The Shining (1980)

Directed by:
Stanley Kubrick

Written by:
Stanley Kubrick & Diane Johnson (from the novel by Stephen King)

Main Cast:
Jack Nicholson, Shelley Duvall, Danny Lloyd, Barry Nelson, Anne Jackson, Joe Turkel, and Scatman Crothers

The Plot:
When recovering alcoholic Jack Torrance (Jack Nicholson) signs the contract to be winter caretaker of the Overlook Hotel, a cavernous getaway in the Rocky Mountains, he looks it as a new lease on life. He is warned early on by the hotel's manager that not only are the winters in the mountains deadly, with the roads usually closing up for the duration, but that him and his family would be alone for several months with minimal communication. His wife, Wendy (Shelley Duvall) is skeptical at first, but sees this as a way of reconnecting with her husband. Their young son, Danny (Danny Lloyd), receives threatening visions of doom from his imaginary friend, Tony, who warns him of the dangers the family will faces should they go to the Overlook. Within days, the Torrance family is left at the huge, desolate hotel. As the weeks go by, and the snow grows heavier, the demons of the hotel's malevolent past begin to manifest themselves, preying upon Danny's telepathic power.

The Review:
An elevator door opens, to reveal a torrent of blood. Twin sisters, dressed in blue, hold hands and smile maliciously. A rooting corpse rises from the bathtub, emitting a cackle that nightmares are made of. These images are all but embedded into the subconscious of those who have witnessed The Shining, Stanley Kubrick's masterful lone foray into the horror genre, and perhaps even those who haven't yet been introduced to its myriad of spooky pleasures.

With a running time just shy of two and a half hours, unusually lengthy for this sort of thing, it is clear the film means to reach epic status. The screenplay is loosely based on the acclaimed novel by Stephen King and, at the time of its release, enthusiasts of the author were disappointed because the film version had many discrepancies from the book. But one cannot deny that the cinematic adaptation holds its own unique power to frighten, and has done so for three decades. It would be a mistake to give away all of the plot's fascinating developments, suffice to say that by the last 45 minutes, all hell breaks loose.

The Shining is deliberately paced, to be sure, but endlessly creepy and tense. From the oft-imitated opening shot of the camera moving overhead as a car drives down a road, to the shots within the hedge maze outside the hotel, the film has some of the most striking, atmospheric cinematography in cinema history, courtesy of John Alcott. Other technical credits are also superb, including the eerie score by Herbert Von Karajan, Wendy Carlos, and Rachel Elkind. More than worthy of mention is the immaculate, lived-in production design of the hotel itself by Roy Walker. It never once crosses the viewer's mind that the isolated Overlook and its surrounding hedge maze had been constructed on a soundstage. The setting becomes an additional character, one that the film literally could not exist without.

The overall experience of The Shining can best be described as immersive, the slow rhythm and gradual unfolding of the plot gaining momentum as it hurtles towards the climax, an elongated, no-holds-barred chase sequence in and of itself. Once it is clear that Jack is losing his mind, and that Wendy and Danny truly have few viable options for escape, the story takes off and doesn't give the viewer a moment to breathe. In the final act, the film makes the shift from disquieting subtlety to full-throttle suspense as mother and child run for their lives.

Jack Nicholson's portrayal of Jack Torrance is nothing short of legendary, due in large part to his intimidating presence, and the maniacal glee he exhibits once the role allows him to let loose. Scatman Crothers is also a standout as Dick Halloran, the sagely cook of the hotel who shares Danny's power of the "shining", an ability to see distorted glimpses of the past and future. Danny Lloyd, as little Danny Torrance, as totally convincing, especially manipulating his voice to portray the imaginary "Tony".

In what might be considered amongst the most divisive film performances in memory, Shelley Duvall is brilliant as Wendy Torrance. Meek and compliant, but undoubtedly committed to the well-being of her son and husband, Wendy is an unusually quirky heroine in the genre. But Duvall's characteristic oddness and genuine warmth puts the audience right in her shoes as she watches every wall of security and love crumble down around her. Her emotional breakdown is vivid and astonishing, contributing gravitas to even the most otherworldly events that occur in the film. Whether you love or hate this performance, the film would not be the same without it.

The Shining is a thinking man's horror picture, offering a notable lack of explanation by the end, decidedly leaving key plot elements to be ambiguous. This is an asset, as nothing destroys a supernatural tale more thoroughly than domesticating where exactly the threat is coming from. The solid performances, chilly ambiance, and macabre imagery make this experience simply impossible to forget. With a genius of Kubrick's caliber at the helm, this timeless ghost story is given the care and patience it requires to work, elevating it above the mediocre and securing its place amongst the all-time classics.

**** out of ****