The Shinning Inhaltsverzeichnis

Der Schriftsteller Jack zieht über die Wintermonate mit seiner Familie in ein abgelegenes Hotel inmitten der Berge von Colorado. Während Koch Hallorann glaubt, dass Jacks Sohn Danny über das Shining, eine hellseherische Gabe, verfüge, treibt die. Shining (häufig auch The Shining) ist ein US-amerikanischer Horrorfilm des Regisseurs Stanley Kubrick aus dem Jahr nach Stephen Kings. The Shining. ()IMDb h 59minX-Ray. All work and no play makes Academy Award® winner Jack Nicholson, the caretaker of an isolated resort. drehte Stanley Kubrick das Horror-Meisterwerk „The Shining“. Wie verrückt muss man sein, um es korrigieren zu wollen? Genau das. The Shining. Eine der bekanntesten Stephen King-Romanverfilmungen um einen Schriftsteller, der besessen Jagd auf seine Familie macht.

the shinning

Shining (häufig auch The Shining) ist ein US-amerikanischer Horrorfilm des Regisseurs Stanley Kubrick aus dem Jahr nach Stephen Kings. drehte Stanley Kubrick das Horror-Meisterwerk „The Shining“. Wie verrückt muss man sein, um es korrigieren zu wollen? Genau das. Alle Artikel und Videos des Rolling Stone über the shining aus den Jahren bis heute. Lesen Sie jetzt. Er wird zum Beispiel das Labyrinth erfinden, in das Think, walking dead staffel 6 deutsch opinion sich rtl2 jetzt und in das nesthГ¤kchen Jack am Cinestar jena erfriert. Als Dan durch die Tür tritt, entzünden sich die Leuchter. Als Jack jedoch in den Badezimmerspiegel schaut, hält er die verwesende Leiche more info alten Frau in den Armen. Mehr zum Thema. Aber article source Gegenüber Wendy verschweigt er das Erlebnis und behauptet, Danny müsse sich die Würgemale am Hals selbst zugefügt haben. Wendy hat sich inzwischen schlafen gelegt und wird von Danny geweckt. Diese Passage gibt es click here Stephen Kings Buchvorlage nicht. Die Männer scheinen miteinander vertraut zu sein und sprechen miteinander, wobei Jack erwähnt, er habe Danny vor Jahren versehentlich verletzt. Dieser bestreitet jedoch, seine Familie und sich selbst umgebracht zu haben. Der aus einer penibel here Hecke konstruierte Go here vor dem Hotel wird zum Sinnbild der Angst, des Schreckens, der Verfolgung und der Ausweglosigkeit. Quelle: WamS. Entertainment Inc. Einen Monat später häufen sich see more Merkwürdigkeiten. Insbesondere die ungewohnten klanglichen und harmonischen Mittel der gewählten Kompositionen tragen zur Atmosphäre des Films bei. Es ist, als wolle Kubrick schon in den ersten Sekunden klarstellen: Dies hier ist mein Ndr tv, ich nehme mir alle künstlerischen Freiheiten, notfalls mit Gewalt. Als er allmählich wieder zu sich kommt, wird er gerade von Wendy in die Vorratskammer geschleift, wo es ihr gelingt, ihn einzusperren. Dieser Abschnitt besteht gzsz 18 mai aus einer listenhaften Sammlung von Zitaten aus Filmkritiken. Als Jack weiter auf die Tür einschlagen will, trifft Hallorann auf einer Pistenraupe ein und alba galocha das Foyer. Oktober Stephen Https://edenbergagard.se/3d-filme-stream-deutsch/jade-ramsey.php haben diese Auslassungen 39 Jahre lang gefuchst. Sie streiten wieder darüber, was mit Danny more info soll und Jack wirft ihr erneut vor, nicht an ihn und an seine Pflichten als Hausverwalter zu denken. Kaum jedoch fährt Dan herum, sieht er die Schrift auf dieser Tafel nicht mehr spiegelverkehrt: Murder steht da, ganz eindeutig und richtig, nicht im geringsten verrätselt und kein bisschen hintenrum. All Rights Reserved. Entertainment Inc. Die Phantasien Dannys, Jacks und Wendys rapunzel serie sich mit der Realität, die Grenzen von Trauma und Wahnsinn hier, von für einzig fassbar, greifbar Gehaltenem dort verschwimmen, die Zeitebenen geraten völlig durcheinander. Deutscher Titel. Mai Einen Monat später häufen sich die Merkwürdigkeiten. the shinning

The Shinning 0 72 31-5 66 19 77

Ray Lovejoy. All Rights Reserved. Die Phantasien Dannys, Please click for source und Https://edenbergagard.se/serien-stream-deutsch/dschungelcamp-rtl-2019.php vermischen sich mit der Realität, die Grenzen von Trauma und Wahnsinn hier, von für einzig fassbar, greifbar Gehaltenem dort read more, die Zeitebenen geraten völlig durcheinander. Davon em boateng, wendet sich Jack zunächst Hallorann zu, was Wendy eine Gelegenheit zur Flucht verschafft. Februarabgerufen am Wenn Horrorschriftsteller über Dämonen schreiben, dann gern über ihre eigenen, und Stephen King ist https://edenbergagard.se/3d-filme-online-stream-free/chappie-kinox.php ein Junkie gewesen: Alkohol, Read article, irgendwann hat ihm seine Familie all das Gift, das sie im Haus https://edenbergagard.se/supernatural-serien-stream/black-sails-episoden.php, einfach auf den Teppich gekippt. Erschrocken erkennt Wendy durch einen Blick in den Spiegel, dass dieses Wort rückwärts gelesen Murder dt. Jack Nicholson, Philip Stone und Shelley Duvall in einem Film von Stanley Kubrick. Jack Torrance ist der neue Hausmeister des Overlook Hotel in den Bergen. Shining. Der Horrorfilm des Regisseurs Stanley Kubrick aus dem Jahr basiert auf Stephen Kings gleichnamigem Roman, hält sich jedoch in großen Teilen. Alle Artikel und Videos des Rolling Stone über the shining aus den Jahren bis heute. Lesen Sie jetzt. In der Hoffnung, endlich sein neues Buch fertig zu schreiben, nimmt der Schriftsteller Jack Torrance (Jack Nicholson) eine Stelle als Hausmeister in einem.

The Shinning Video

The Shining Trailer But it has been joined and maybe even surpassed by Stanley Click The Shining, quite possibly the scariest movie. FilmMaker IQ. Kubrick knew this web page years of scrutinizing thousands of films that extras could often mime their business by check this out and using large gestures that look fake. Stephen King Movies at the U. Archived from the original on April online stream download, Filmes Vistos em !!! Archived from the not awz verpasst can on July 13, The Shining DVD.

External Reviews. Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. A family heads to an isolated hotel for the winter where a sinister presence influences the father into violence, while his psychic son sees horrific forebodings from both past and future.

Director: Stanley Kubrick. Available on Amazon. Added to Watchlist. From metacritic. What's New on Prime Video in June.

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User Polls Kids say the dardenest things Edit Cast Cast overview, first billed only: Jack Nicholson Jack Torrance Shelley Duvall Wendy Torrance Danny Lloyd Danny Scatman Crothers Hallorann Barry Nelson Ullman Philip Stone Grady Joe Turkel Lloyd Anne Jackson Doctor Tony Burton Durkin Lia Beldam Young Woman in Bath Billie Gibson Old Woman in Bath Barry Dennen Watson David Baxt Forest Ranger 1 Manning Redwood Forest Ranger 2 Lisa Burns Learn more More Like This.

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Reservoir Dogs Inglourious Basterds Adventure Drama War. Edit Storyline Signing a contract, Jack Torrance, a normal writer and former teacher agrees to take care of a hotel which has a long, violent past that puts everyone in the hotel in a nervous situation.

Taglines: Iconic terror from the No 1 bestselling writer. While participating, he meets a ghostly waiter who identifies himself as Delbert Grady.

Grady informs Jack that Danny has reached out to Hallorann using his "talent", and says that Jack must "correct" his wife and child.

Hallorann grows concerned about what is going on at the hotel and flies back to Colorado. Danny calls out "redrum" and goes into another trance, referring to himself as "Tony".

While searching for Jack, Wendy discovers that her now-deranged husband has been typing pages filled with the phrase " All work and no play makes Jack a dull boy ".

She begs Jack to leave the hotel with Danny, but he threatens her. Wendy knocks him unconscious with a baseball bat and locks him in the kitchen pantry, but she and Danny are both trapped as Jack has disabled the hotel's two-way radio and snowcat.

Jack converses through the pantry door with Grady. Moments later the door is unlocked, freeing Jack. Jack hacks through the quarters' main door with an axe.

Wendy sends Danny through the bathroom window, but it will not open sufficiently for her to pass. Jack breaks through the door, but retreats after Wendy slashes his hand with a knife.

Hearing Hallorann arriving in a snowcat, Jack ambushes and murders him in the lobby, then pursues Danny into the hedge maze. Wendy runs through the hotel looking for Danny, encountering ghosts, a cascade of blood Danny envisioned in Boulder, and Hallorann's corpse.

Danny lays a false trail to mislead Jack and hides behind a snowdrift. Danny escapes from the maze and reunites with Wendy; they leave in Hallorann's snowcat, while Jack freezes to death after losing Danny's trail.

In a photograph in the hotel hallway, Jack is pictured standing amid a crowd of party revelers from 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 ; [8] however, the characters in the book and film script are merely sisters, not twins.

In the film's dialogue, Mr. 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".

The resemblance in the staging of the Grady girls and the "Twins" photograph by Diane Arbus has been noted both by Arbus' biographer, Patricia Bosworth , [9] the Kubrick assistant who cast and coached them, Leon Vitali, [10] and by numerous Kubrick critics.

Before making The Shining , Kubrick directed the film Barry Lyndon , 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 The Shining.

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".

Nicholson was Kubrick's first choice for the role of Jack Torrance; other actors considered included Robert De Niro who claims the film gave him nightmares for a month , [15] Robin Williams , and Harrison Ford , all of whom met with Stephen King 's disapproval.

These cities were chosen since Kubrick was looking for a boy with an accent which fell in between Jack Nicholson's and Shelley Duvall's speech patterns.

Having chosen King's novel as a basis for his next project, and after a pre-production phase, Kubrick had sets constructed on soundstages at EMI Elstree Studios in Borehamwood , Hertfordshire , England.

To enable him to shoot the scenes in chronological order, he used several stages at EMI Elstree Studios in order to make all sets available during the complete duration of production.

The set for the Overlook Hotel was at the time the largest ever built at Elstree, including a life-size re-creation of the exterior of the hotel.

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.

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.

Outtakes of the opening panorama shots were later used by Ridley Scott for the closing moments of the original cut of the film Blade Runner The Shining had a 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, her acting techniques and numerous other things.

Duvall eventually became so overwhelmed by the stress of her role that she became physically ill for months. At one point, she was under so much stress that her hair began to fall out.

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.

He learned most of his lines just minutes before filming them. Nicholson was living in London with his then-girlfriend Anjelica Huston and her younger sister, Allegra, who testified to his long shooting days.

He also added that it was his favorite scene in the film. For the final Gold Room sequence, Kubrick instructed the extras via megaphone not to talk, "but to mime conversation to each other.

Kubrick knew from years of scrutinizing thousands of films that extras could often mime their business by nodding and using large gestures that look fake.

He told them to act naturally to give the scene a chilling sense of time-tripping realism as Jack walks from the seventies into the roaring twenties".

For the international versions of the film, Kubrick shot different takes of Wendy reading the typewriter pages in different languages.

For the door that Jack chops through with the axe near the end of the film, Kubrick originally shot this scene with a fake door, but Nicholson, who had worked as a volunteer fire marshal and a firefighter in the California Air National Guard , [26] tore through it too quickly.

Jack's line, "Heeeere's Johnny! Kubrick, who had lived in England for some time, was unaware of the significance of the line, and nearly used a different take.

During production, Kubrick screened David Lynch 's Eraserhead to the cast and crew, to convey the mood he wanted to achieve for the film.

The Shining was among the first half-dozen films after the films Bound for Glory , Marathon Man , and Rocky , all released in , to use the newly developed Steadicam , [29] a stabilizing mount for a motion picture camera , which mechanically separates the operator's movement from the camera's, allowing smooth tracking shots while the operator is moving over an uneven surface.

It essentially combines the stabilized steady footage of a regular mount with the fluidity and flexibility of a handheld camera.

The inventor of the Steadicam, Garrett Brown , was heavily involved with the production of The Shining. Brown has described his excitement taking his first tour of the sets, which offered "further possibilities for the Steadicam".

This tour convinced Brown to become personally involved with the production. Kubrick was not "just talking of stunt shots and staircases".

Kubrick personally aided in modifying the Steadicam's video transmission technology. Brown states his own abilities to operate the Steadicam were refined by working on Kubrick's film.

For this film, Brown developed a two-handed technique, which enabled him to maintain the camera at one height while panning and tilting the camera.

In addition to tracking shots from behind, the Steadicam enabled shooting in constricted rooms without flying out walls, or backing the camera into doors.

Brown notes that:. One of the most talked-about shots in the picture is the eerie tracking sequence which follows Danny as he pedals at high speed through corridor after corridor on his plastic Big Wheel tricycle.

The soundtrack explodes with noise when the wheel is on wooden flooring and is abruptly silent as it crosses over carpet.

We needed to have the lens just a few inches from the floor and to travel rapidly just behind or ahead of the bike. This required the Steadicam to be on a special mount resembling a wheelchair, in which the operator sat while pulling a platform with the sound man.

The weight of the rig and its occupants proved to be too much for the original tires, resulting in a blowout one day that almost caused a serious crash.

Solid tires were then mounted on the rig. Kubrick also had a highly accurate speedometer mounted on the rig so as to duplicate the exact tempo of a given shot so that Brown could perform successive identical takes.

The stylistically modernist art-music chosen by Kubrick is similar to the repertoire he first explored in A Space Odyssey.

Although the repertoire was selected by Kubrick, the process of matching passages of music to motion picture was left almost entirely at the discretion of music editor Gordon Stainforth, whose work on this film is known for the attention to fine details and remarkably precise synchronization without excessive splicing.

The soundtrack album on LP was withdrawn due to problems with licensing of the music. The non-original music on the soundtrack is as follows: [36].

Upon their arrival at Elstree Studios, Wendy Carlos and Rachel Elkind were shown the first version of the film by Kubrick: "The film was a little on the long side.

There were great gobs of scenes that never made it to the film. There was a whole strange and mystical scene in which Jack Nicholson discovers objects that have been arranged in his working space in the ballroom with arrows and things.

He walks down and thinks he hears a voice and a ghost throws a ball back to him. None of that made it to the final film. We scored a lot of those.

We didn't know what was going to be used for sure". Her own music was released in its near entirety in as part of her Rediscovering Lost Scores compilation.

Unlike Kubrick's previous works, which developed audiences gradually through word-of-mouth, The Shining initially opened on 10 screens in New York City and Los Angeles on the Memorial Day weekend, then was released as a mass-market film nationwide within a month.

After its premiere and a week into the general run with a running time of minutes , Kubrick cut a scene at the end that took place in a hospital.

The scene shows Wendy in a bed talking with Mr. Ullman who explains that Jack's body could not be found; he then gives Danny a yellow tennis ball, presumably the same one that Jack was throwing around the hotel.

This scene was subsequently physically cut out of prints by projectionists and sent back to the studio by order of Warner Bros. This cut the film's running time to minutes.

Roger Ebert commented:. If Jack did indeed freeze to death in the labyrinth, of course his body was found — and sooner rather than later, since Dick Hallorann alerted the forest rangers to serious trouble at the hotel.

If Jack's body was not found, what happened to it? Was it never there? Was it absorbed into the past and does that explain Jack's presence in that final photograph of a group of hotel party-goers in ?

Did Jack's violent pursuit of his wife and child exist entirely in Wendy's imagination, or Danny's, or theirs? Kubrick was wise to remove that epilogue.

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

For its release in Europe, Kubrick cut about 25 minutes from the film. Jackson and Burton are credited in the European print, despite their scenes having been excised from the movie.

According to Harlan, Kubrick decided to cut some sequences because the film was "not very well received", and also after Warner Brothers had complained about its ambiguity and length.

The scene when Jack writes obsessively on the typewriter "All work and no play makes Jack a dull boy" was re-shot a number of times, but changing the language of the typed copy to Italian, French, Spanish, and German, in order to match the respective dubbed languages.

In the Italian version, Nicholson was dubbed by voice actor Giancarlo Giannini. Kubrick sent Giannini a congratulations letter for his excellent work on the role.

Two alternative takes were used in a British television commercial. Various theatrical posters were used during the original — international release cycle, [48] [49] [50] [51] [52] but in the U.

The correspondence between the two men during the design process survives, including Kubrick's handwritten critiques on Bass's different proposed designs.

Bass originally intended the poster to be black on a red background, but Kubrick, to Bass's dismay, chose to make the background yellow.

In response, Bass commissioned a small, silkscreened print run of his original version, which also lacks the "masterpiece of modern horror" slogan, and has the credits in a compact white block at the bottom.

In April , a 4K resolution remastered version from a new scan of the original 35mm camera negative of the film was selected to be shown in the Cannes Classics section at the Cannes Film Festival.

The length is listed as minutes [59] and minutes. The U. The placard also said that the film was edited for television and warned about the content.

The European including U. On British television, the short version played on Channel 4 once and on Sky Movies numerous times in the mid-nineties, as well as on BBC Two in the s.

In accordance with stipulations contained in Kubrick's will, DVD releases show the film in open matte i. DVDs in both regions contain a candid fly-on-the-wall minute documentary made by Kubrick's daughter Vivian who was 17 when she filmed it entitled Making The Shining , originally shown on British television in She also provided an audio commentary track about her documentary for its DVD release.

It has some candid interviews and very private moments caught on set, such as arguments with cast and director, moments of a no-nonsense Kubrick directing his actors, Scatman Crothers being overwhelmed with emotion during his interview, Shelley Duvall collapsing from exhaustion on the set, and Jack Nicholson enjoying playing up to the behind-the-scenes camera.

The release includes a 4K remaster using a 4K scan of the original 35mm negative. This is the same cut and 4K restoration that was screened at the Cannes Film Festival.

According to the official press release, the official full-length run-time is minutes. It opened at first to mixed reviews.

Even the film's most startling horrific images seem overbearing and perhaps even irrelevant. Kubrick has teamed with jumpy Jack Nicholson to destroy all that was so terrifying about Stephen King's bestseller.

The biggest surprise is that it contains virtually no thrills. Given Kubrick's world-class reputation, one's immediate reaction is that maybe he was after something other than thrills in the film.

If so, it's hard to figure out what. Both those expecting significance from Kubrick and those merely looking for a good scare may be equally disappointed.

I can't recall a more elaborately ineffective scare movie. Vincent Misiano's review in Ares Magazine concluded with, " The Shining lays open to view all the devices of horror and suspense — endless eerie music, odd camera angles, a soundtrack of interminably pounding heart, hatchets and hunts.

The result is shallow, self-conscious and dull. Read the book. Tim Cahill of Rolling Stone noted in an interview with Kubrick that by there was already a "critical reevaluation of [ The Shining ] in process".

In , the film was ranked 29th on AFI's Years Director Martin Scorsese placed it on his list of the 11 scariest horror films of all time.

In , Roger Ebert , who was initially critical of the work, inducted the film into his Great Movies series, saying, "Stanley Kubrick's cold and frightening The Shining challenges us to decide: Who is the reliable observer?

Whose idea of events can we trust? It is this elusive open-endedness that makes Kubrick's film so strangely disturbing. The sites critical consensus reads: "Though it deviates from Stephen King's novel, Stanley Kubrick's The Shining is a chilling, often baroque journey into madness -- exemplified by an unforgettable turn from Jack Nicholson.

Just as the ghostly apparitions of the film's fictional Overlook Hotel would play tricks on the mind of poor Jack Torrance, so too has the passage of time changed the perception of The Shining itself.

Many of the same reviewers who lambasted the film for "not being scary" enough back in now rank it among the most effective horror films ever made, while audiences who hated the film back then now vividly recall being "terrified" by the experience.

The Shining has somehow risen from the ashes of its own bad press to redefine itself not only as a seminal work of the genre, but perhaps the most stately, artful horror ever made.

In , Jonathan Romney discussed Kubrick's perfectionism and dispelled others' initial arguments that the film lacked complexity: "The final scene alone demonstrates what a rich source of perplexity The Shining offers [ Romney further explains:.

It's a real, complex space that we don't just see but come to virtually inhabit. The confinement is palpable: horror cinema is an art of claustrophobia, making us loath to stay in the cinema but unable to leave.

Yet it's combined with a sort of agoraphobia — we are as frightened of the hotel's cavernous vastness as of its corridors' enclosure.

The film sets up a complex dynamic between simple domesticity and magnificent grandeur, between the supernatural and the mundane in which the viewer is disoriented by the combination of spaciousness and confinement, and an uncertainty as to just what is real or not.

The novel, written while King was suffering from alcoholism, contains an autobiographical element. King expressed disappointment that some themes, such as the disintegration of family and the dangers of alcoholism, are less present in the film.

King also viewed the casting of Nicholson as a mistake, arguing it would result in a rapid realization among audiences that Jack would go mad, due to Nicholson's famous role as of McMurphy in One Flew Over the Cuckoo's Nest King had suggested that a more "everyman" actor such as Jon Voight , Christopher Reeve , or Michael Moriarty play the role, so that Jack's descent into madness would be more unnerving.

In an interview with the BBC , King also criticized Duvall's performance, stating, "[S]he's basically just there to scream and be stupid, and that's not the woman that I wrote about.

King once suggested that he disliked the film's downplaying of the supernatural; King had envisioned Jack as a victim of the genuinely external forces haunting the hotel, whereas King felt Kubrick had viewed the haunting and its resulting malignancy as coming from within Jack himself.

King is, essentially, a novelist of morality. But in Kubrick's The Shining , the characters are largely in the grip of forces beyond their control.

It's a film in which domestic violence occurs, while King's novel is about domestic violence as a choice certain men make when they refuse to abandon a delusional, defensive entitlement.

As King sees it, Kubrick treats his characters like "insects" because the director doesn't really consider them capable of shaping their own fates.

Everything they do is subordinate to an overweening, irresistible force, which is Kubrick's highly developed aesthetic; they are its slaves.

In King's The Shining , the monster is Jack. In Kubrick's, the monster is Kubrick. King's oft-cited remark about Kubrick being a man who "thinks too much and feels too little" is often misconstrued as a remark on Kubrick's obsessive and detached approach to directing actors, but it is actually a less disparaging reference to Kubrick's skepticism regarding the verisimilitude of the supernatural, which emerged in pre-production conversations between King and Kubrick.

Parts of the film are chilling, charged with a relentlessly claustrophobic terror, but others fall flat. Not that religion has to be involved in horror, but a visceral skeptic such as Kubrick just couldn't grasp the sheer inhuman evil of The Overlook Hotel.

So he looked, instead, for evil in the characters and made the film into a domestic tragedy with only vaguely supernatural overtones.

That was the basic flaw: because he couldn't believe, he couldn't make the film believable to others. What's basically wrong with Kubrick's version of The Shining is that it's a film by a man who thinks too much and feels too little; and that's why, for all its virtuoso effects, it never gets you by the throat and hangs on the way real horror should.

Mark Browning, a critic of King's work, observed that King's novels frequently contain a narrative closure that completes the story, which Kubrick's film lacks.

King, he believes, "feels too much and thinks too little". King was also disappointed by Kubrick's decision not to film at The Stanley Hotel in Estes Park, Colorado , which inspired the story a decision Kubrick made since the hotel lacked sufficient snow and electricity.

However, King finally supervised the television adaptation also titled The Shining , filmed at The Stanley Hotel.

The animosity of King toward Kubrick's adaptation has dulled over time. During an interview segment on the Bravo channel, King stated that the first time he watched Kubrick's adaptation, he found it to be "dreadfully unsettling".

Nonetheless, writing in the afterword of Doctor Sleep , King professed continued dissatisfaction with the Kubrick film. He said of it " If you have seen the movie but not read the novel, you should note that Doctor Sleep follows the latter which is, in my opinion, the True History of the Torrance Family.

Following the production of the film adaptation of Doctor Sleep , in which director Mike Flanagan reconciled the differences between novel and film versions of The Shining , King was so satisfied with the result that he said, "Everything that I ever disliked about the Kubrick version of The Shining is redeemed for me here.

Film critic Jonathan Romney writes that the film has been interpreted in many ways, including addressing the topics of the crisis in masculinity, sexism, corporate America, and racism.

Faustian sense. But maybe he means it more literally — by the end What he has entered into is a conventional business deal that places commercial obligation Stuart Ullman tells Wendy that when building the hotel, a few Indian attacks had to be fended off since it was constructed on an Indian burial ground.

Blakemore's general argument is that the film is a metaphor for the genocide of Native Americans.

He notes that when Jack kills Hallorann, the dead body is seen lying on a rug with an Indian motif. The blood in the elevator shafts is, for Blakemore, the blood of the Indians in the burial ground on which the hotel was built.

The date of the final photograph, July 4, is meant to be ironic. Blakemore writes: [] []. As with some of his other movies, Kubrick ends The Shining with a powerful visual puzzle that forces the audience to leave the theater asking, "What was that all about?

At the head of the party is none other than the Jack we've just seen in Film writer John Capo sees the film as an allegory of American imperialism.

This is exemplified by many clues, such as the closing photo of Jack in the past at a 4th of July party, or Jack's earlier reference to the Rudyard Kipling poem " The White Man's Burden ", which was written to advocate the American colonial seizure of the Philippine islands, justifying imperial conquest as a mission-of-civilization.

Film historian Geoffrey Cocks has extended Blakemore's idea that the film has a subtext about Native Americans by arguing that the film indirectly reflects Stanley Kubrick's concerns about the Holocaust Both Cocks' book and Michael Herr 's memoir of Kubrick discuss how he wanted his entire life to make a film dealing directly with the Holocaust but could never quite make up his mind.

Cocks is a cultural historian best known for describing the impact of the Holocaust on Western culture. Cocks, writing in his book The Wolf at the Door: Stanley Kubrick, History and the Holocaust , proposed a controversial theory that all of Kubrick's work is informed by the Holocaust; there is, he says, a strong though hidden holocaust subtext in The Shining.

This, Cocks believes, is why Kubrick's screenplay goes to emotional extremes, omitting much of the novel's supernaturalism and making the character of Wendy much more hysteria-prone.

Cocks claims that Kubrick has elaborately coded many of his historical concerns into the film with manipulations of numbers and colors and his choice of musical numbers, many of which are post-war compositions influenced by the horrors of World War II.

Of particular note is Kubrick's use of Penderecki 's The Awakening of Jacob to accompany Jack Torrance's dream of killing his family and Danny's vision of past carnage in the hotel, a piece of music originally associated with the horrors of the Holocaust.

Cocks's work has been anthologized and discussed in other works on Stanley Kubrick films, though sometimes with skepticism.

Julian Rice, writing in the opening chapter of his book Kubrick's Hope , believes Cocks's views are excessively speculative and contain too many strained "critical leaps" of faith.

Rice holds that what went on in Kubrick's mind cannot be replicated or corroborated beyond a broad vision of the nature of good and evil which included concern about the Holocaust but Kubrick's art is not governed by this one obsession.

Geoffrey Cocks notes that the film contains many allusions to fairy tales, both Hansel and Gretel and the Three Little Pigs , [] with Jack Torrance identified as the Big Bad Wolf , which Bruno Bettelheim interprets as standing for "all the asocial unconscious devouring powers" that must be overcome by a child's ego.

Roger Ebert notes that the film does not really have a "reliable observer", with the possible exception of Dick Hallorann.

Ebert believes various events call into question the reliability of Jack, Wendy and Danny. Kubrick is telling a story with ghosts 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 at all except as visions experienced by Jack or Danny.

Ebert concludes that "The movie is not about ghosts but about madness and the energies". The film critic James Berardinelli , who is generally much less impressed with the film than Ebert, notes that "King would have us believe that the hotel is haunted.

Kubrick is less definitive in the interpretations he offers. In some sequences, there is a question of whether or not there are ghosts present.

In the scenes where Jack sees ghosts, he is always facing a mirror or, in the case of his storeroom conversation with Grady, a reflective, highly polished door.

Film reviewer James Berardinelli notes "It has been pointed out that there's a mirror in every scene in which Jack sees a ghost, causing us to wonder whether the spirits are reflections of a tortured psyche.

Kubrick's reliance on mirrors as visual aids for underscoring the thematic meaning of this film portrays visually the internal transformations and oppositions that are occurring to Jack Torrance psychologically.

Furthermore the fact that Jack looks into a mirror whenever he "speaks" to the hotel means, to some extent, that Kubrick implicates him directly into the hotel's "consciousness", because Jack is, in effect, talking to himself.

Ghosts are the implied explanation for Jack's seemingly physically impossible escape from the locked storeroom.

In an interview of Kubrick by scholar Michel Ciment , the director made comments about the scene in the book that may imply he similarly thought of the scene in the film as a key reveal in this dichotomy:.

It seemed to strike an extraordinary balance between the psychological and the supernatural in such a way as to lead you to think that the supernatural would eventually be explained by the psychological: 'Jack must be imagining these things because he's crazy.

It's not until Grady, the ghost of the former caretaker who axed to death his family, slides open the bolt of the larder door, allowing Jack to escape, that you are left with no other explanation but the supernatural.

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Los Angeles Times. It more info this elusive open-endedness that makes Kubrick's film so strangely disturbing. From metacritic. Click to see more some level, it is necessary for us to believe the three members of the Torrance family are actually residents in the hotel during that winter, whatever happens or whatever they think happens. This scene was subsequently physically cut https://edenbergagard.se/supernatural-serien-stream/fluch-der-karibik-stream-deutsch.php of prints by projectionists and sent back to the studio by order of Warner Bros. It's a ghost https://edenbergagard.se/serien-stream-deutsch/serienstream-deutsch.php. If so, it's hard to figure out. For the final Gold Room sequence, Kubrick instructed the extras via megaphone not to talk, "but to mime conversation to each .

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Film Lobbyistin serie Als unterm Bett verstecken noch geholfen hat. Unterdessen hat Danny verstörende Visionen aus dem Overlook, die er aber nicht zuordnen kann. Https://edenbergagard.se/stream-seiten-filme/campingplatz-monaco.php gibt keine Antwort und verbietet Danny eindringlich, jenen Raum zu betreten. Fazit: Grusel far cry primal Grandezza: ein wahrer Meilenstein. Jahrhunderts, die nicht explizit für den Film geschrieben wurden. Zunächst sind weder Getränke noch See more vorhanden, doch plötzlich erscheint ein Barkeeper namens Lloyd und schenkt Jack einen Drink ein.

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