory. At some level, it is necessary for us to believe the three members ofthe Torrance family are actually residents in the hotel during that winter,whatever happens or whatever they think happens.

Thosewho have read Stephen King's original novel report that Kubrick dumped manyplot elements and adapted the rest to his uses. Kubrick is telling a story withghosts (the two girls, the former caretaker and a bartender), but it isn't a"ghost story," because the ghosts may not be present in any sense atall except as visions experienced by Jack or Danny.

Themovie is not about ghosts but about madness and the energies it sets loose inan isolated situation primed to magnify them. Jack is an alcoholic and childabuser who has reportedly not had a drink for five months but is anything but a"recovering alcoholic." When he imagines he drinks with the imaginarybartender, he is as drunk as if he were really drinking, and the imaginarybooze triggers all his alcoholic demons, including an erotic vision that turnsinto a nightmare. We believe Hallorann when he senses Danny has psychic powers,but it's clear Danny is not their master; as he picks up his father's madnessand the story of the murdered girls, he conflates it into his fears of anotherattack by Jack. Wendy, who is terrified by her enraged husband, perhaps alsoreceives versions of this psychic output. They all lose reality together. Yes, thereare events we believe: Jack's manuscript, Jack locked in the food storage room,Jack escaping, and the famous "Here's Johnny!" as he hatchets his waythrough the door. But there is no way, within the film, to be sure with anyconfidence exactly what happens, or precisely how, or really why.

Kubrickdelivers this uncertainty in a film where the actors themselves vibrate withunease. There is one take involving Scatman Crothers that Kubrick famouslyrepeated 160 times. Was that "perfectionism," or was it a mind gamedesigned to convince the actors they were trapped in the hotel with anothermadman, their director? Did Kubrick sense that their dismay would be absorbedinto their performances?

"Almostunbearable," she said. "Going through day after day of excruciatingwork, Jack Nicholson's character had to be crazy and angry all the time. And mycharacter had to cry 12 hours a day, all day long, the last nine monthsstraight, five or six days a week. I was there a year and a month. After allthat work, hardly anyone even criticized my performance in it, even to mentionit, it seemed like. The reviews were all about Kubrick, like I wasn'tthere."

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