The Shining

Few films are as iconic in popular culture as The Shining. Even those unfamiliar with Stanley Kubrick’s name will likely recognize some of the film’s most famous scenes: the long shot of Danny riding his toy cart down the hotel corridors until he encounters the eerie twin girls, or the chilling moment when Jack relentlessly chips away at a wooden door with an ax amidst Wendy’s terrified screams. References to The Shining permeate popular culture, appearing in commercials, other films, and even music, such as rapper 21 Savage’s track titled “Redrum.” The Shining is rightly considered one of the greatest horror films, showcasing Kubrick’s remarkable versatility as a director. Yet, the film isn’t scary in the traditional sense. There are fewer jump scares than your average horror movie, and the color palette is less dark and shadowy, favoring instead a flushed, almost surreal tone. While the Overlook Hotel is largely empty of occupants, Kubrick fills every frame with furniture and objects, making the vast space feel claustrophobic. His methodical shot composition, featuring many medium shots and the use of fading transitions rather than abrupt cuts, lends the film the disorienting quality of a bad pipe dream rather than a conventional thriller. The performances are near flawless. Jack Nicholson delivers an electrifying and terrifying portrayal of Jack Torrance, while the young actor playing Danny gives one of the finest child performances in cinema. More recent reassessments have grown kinder to Shelley Duvall’s portrayal of Wendy. Initially criticized for her cold, matter-of-fact demeanor, which some perceived as fake, I believe this restrained shock perfectly captures a woman unraveling under the crushing weight of isolation and mental breakdown. There are certainly puzzling plot elements that defy easy explanation -- how the “shining” works, the mysterious existence of Tony, the sudden appearance of hotel guests, or the strange conversation between Delbert and Jack. But rather than detracting from the film, these mysteries add to its mythic aura. This ambiguity invites endless interpretation, allowing each viewer to find their own meaning within the film’s enigmatic narrative. Regarding themes, countless intriguing interpretations have emerged, from Native American genocide allegories to Holocaust metaphors. Yet, I find that The Shining’s primary strength lies in its flawless style, haunting atmosphere, and the mystery of its plot rather than a singular, deeper meaning. The effects of mental and physical abuse, neglect, and isolation are certainly prominent, but Kubrick has explored such themes with greater subtlety in other works. For example, the hinted-at elite sex cult concept is more fully and effectively examined in Kubrick’s final film, Eyes Wide Shut. A minor but interesting interpretation involves the telepathic “shining” itself. The age-old debate about distinguishing the voice of God from that of the devil resonates in the film’s use of Delbert Grady and Tony’s voices, figures that could symbolically represent these opposing forces. Regardless of any perceived lack of deeper thematic weight compared to Kubrick’s other films, The Shining remains a classic masterpiece, deserving of every bit of its acclaim in style, atmosphere, and cultural impact. 91 Story & Pacing: 20/20 Characters & Acting: 20/20 Themes: 40/50 Cinematography & Editing: 5/5 Soundtrack & Sound: 5/5 Memorability: 1/1