Shining film

Shining Film Inhaltsverzeichnis

Shining (häufig auch The Shining) ist ein US-amerikanischer Horrorfilm des Regisseurs Stanley Kubrick aus dem Jahr nach Stephen Kings. Shining. Der Horrorfilm des Regisseurs Stanley Kubrick aus dem Jahr die Rede ist, wurde es im Film auf Wunsch des Hotels in Zimmer abgeändert​. Hab' den Film für eine Freundin bestellt, weil sie gerne Horrorfilme schaut. Shining ist dabei einer der Filme, die sehr auf psychologischen Horror setzen, was mir. Shining ein Film von Stanley Kubrick mit Jack Nicholson, Shelley Duvall. Inhaltsangabe: Der ehemalige Lehrer und Schriftsteller Jack Torrance (Jack Nicholson). The Shining - Extended Version. Special Screenings. Stanley Kubrick »The first epic horror film«Newsweek.»Demands to be seen on the big screen«Total​.

shining film

Shining. Der Horrorfilm des Regisseurs Stanley Kubrick aus dem Jahr die Rede ist, wurde es im Film auf Wunsch des Hotels in Zimmer abgeändert​. Shining ist ein Horrorfilm von Regisseur Stanley Kubrick nach dem Roman Shining von Stephen King, in dem sich in der Einsamkeit eines abgelegenen. Shining (häufig auch The Shining) ist ein US-amerikanischer Horrorfilm des Regisseurs Stanley Kubrick aus dem Jahr nach Stephen Kings.

Shining Film Video

The Shining (1980) - Here's Johnny! Scene (7/7) - Movieclips

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.

Early in the film, Stuart Ullman tells Jack of a previous caretaker, Charles Grady, who, in , succumbed to cabin fever, murdered his family and then killed himself.

Later, Jack meets a ghostly butler named Grady. Jack says that he knows about the murders, claiming to recognize Grady from pictures, but the butler introduces himself as Delbert Grady.

It is to say he is two people: the man with choice in a perilous situation and the man who has 'always' been at the Overlook.

It's a mistake to see the final photo as evidence that the events of the film are predetermined: Jack has any number of moments where he can act other than the way he does and that his poor choices are fueled by weakness and fear perhaps merely speaks all the more to the questions about the personal and the political that The Shining brings up.

In the same way Charles had a chance — once more, perhaps — to not take on Delbert's legacy, so Jack may have had a chance to escape his role as 'caretaker' to the interests of the powerful.

It's the tragic course of this story that he chooses not to. Jack in the photo has 'always' been at the Overlook; Jack the caretaker chooses to become part of the hotel.

The film's assistant editor Gordon Stainforth has commented on this issue, attempting to steer a course between the continuity-error explanation on one side and the hidden-meaning explanation on the other; "I don't think we'll ever quite unravel this.

Was his full name Charles Delbert Grady? Perhaps Charles was a sort of nickname? Perhaps Ullman got the name wrong?

But I also think that Stanley did NOT want the whole story to fit together too neatly, so [it is] absolutely correct, I think, to say that 'the sum of what we learn refuses to add up neatly'.

At the end of the film, the camera moves slowly towards a wall in the Overlook and a photograph, revealed to include Jack seen at the middle of a party.

In an interview with Michel Ciment, Kubrick said that the photograph suggests that Jack was a reincarnation of an earlier official at the hotel.

Film critic Jonathan Romney, while acknowledging the absorption theory, wrote:. As the ghostly butler Grady Philip Stone tells him during their chilling confrontation in the men's toilet, 'You're the caretaker, sir.

You've always been the caretaker. But if his picture has been there all along, why has no one noticed it? After all, it's right at the center of the central picture on the wall, and the Torrances have had a painfully drawn-out winter of mind-numbing leisure in which to inspect every corner of the place.

Is it just that, like Poe's purloined letter , the thing in plain sight is the last thing you see? When you do see it, the effect is so unsettling because you realise the unthinkable was there under your nose — overlooked — the whole time.

Artist Juli Kearns first identified and created maps of spatial discrepancies in the layout of the Overlook Hotel, the interiors of which were constructed in studios in England.

These spatial discrepancies included windows appearing in impossible places, such as in Stuart Ullman's office, which is surrounded by interior hallways and apartment doorways positioned in places where they cannot possibly lead to apartments.

The audience is deliberately made not to know where they're going. People say The Shining doesn't make sense.

Well spotted! It's a ghost movie. It's not supposed to make sense. It's clear instantly there's something foul going on.

At the little hotel, everything is like Disney, all kitsch wood on the outside — but the interiors don't make sense. Those huge corridors and ballrooms couldn't fit inside.

In fact, nothing makes sense. The film differs from the novel significantly with regard to characterization and motivation of action.

The most obvious differences are those regarding the personality of Jack Torrance the source of much of author Stephen King's dissatisfaction with the film.

The room number has been changed to Timberline Lodge , located on Mt. Hood in Oregon , was used for the exterior shots of the fictional Overlook Hotel.

The Lodge requested that Kubrick not depict Room featured in the book in The Shining , because future guests at the Lodge might be afraid to stay there, and a nonexistent room, , was substituted in the film.

Contrary to the hotel's expectations, Room is requested more often than any other room at Timberline. There are fringe analyses relating this number change to rumors that Kubrick faked the first moon landing , as there are approximately , miles between the Earth and the Moon average is , miles [] , and claiming that the film is a subtle confession of his involvement.

The novel initially presents Jack as likeable and well-intentioned, yet haunted by the demons of alcohol and authority issues.

Nonetheless, he becomes gradually overwhelmed by what he sees as the evil forces in the hotel. At the novel's conclusion, it is suggested that the evil hotel forces have possessed Jack's body and proceeded to destroy all that is left of his mind during a final showdown with Danny.

He leaves a monstrous entity that Danny is able to divert while he, Wendy and Dick Hallorann escape. Jack kills Dick Hallorann in the film, but only wounds him in the novel.

King attempted to talk Stanley Kubrick out of casting Jack Nicholson even before filming began, on the grounds that he seemed vaguely sinister from the very beginning of the film, and had suggested Jon Voight among others for the role.

Only in the novel does Jack hear the haunting, heavy-handed voice of his father, with whom he had a troubled relationship.

However, the novel gives much more detail about Jack's problems with drinking and alcohol. The film prolongs Jack's struggle with writer's block.

Kubrick's co-screenwriter Diane Johnson believes that in King's novel, Jack's discovery of the scrapbook of clippings in the boiler room of the hotel, which gives him new ideas for a novel, catalyzes his possession by the ghosts of the hotel, while at the same time unblocking his writing.

Jack is no longer a blocked writer, but now filled with energy. In her contribution to the screenplay, Johnson wrote an adaptation of this scene, which to her regret Kubrick later excised, as she felt this left the father's change less motivated.

Stephen King stated on the DVD commentary of the mini-series of The Shining that the character of Jack Torrance was partially autobiographical, as he was struggling with both alcoholism and unprovoked rage toward his family at the time of writing.

Kubrick's version of Torrance is much closer to the tyrannical Hal from Kubrick's A Space Odyssey and Alex from Kubrick's A Clockwork Orange than he is to King's more conflicted, more sympathetically human characterization.

From Thomas Allen Nelson's Kubrick: Inside a Film Artist's Maze : "When Jack moves through the reception area on his way to a 'shining' over the model maze, he throws a yellow tennis ball past a stuffed bear and Danny's Big Wheel, which rests on the very spot a Navajo circle design where Hallorann will be murdered.

Below, on a winding mountain road, Jack's diminutive yellow Volkswagen journeys through a tree-lined maze, resembling one of Danny's toy cars or the yellow tennis ball seen later outside of Room Danny Torrance is considerably more open about his supernatural abilities in the novel, discussing them with strangers such as his doctor.

The same is true of Dick Hallorann, who in his journey back to the Overlook in the book, talks with others with the "shining" ability, while in the film he lies about his reason for returning to the Overlook.

Danny in the novel is generally portrayed as unusually intelligent across the board. Although Danny has supernatural powers in both versions, the novel makes it clear that his apparent imaginary friend "Tony" really is a projection of hidden parts of his own psyche, though heavily amplified by Danny's psychic "shining" abilities.

At the end it is revealed that Danny Torrance's middle name is "Anthony". Wendy Torrance in the film is relatively meek, submissive, passive, gentle, and mousy; this is shown by the way she defends Jack even in his absence to the doctor examining Danny.

It is implied that she has perhaps been abused by Jack as well. In the novel, she is a far more self-reliant and independent personality, who is tied to Jack in part by her poor relationship with her parents.

De Mornay restores much of the steely resilience found in the protagonist of King's novel and this is particularly noteworthy when compared to Shelley Duvall's exaggerated portrayal of Wendy as Olive Oyl revisited: A simpering fatality of forces beyond her capacity to understand, much less surmount.

Co-screenwriter Diane Johnson stated that in her contributions to the script, Wendy had more dialogue, and that Kubrick cut many of her lines, possibly due to his dissatisfaction with actress Shelley Duvall's delivery.

Johnson believes that the earlier draft of the script portrayed Wendy as a more-rounded character. In the novel, Jack's interviewer, Ullman, is highly authoritarian, a kind of snobbish martinet.

The film's Ullman is far more humane and concerned about Jack's well-being, as well as smooth and self-assured.

Only in the novel does Ullman state that he disapproves of hiring Jack but higher authorities have asked that Jack be hired. In Stanley Kubrick and the Art of Adaptation , author Greg Jenkins writes "A toadish figure in the book, Ullman has been utterly reinvented for the film; he now radiates charm, grace and gentility.

Stephen King provides the reader with a great deal of information about the stress in the Torrance family early in the story, [] including revelations of Jack's physical abuse of Danny and Wendy's fear of Danny's mysterious spells.

Kubrick tones down the early family tension and reveals family disharmony much more gradually than does King. In the film, Danny has a stronger emotional bond with Wendy than with Jack, which fuels Jack's rather paranoid notion that the two are conspiring against him.

In the novel Jack recovers his sanity and goodwill through the intervention of Danny while this does not occur in the film.

Writing in Cinefantastique magazine, Frederick Clarke suggests, "Instead of playing a normal man who becomes insane, Nicholson portrays a crazy man attempting to remain sane.

More broadly, the defective boiler is a major element of the novel's plot, entirely missing from the film version. Because of the limitations of special effects at the time, the living topiary animals of the novel were omitted and a hedge maze was added, [] [] acting as a final trap for Jack Torrance as well as a refuge for Danny.

In the film, the hotel possibly derives its malevolent energy from being built on an Indian burial ground. In the novel, the reason for the hotel's manifestation of evil is possibly explained by a theme present in King's previous novel Salem's Lot as well as Shirley Jackson 's The Haunting of Hill House : a physical place may absorb the evils that transpire there and manifest them as a vaguely sentient malevolence.

In the novel, Jack does a great deal of investigation of the hotel's past through a scrapbook, [] a subplot almost omitted from the film aside from two touches: a brief appearance of the scrapbook beside the typewriter, and Jack's statement to the ghost of Grady that he knows his face from an old newspaper article describing the latter's horrific acts.

Kubrick in fact shot a scene where Jack discovers the scrapbook but removed it during post-production, a decision which co-screenwriter Diane Johnson lamented.

Some of the film's most iconic scenes, such as the ghost girls in the hallway and the torrent of blood from the elevators, are unique to the film.

The most notable of these would be the typewritten pages Wendy discovers on Jack's desk. Although Stephen King fans were critical of the novel's adaptation on the grounds that Kubrick altered and reduced the novel's themes, a defense of Kubrick's approach was made in Steve Biodrowski's review of the film.

His review of the film is one of the few to go into detailed comparison with the novel. He writes, "The result Both parodies and homages to The Shining are prominent in U.

Director Tim Burton who credits Kubrick as an influence modeled the characters of Tweedledum and Tweedledee in his version of Alice in Wonderland on the Grady girls like so many viewers of the film, Burton identifies the girls as twins in spite of Ullman's dialogue to the contrary.

Similarities include Sherri and Terri , the twins in Bart's 4th grade class looking visually similar to the Grady girls, Homer writing "No Beer No TV Make Homer Go Crazy" and Homer breaking into a room with an axe and uttering 'here's Johnny', only to discover that he had entered the wrong room and using the introduction for 60 Minutes instead.

American heavy metal band Slipknot pay homage to the film in their first music video for their song " Spit It Out ", directed by Thomas Mignone.

The video was banned from MTV for overtly graphic and violent depictions, including Corey Taylor's smashing through a door with an axe and the scene wherein James Root viciously assaults Corey Taylor with a baseball bat.

Mignone and the band eventually re-edited a less violent version, which was subsequently aired on MTV. It was banned from being screened on a children's TV network.

The song also features Stanley Kubrick's grandson Sam Kubrick as guest vocalist. The TV series Psych has an episode titled " Heeeeere's Lassie " in which the plot and characters are based on film.

Showrunner Vince Gilligan , being a fan of Kubrick and his "non-submersible moments", has included references to Kubrick movies in many of his works.

The descent of the main character, school teacher Walt, into the dark killer has some similarities to Jack's arc. Reflections are used in both to show the characters change.

Gilligan has also likened his early writing situation, getting snowed in and not writing, to feeling like Jack while going insane.

Steven Spielberg , a close friend of Kubrick, included a sequence dedicated to the film in Ready Player One when they could not get rights to use Blade Runner for a similar sequence.

The Overlook Hotel is recreated, including the Grady sisters, the elevator, room , the lady in the bath tub, the ballroom, and the photo, in addition to using the score.

Spielberg considered this inclusion a tribute to Kubrick. In his novel The Institute , Stephen King references the film, writing, "The little girls, Gerda and Greta, were standing and watching with wide, frightened eyes.

They were holding hands and clutching dolls as identical as they were. They reminded Luke of twins in some old horror movie.

In , Warner Bros. In June , Doctor Sleep writer and director Mike Flanagan , confirmed that the film would be a sequel to the film.

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The Shining is verder wel een tikje overhyped moet ik bekennen. Een meer dan goede film, maar ook weer niet eentje die na het kijken nog weken in mijn hoofd blijft hangen.

Een kleine 4 sterren is het waard. Net als toen. Eindelijk, eindelijk gezien. Door onduidelijke nooit aan toe gekomen, terwijl ik hem al jaren had liggen.

De korte versie weliswaar. Ik vond hem geweldig. De bekende afstandelijke en hypergestyleerde manier van filmen van Kubrick gecombineerd met het formidabele acteerwerk van Nicholson werken bij mij enorm.

Al die epische shots ook. Nu snel naar dr sleep en de lange opgepoetste versie kijken. Twijfelde tussen de 3. Toch 4 sterren ivm de super acteer prestaties van de super freak.

Heerlijk creepy. Nog even opnieuw bekeken voordat ik naar Doctor Sleep ga?. Misschien wel de meest spannende film die ik ooit gezien hebt, die tweeling lijken ook rechtstreeks uit een nachtmerrie te komen.

Ook ontzettend goede acteerprestaties, vooral van Jack Nicholson die langzaamaan steeds gekker wordt ookal kwam die vanaf het begin al een beetje gek over.

De trage opbouw heb ik zelf geen problemen mee, er gebeurt zat en het past ook bij het verhaal. En de soundtrack is ook super, maakt de film nog creepier en dat deuntje blijft altijd in mijn hoofd zitten.

Een van mijn favoriete films, er zitten voor mij geen opnoembare minpunten aan, slechts sommige stukjes waren wel verwarrend, zoals het stukje waar een gozer gepijpt word door een vent in een berenpak, wtf?

En vet dat er tot vandaag nog getheoretiseerd word over het einde! Persoonlijk denk ik dat het feit dat Jack op die foto stond, betekent dat zijn ziel na elke reincarnatie weer opnieuw bij het hotel terecht komt, waar hij telkens weer dezelfde misdaad begaat, tenslotte vertelde Grady hem ook nog dat Jack altijd opzichter geweest.

Graaf Machine. Na enkele jaren deze maar weer eens uit de kast getrokken. Uiteraard als gevolg van Doctor Sleep die ik afgelopen week heb gezien.

Het blijft toch een enorm strak gefilmde horror. Valt mij ook op hoe sterk Shelley Duvall speelt. Men heeft het dan zo vaak over Nicholson, maar haar rol mag er ook zijn.

Dat jochie doet me verder niet veel. Een paar dagen verlof tussen oud en nieuw en een moment om films in te halen maar Stanley Kubrick heeft er anders over beslist want ik heb The Shining herbekeken nieuwe 4K blu ray release met de minuten en dat was genoeg stof om de vakantie op te vullen.

Terwijl iedereen al een lijstje aan het opmaken was met goede voornemens heb ik me dus ondergedompeld in die metafysische reflectie van heden en verleden, bewonderd toegekeken hoe Kubrick langzaam die family meltdown observeerde en ook ik liep verloren in de als labyrint geconstrueerd hotel.

Kon ik deze keer bepaalde interpretaties die door velen aan de film worden gegeven als een feit beschouwen?

Want over wat gaat dit nu? Over de native Indiaanse American genocide? Kubrick wentelt zich met The Shining graag in geheimzinnigheid. Volgens tegenstanders van de film om mist te spuien zodat niemand kan zien dat de film een lege doos is.

Hoe zit het nu met die man in het berenpak? En met de plattegrond van het hotel? Blijkbaar zou het kantoor van de office manager onmogelijk te betreden zijn?

Dagen en nachten gaan voorbij maar duidelijkheid komt er niet. In de verte hoor ik reeds mensen aftellen. Het jaar loopt dood maar de geest van The shining is nog springlevend en laat me niet los.

Is dit nu een film met deuren en geen enkele exit? Graaf Machine schreef : quote. The Shining maakte ooit als film in mijn jeugd een diepte impact op mij, praktisch een litteken met zeker een week slapeloze nachten, ten eerste omdat ik hoog sensitief ben en ten tweeden vanwege de indringende sfeer.

Minstens twintig jaar lang had ik praktisch een fobie en peinsde ik er niet over de film te gaan kijken.

Inmiddels is het al heel wat jaren geleden dat ik toch op een middag de moed vond om toch eens te proberen hoe ik nu op de film reageerde.

En ik moet zeggen dat de film nog steeds enorme indruk maakt maar gelukkig geen slapeloze nachten meer veroorzaakt.

De film begint al met een fantastische sfeer. Hoewel de scene tussen moeder en zoon normaal oogt volgt daarop een inkijkje in een sinister talent dat het jongetje lijkt te hebben en meteen worden daar drie best wel memorabele momenten in gemonteerd die weinig goeds betekenen.

De aanloop verder in en rond het hotel gaat gemoedelijk en vrij normaal, op de kok na die kleine Danny het nodige uitlegt. Tot daar geen vuiltje aan de lucht Nog beter, in het verhaal wordt tegelijk verweven niet alleen hoe Nicholson langzaam vast begint te lopen, zo is er ook oog voor de falende relatie tussen Jack en Wendy.

Terwijl Jack zijn eigen frustraties botviert op zijn vrouw raakt Danny steeds verder in de ban en begint te lijden onder de verschijningen.

Overigens, wat die verschijningen betreft, hoe te beschrijven op wat voor manier die eng zijn vraag ik me af.

De tweeling is bijvoorbeeld het beste te beschrijven als sinister en psychologisch dan dat het doodeng is.

Een aantal geweldige scenes komen voorbij zoals de kok die als het ware liggend in bed een 'seintje' krijgt, die mimiek alleen al met een hele mooie overgang terug naar het hotel.

Dan valt de scene op waarin Jack Wendy de trap opdrijft als erg goed geacteerd en een mooie lange one take. De scene met de vrouw in de badkamer is zinnenprikkelend en ook weer niet van het bovengenoemd doodeng maar juist ook weer van het psychologische en sinistere.

De stijl valt heel erg op, de voor Kubrick gebruikelijke aparte camera standpunten komen voorbij, zo nu en dan zit je als kijker vanuit een hoekje te gluren en lijk je maar de helft te zien, dan wordt er weer voor een uniek standpunt gekozen om de schrik in de ogen van iemand nog beter naar voren te laten komen.

De muziek is normaal niet iets wat bijblijft of waar je een soundtrack van koopt, toch slaagt het geniaal in zijn opzet als toevoeging en weet het overal een deken van geheimzinnigheid, mysterie of onzekerheid over dingen te leggen en is het op de 'griezel' momenten briljant als verhogend element.

De acteurs zijn allen prima, en ik persoonlijk heb dan toch het meeste oog voor zo'n jongetje die ik erg goed vind. De film ontaard bewust in een soort totale chaos waar Wendy ook dingen begint te zien.

Het lelijke karakter van het hotel, het kwaad om het zomaar te noemen, laat zich in die zin zien. Stijlvol zijn de opnames van Jack zwalkend in al dat wit, blauw en zwart in dat doolhof.

Andere verklaring zou kunnen zijn dat Jack als het ware na zijn dood tot het hotel toe behoort, maar ja waarom zou Grady dan zeggen dat hij altijd al de caretaker was?

The Shinig is tot op heden nog altijd een memorabel griezelfilm die het vooral van zijn psychologische en sfeeraspect met hebben.

Het boek wordt overigens veel meer uitgesponnen en de tijd genomen om de gekte te laten naderen, toch pakt de benadering van de film waar het veel sneller gaat meer dan goed uit.

Geweldig zijn bepaalde opnames en bijna memorabel de opnames van het bloed uit de lift en de lugubere tweeling. De Shining is wat mij betreft ondanks zijn 40 jarige leeftijd een topfilm en een product die ik denk ik in mijn top tien ga zetten.

Iets wat ik overigens 20 jaar geleden ook niet had durven denken. De plattegrond waar jij het over hebt heb ik niet gezien.

Waar zit die dan ongeveer? Lovelyboy schreef : De plattegrond waar jij het over hebt heb ik niet gezien. Het doet me denken aan de "koffie-scene" in Mulholland Dr, waarin de envelop ook na de tweede opname "verkeerd" over de tafel schuift.

Hitchcock was er ook een meester in. Lovelyboy schreef : Ben dan eigenlijk wel erg benieuwd naar wat de 20 minuten extra van de extended edition toevoegd.

AC1 schreef : quote. The Shining is een sterke film in het uitbeelden van Stephen King 's novel. Het sfeertje past er prima bij en je ziet de protagonist langzaam afglijden.

Echt een zeer sterk optreden van Jack Nicholson maar zeker ook Shelley Duvall. Stanley Kubrick levert hier wel een meesterwerkje!

Light, of my life. I'm not gonna hurt ya. You didn't let me finish my sentence. I said, I'm not gonna hurt ya.

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  1. Ich entschuldige mich, aber meiner Meinung nach lassen Sie den Fehler zu. Geben Sie wir werden es besprechen.

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