Check out this cool behind-the-scenes photo gallery…
And then peep Scorsese on Kubrick (brought to us by Matt B):
many horror fans were put off by “The Shining,” and I don’t believe that Stephen King, the author of the novel on which it was based, was ever very happy with the movie. Kubrick and his co-writer, the novelist Diane Johnson, kept many elements from King’s novel, but they wrote their own work, turning to Freud’s The Uncanny and Bruno Bettelheim’s book about fairy tales, The Uses of Enchantment, for inspiration. In their film, the horror came from within the family — the violent father (Jack Nicholson) suffering from writer’s block and having a hard time staying on the wagon, the mousy mother (Shelley Duvall) trying to believe that everything is okay for as long as she can and the quiet son (Danny Lloyd) with an extrasensory gift called “shining” that allows him to see terrors past and future. They’re all cooped up in an enormous luxury hotel in Colorado that’s been shut down for the season and where they’ve agreed to stay for the winter as caretakers. The halls and corridors seem to extend to infinity, like the shots of interstellar travel in “2001: A Space Odyssey,” and the sense of space itself is terrifying, particularly in those justifiably famous Steadicam shots following Danny as he careens down the corridors on his Big Wheel.
In “The Shining,” Kubrick made potent use of ambiguity. You never really know what’s happening: Is the father hallucinating or is he the reincarnation of a murderer from an earlier era? Are there real ghosts in the hotel or are they imagined by the traumatized son? Is the son sensing the horrors that will be committed by his father or just projecting them onto him? Few movies create such a powerful feeling of unease.