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The Shining (1980)

R | | Drama, Horror | 13 June 1980 (USA)
A family heads to an isolated hotel for the winter where an evil and spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future.

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Cast

Cast overview, first billed only:
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Philip Stone ...
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Doctor
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Durkin
Lia Beldam ...
Billie Gibson ...
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Watson
David Baxt ...
Forest Ranger 1
Manning Redwood ...
Forest Ranger 2
Lisa Burns ...
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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. While Jack slowly gets more violent and angry of his life, his son, Danny, tries to use a special talent, the "Shining", to inform the people outside about whatever that is going on in the hotel. Written by J. S. Golden

Plot Summary | Plot Synopsis

Taglines:

The tide of terror that swept America IS HERE [UK Poster] See more »

Genres:

Drama | Horror

Certificate:

R | See all certifications »

Parents Guide:

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Details

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Release Date:

13 June 1980 (USA)  »

Also Known As:

Stanley Kubrick's 'The Shining'  »

Box Office

Budget:

$19,000,000 (estimated)
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Company Credits

Production Co:

, ,  »
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Technical Specs

Runtime:

(cut) | (cut) (European) | (original) | (US dvd release: B002VWNIDG)

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Because Danny Lloyd was so young and since it was his first acting job, Stanley Kubrick was highly protective of the child. During the shooting of the movie, Lloyd was under the impression that the film he was making was a drama, not a horror movie. In fact, when Wendy carries Danny away while shouting at Jack in the Colorado Lounge, she is actually carrying a life-size dummy so Lloyd would not have to be in the scene. He only realized the truth several years later, when he was shown a heavily edited version of the film. He did not see the uncut version of the film until he was seventeen - eleven years after he had made it. See more »

Goofs

When Danny has the tennis ball rolled to him in the Overlook Hotel, the carpet pattern on the floor changes between cuts. See more »

Quotes

[first lines]
Jack Torrance: Hi, I've got an appointment with Mr. Ullman. My name is Jack Torrance.
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Crazy Credits

The party music plays over the closing credits. After it ends, we hear the Overlook Hotel ghosts applaud. They then talk amongst themselves until their voices fade away. See more »

Connections

Referenced in Fresh Off the Boat: The Shunning (2015) See more »

Soundtracks

The Shining (Main Title)
Written by Wendy Carlos and Rachel Elkind
Performed by Wendy Carlos and Rachel Elkind
Based on "Dream of a Witches' Sabbath" from Symphonie fantastique by Hector Berlioz and traditional requiem "Dies Irae"
See more »

Frequently Asked Questions

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User Reviews

Eeriness surpassed by class
24 November 2008 | by (Greece) – See all my reviews

Sometimes all good horror needs is a good idea. But sometimes, rarely indeed, a horror masterpiece will reach us by the hand of a Kubrick, with the adept, elusive touch of a great artist to guide the vision, and we know what separates it from all else.

Okay, the story has enough promise that even a hired gun would have to try to fail. Heck, even Stephen King himself didn't fare so bad. It's how Kubrick perceives King's universe however, how he fills the frame with it, that renders THE SHINING a feast for the senses.

Horror that will reach us through the mind and body alike, an assault as it were, tending eventually its pitch to a crescendo, yet curiously not without a delicate lull.

Kubrick's cinema is, as usually, a sight to behold. We get the adventurous camera that prowls through the lavish corridors of the Overlook Hotel like it is some kind of mystic labyrinth rife for exploration, linear tracking shots exposing impeccably decorated interiors in symmetric grandeur. The geometrical approach in how Kubrick perceives space reminds me very much of Japanese directors of some 10 years before. In that what is depicted in the frame, the elements of narrative, is borderline inconsequential to how they all balance and harmonize together.

Certain images stand out in this. The first shot of Jack's typewriter, ominously accompanied by the off-screen thumps of a ball, drums of doom that seem to emanate from the very walls or the typewriter itself, an instrument of doom in itself as is later shown. A red river flowing through the hotel's elevators in a poetry of slow motions. Jack hitting the door with the axe, the camera moving along with him, tracking the action as it happens, as though it's the camera piercing through the door and not the axe. The ultra fast zoom in the kid's face violently thrusting us inside his head before we see the two dead girls from his POV. And of course, the epochal bathroom scene.

Much has been said of Jack Nicholson's obtrusive overacting. His mad is not entirely successful, because, well, he's Jack Nicholson. The guy looks half-mad anyway. Playing mad turns him into an exaggerated caricature of himself. Shelley Duvall on the other hand is one of the most inspired casting choices Kubrick ever made. Coming from a streak of fantastic performances for Robert Altman in the seventies (3 WOMEN, THIEVES LIKE US, NASHVILLE), she brings to her character the right amounts of swanlike fragility and emotional distress. A delicate, detached thing thrown in with the mad.


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