The Shining

A masterpiece of modern horror.

Release Date 1980-05-23
Runtime 144 minutes
Status Released
Watch

Overview

Jack Torrance accepts a caretaker job at the Overlook Hotel, where he, along with his wife Wendy and their son Danny, must live isolated from the rest of the world for the winter. But they aren't prepared for the madness that lurks within.

Budget $19,000,000
Revenue $44,781,695
Vote Average 8.21/10
Vote Count 18103
Popularity 10.4665
Original Language en

Backdrop

Available Languages

English US
Title:
"A masterpiece of modern horror."
Deutsch DE
Title: Shining
"Ein Meisterwerk des modernen Horrors."
Italiano IT
Title: Shining
"L'onda di terrore che ha spazzato l'America è qui."
Pусский RU
Title: Сияние
"«Этот ужас сводит его с ума»"
suomi FI
Title: The Shining - hohto
"Pirullisia ampiaisia... Omituisia ääniä... Yliluonnollisia voimia..."
Français FR
Title: Shining
"Un tiens vaut mieux que deux tu l’auras."

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Cast

Crew

Reviews

Andres Gomez
10.0/10
A masterpiece. Kubrick chose a perfect cast and uses the timing and music to create a greatly opressing atmosphere. Nicholson is superb, but Duval and the kid are not less good.
John Chard
8.0/10
This rum is red, man! In spite of author Stephen King not being happy with Stanley Kubrick's adaptation of his novel, The Shining (1980) has proved to be a critical and commercial darling. It may not be in the spirit that King wanted, but it's undeniably a skillful piece of film making, a mixture of beauty and terror, of bravura techniques and simple but effective scares. With quality acting performances to match as well. The story unfolds at a deliberately slow pace, claustrophobia oozes from practically every frame, while the narrative smarts brings to bear the ghosts of the human and supernatural kind, all bone chillingly rendered for great effect by the vast spaces - the cold winter grounds outside - of the Overlook Hotel. It's not all perfect, the screenplay is very average, which makes Kubrick's work even more impressive, but with that comes the wave of feeling about style over substance. A churlish gripe? Maybe? But with Jack Nicholson on scenery chewing overdrive and Kubrick pulling the strings, The Shining still represents a highlight in horror. A horror movie that all horror fans should see at least once - and in the best format available as well! 8/10
JPV852
8.0/10
Probably my favorite of the Stephen King adaptations (though not much for many of the others save for a one or two) but not amongst Stanley Kubrick's, watched this one for the first time in many years (maybe a decade) and while I did immensely enjoyed it, and really liked Nicholson towards the end, I never really bought into him early on. Still, atmospherically it was amazing and at times creepy. But can't place this as some sort of classic in my book, anyway. **4.0/5**
Manuel São Bento
10.0/10
If you enjoy reading my Spoiler-Free reviews, please follow my blog :) With Doctor Sleep, an almost 40-year sequel to The Shining, being released this week, now it’s the perfect time to revisit one of the greatest horror movies of all-time, as well as one of the most influential directors ever, Stanley Kubrick. I know, I know… Spoiler-free? For a movie released in 1980? Well, first of all, there’s always someone who still didn’t watch it. Secondly, as deeper we get into the 21st century, the more the 60s/70s/80s/90s movies are forgotten. And finally, if there’s a movie which I don’t need spoilers to explain how outstanding it is, it’s The Shining. With that said … It has always been one of my favorite horror films ever. It’s not perfect (no film is) and some aspects don’t work as well now as they did 5/10/20 years ago. When it came out, Kubrick’s adaptation of Stephen King’s novel was received with mixed reactions. King himself criticized the movie. However, less than 10 years later, Kubrick’s film was already being reevaluated. Nowadays, it’s considered a cult classic, and it’s easy to understand why. From the countless homages to the hundreds of comedic parodies, The Shining has some of the most memorable lines ever. Just this year, we had It: Chapter Two mimicking Jack Nicholson’s “Here’s Johnny!” scene, for example. And then there’s the mysterious “redrum”… However, the movie’s biggest influence is its technical achievements. I apologize in advance if this review becomes too technical, but it’s impossible not to address the arguably best component of the film. This movie was one of the first to use Steadicam (a camera stabilizer mount which allows for smooth shots, even on irregular surfaces, isolating the operator’s movement), something that became so common that people don’t even praise anymore. Honestly, there are still a bunch of recent movies that have terrible camera work, so I’m one of those who defend that the Steadicam use shouldn’t be taken for granted. Especially how Kubrick did, barely above the floor, which originated the extension “low-mode” that now exists and allows for the operator to easily shoot lower than its waist. With the innovative use of the technical equipment, Kubrick’s delivers a masterclass in framing (composing the visual content of a series of frames as seen from a point of view). So much that it became worthy of studying. Almost every shot in this movie has a visual clue or an underlying theme. If you ever feel bored during your viewing, then you’re (probably) not “watching it right”. You’re not truly thinking about it or looking around the characters. This isn’t a generic horror flick with monsters or demons jump scaring you. It’s heavy on visual storytelling, so if you don’t pay attention, you’re going to reach the film’s climactic and enigmatic ending and feel that you missed something. From the mise-en-scene (arrangement of everything that appears in the framing, hence this French term that means “placing on stage“) having several blood-red colors to the wide shots clearly showing “exit” signs and giving the maze-vibe of the enormous hotel, the imminent danger is visually spread out across the movie. The symmetry/mirroring is absolutely crucial to not only deliver key plot points but to create this sense of reality vs fantasy. From the hotel’s structure and decoration (everything is incredibly symmetric) to the growing use of mirrors (these are heavily used to either literally translate words or to show the descent into madness), Kubrick’s framing is what leaves viewers scratching their heads, still to this date. You’ll always find something new on another viewing. It might be from 1980, but it’s a movie that requires your full attention. Don’t underestimate films from the 20th century like you can’t be surprised by a film “that old” (you’ll be dumbfounded by dozens). If John Alcott’s cinematography is impressive, then what can I write about Wendy Carlos and Rachel Elkind’s haunting score? Nowadays, scores are more based on creating an emotional impact on specific moments. However, throughout the film and during dialogues, even epic films still have a subtlest approach to these scenes, and the music is either very quiet or completely inexistent. In The Shining, the score is part of the conversation. If a character feels fear or danger is imminent, a simple heartbeat can elevate such a moment. If two characters gradually turn their dialogue into something more violent and aggressive, the music makes sure to accompany that descent into craziness. It’s a perfect horror film’s score. Technically, I’ll stop there because no words will be able to express how mind-blowing Kubrick’s visionary methods are. He’s one of the greatest directors ever, maybe even the most influential. Hopefully, his work will always be remembered and never stop being relevant. Story-wise, The Shining also inspired a whole new generation. Everyone knows and loves the key moments of the film, but it’s the clever exposition that satisfies me. Every piece of information is given through either an incredibly captivating dialogue or visual clues/actions. I watched the 144min version of the film (the European version has 25min less than the American version, and the latter has a final scene at a hospital edited out by Kubrick himself), and pretty much every single scene is intended to mean something. It can be important new information or an update on a previous plot point, but every single sequence has a particular purpose. Jack Nicholson commands the screen with a phenomenal performance, one of his career’s best. His script might be very well-written, but his delivery and commitment to the role are astonishing. He carries one-take, extense dialogues seamlessly. Credit to Kubrick for making a movie with at least 2/3-minute takes, sure, but Nicholson is able to transform a good scene into a fantastic one. Danny Lloyd delivers one of my favorite young performances ever. His voice as Tony is a great accomplishment, and he seems to understand his surroundings, in a way that I never felt like I needed to “go easy” on him because he’s just impeccable. Shelley Duvall, however, is a mixed bag for me. Over-the-top displays were better received at the time, but almost 40 years later, her performance does reach an unbearable level a few times. She’s an amazing counterpart for Nicholson and she stands her own within their dialogues, but when she’s alone or in an emotionally troubled moment, she’s too much to handle. Scatman Crothers doesn’t have that much screentime as Dick Halloran, but he shines every time he has to deliver a line. Some people complain about the slow pacing, but I love how it helps elevate the suspense and building up moments of immense tension. While the ending might be just a tad abrupt, the final image of the film stays with us forever, and after all this time, I still didn’t settle on my own theory. All in all, The Shining might be one of the most accessible classics to new viewers of today to understand why it is, in fact, one of the greatest and most influential horror films of all-time. Stanley Kubrick’s masterclass in framing with his play on symmetry and mirrors is evident, so even if you don’t study the art of filmmaking, it’s clear that these two themes are vital to telling the story. In addition to his framing, his use of the innovative Steadicam and his notable mise-en-scene shaped an entire new generation that never misses a chance of paying homage to his work. Besides the impressive technical achievements, Jack Nicholson delivers a memorably haunting performance. The ending is still mind-blowing after all these years, and new theories keep coming up. While I’ll keep trying to settle on my own interpretation, don’t you dare spend the rest of your life without (re)watching this cult classic. Rating: A+
Repo Jack
9.0/10
"Darling, I'm not gonna hurt you. I'm just gonna bash your brains in." The Shining is a great example of how musical score and cinematography can elevate a movie to the best-of-the-best. I tend to agree with Stephen King that Jack Nicholson looked like a crazy loon from the beginning, making his decent into madness less dramatic. But that can be forgiven by all the iconic scenes masterfully weaved into a horror classic.
Repo Jack
9.0/10
"Darling, I'm not gonna hurt you. I'm just gonna bash your brains in." The Shining is a great example of how musical score and cinematography can elevate a movie to the best-of-the-best. I tend to agree with Stephen King that Jack Nicholson looked like a crazy loon from the beginning, making his decent into madness less dramatic. But that can be forgiven by all the iconic scenes masterfully weaved into a horror classic.
CinemaSerf
7.0/10
"Jack Torrance" is a writer who suffers from a chronic lack of inspiration. To help overcome his block, he takes a job as a winter caretaker and relocates his family to the remote, huge, "Overlook Hotel" where he hopes he can focus! Gradually, the bleak Arctic conditions outside and the never ending, brightly lit, corridors and rooms long since abandoned start to affect his mind. When he ventures towards the expressly off-limits room 237 it all begins to get truly out of hand. Shelley Duvall is fabulous as his put-upon wife "Wendy" as is Danny Lloyd as their gifted, but largely terrified son "Danny". Kubrick is on top form as he cleverly capitalises on Stephen King's terrifying story helping the star create a wonderful sense of madness and menace tinged with quite a bit of comedy that leaves us with an horror film that is truly scary for a change! Credit also to the make up folks - they manage to help Nicholson transfer from obnoxious writer to axe-wielding psychopath; especially around the eyes, with real impact. 40 yeas on, it still packs a punch.

Famous Quotes

"Little pigs, little pigs, let me come in! Not by the hair on your chinny chin chin? Then I'll huff... And I'll puff... And I'll blow your house in!"
"Here's Johnny!"

Famous Conversations

JACK: I love you, Danny. I love you more than anything else in the whole world, and I'd never do anything to hurt you, never... You know that, don't you, huh?

DANNY: Yes, Dad.

JACK: Good.

JACK: Did your mother ever say that to you - that I would hurt you?

DANNY: No, Dad.

JACK: Are you sure?

DANNY: Yes, Dad.

DANNY: Dad?

JACK: What?

DANNY: You wouldn't ever hurt Mummy and me, would you?

JACK: What do you mean?

JACK: Yes I do. I love it. Don't you?

DANNY: I guess so.

JACK: Good. I want you to like it here. I wish we could stay here for ever, and ever... ever.

JACK: No. I'm just a little tired.

DANNY: Then why don't you go to sleep?

JACK: I can't. I have too much to do.

DANNY: Dad?

JACK: Yes?

DANNY: Do you like this hotel?

JACK: Are you having a good time?

DANNY: Yes, Dad.

JACK: Good. I want you to have a good time.

DANNY: I am, Dad. Dad?

JACK: Yes.

DANNY: Do you feel bad?

JACK: How's it going, Doc?

DANNY: Okay.

DANNY: Can I go to my room and get my fire-engine?

JACK: Come here for a minute, first.

JACK: There were a party of settlers in the covered wagon times. They got snowbound one winter in the mountains. They had to resort to cannabilism in order to stay alive.

DANNY: You mean they ate each other up?

JACK: They had to, in order to survive.

JACK: I think that was farther west in the Sierras.

DANNY: What was the Donner party?

DANNY: Dad?

JACK: Yes?

DANNY: I'm hungry.

JACK: Well you should have eaten your breakfast.

HALLORAN: No I ain't.

DANNY: Mr. Halloran, what is in Room 237?

HALLORAN: Nothing. There ain't nothing in Room 237, but you ain't got no business going in there anyway, so stay out! You understand, stay out!

HALLORAN: Well, you know Doc, when something happens it can leave a trace of itself behind... say like is someone burns toast.

HALLORAN: Well, maybe things that happened... leave other kinds of traces behind.

HALLORAN: Not things that anyone can notice, but things that people who shine can see. Just like they can see things that haven't happened yet. Well, sometimes they can see things that happened a long time ago... I think a lot of things happened right here in this particular hotel - over the years, and not all of them was good.

DANNY: What about Room 237?

HALLORAN: Room 237?

DANNY: You're scared of Room 237, ain'tcha?

HALLORAN: No, I'm scared of nothing here. It's just that you know some places are like people, some shine and some don't. I guess you could say the Overlook Hotel here has something about it that's like shining.

DANNY: Is there something bad here?

DANNY: Maybe he showed me something.

HALLORAN: Try to think what it was.

DANNY: I don't know.

HALLORAN: Now think real hard, Doc. Think.

DANNY: It's like I go to sleep, and he shows me things but when I wake up, I can't remember everything.

HALLORAN: Does your Mum and Dad know about Tony?

DANNY: Yes.

HALLORAN: Do they know he tell you things?

DANNY: Yes.

HALLORAN: How does he tell you things?

HALLORAN: Why don't you want to talk about it?

DANNY: I'm not supposed to.

HALLORAN: Who says you ain't supposed to?

DANNY: Tony.

HALLORAN: Who's Tony?

DANNY: Tony's the little boy who lives in my mouth.

HALLORAN: Is Tony the one that tells you things?

DANNY: Chocolate.

HALLORAN: Chocolate it shall be. Come on son.

HALLORAN: Do you like ice cream, Doc?

DANNY: Yeah.

HALLORAN: You don't? Well what's your favorite food then?

DANNY: French Fries and Ketchup.

HALLORAN: Now this is where we keep all of out meat. You got fifteen rib roasts - thirty ten pound bags of hamburgers. You got twelve- turkeys, two dozen pork roasts and twenty legs of lamb. Do you like lamb, Doc?

DANNY: No.

DANNY: Mommy!

WENDY: Oh!

DANNY: Mommy...

WENDY: Danny, come here!

DANNY: Mommy... Mommy...!

WENDY: Danny!

WENDY: Danny. Danny, stop it. Danny!

DANNY: Red Rum. Red Rum. Red Rum. Red Rum.

DANNY: Red Rum.

WENDY: Danny... what's the matter, hon?

DANNY: Red Rum.

WENDY: Are you having a bad dream?

WENDY: Danny?

DANNY: Red Rum. Red Rum. Red Rum.

WENDY: If Jack won't come with us, we'll just have to tell him that we are going by ourselves. That's all there is to it.

DANNY: Red Rum. Red Rum.

WENDY: Make sure you come right back, 'cause I'm going to make lunch soon. Okay?

DANNY: Okay, Mom.

WENDY: Well all right. But really don't make a sound.

DANNY: I won't, Mom.

DANNY: Mom?

WENDY: Yes?

DANNY: Can I go to my room and get my fire-engine?

WENDY: Not right now, Daddy's asleep.

DANNY: I won't make any noise.

WENDY: Come on, Doc. He only went to bed a few hours ago. Can't you wait till later?

DANNY: I won't make a sound, I promise. I'll tip-toe.

WENDY: It's so pretty.

DANNY: Yeah.

WENDY: I didn't think it was going to be this big, did you?

DANNY: No.

WENDY: Oh what a Maze. Isn't it beautiful.

DANNY: Yeah.

WENDY: Okay Danny, you win. Let's take the rest of this walking, huh?

DANNY: Okay...oh!

WENDY: Give me your hand. Oh, isn't it beautiful.

DANNY: Yeah.

WENDY: The loser has to keep American clean, how's that?

DANNY: All right.

WENDY: And you're gonna lose. And I'm gonna get you - you betta run fast! Look out - I'm coming in close. All right?

DANNY: Yeah.

WENDY: Okay. You behave yourself.

DANNY: Yeah.

WENDY: Danny, come on over here.

WENDY: Jack...

DANNY: Don't worry, Mom. I know all about cannabilism, I saw it on T.V.

WENDY: We'll get something as soon as we get to the hotel, okay?

DANNY: Okay, Mom.

WENDY: Hey, wasn't it around here that the Donner party got snowbound?

WENDY: We're just going to go into one of the other rooms for a few minutes and talk - then I'll come back and check on you, okay?

DANNY: Okay.

DANNY: Yeah, I guess so.

WENDY: What about Tony? He's looking forward to the hotel, I bet.

WENDY: Yeah.

DANNY: Do you really want to go and live in that hotel for the winter?

WENDY: Sure, Danny, it will be lots of fun.

DANNY: Yeah, I guess so. Anyway, there's hardly anybody to play with around here.

WENDY: Yeah, I know. It always takes a little time to make new friends.

DOCTOR: Now I'm going to ask you to do me a favor, and stay quietly in bed for the rest of the day. Okay?

DANNY: Do I have to?

DOCTOR: Yes, I'd like you to.

DOCTOR: Oh,

DOCTOR: if you were to open your mouth now, could I see Tony?

DANNY: No.

DOCTOR: Why not?

DANNY: Because he hides.

DOCTOR: Where does he go?

DANNY: To my stomach.

DOCTOR: Does Tony ever tell you to do things?

DOCTOR: Now Danny, can you remember what you were doing just before you started brushing your teeth?

DANNY: Talking to Tony.

DOCTOR: Is Tony one of your animals?

DANNY: No. It's the little boy that lives in my mouth.

DOCTOR: What's the next thing you remember after you were brushing your teeth?

DANNY: Mommy saying, 'Wake up, wake up, wake up Danny, wake up.'

DOCTOR: Now Danny, when you were brushing your teeth, do you remember if you smelled anything funny, or saw any bright flashing lights, or anything at all strange?

DANNY: No.

DOCTOR: Do you remember when you were brushing your teeth?

DANNY: Yes.

DOCTOR: How did he manage to do that?

WENDY: Well it's just one of those things. You know... purely an accident, um. My husband had oh... been drinking, and he came home about three hours late, so he wasn't exactly in the greatest mood that night. And well Danny had scattered some of his school papers all over the room... and my husband grabbed his arm, you know, and pulled him away from them. It's...it's just the sort of thing you do a hundred times with a child - you know, in a park or on the streets - but on this particular occasion my husband just... used too much strength and he injured Danny's arm.

DOCTOR: What sort of injury did he have?

WENDY: Ah he dislocated his shoulder.

WENDY: Tony.

DOCTOR: Did Tony's first appearance happen to coincide with your arrival here?

WENDY: No, um let's see I guess Danny started talkin to Tony about the time we put him into nursery school.

DOCTOR: Have you been in Boulder long, Mrs. Torrance?

WENDY: Only about three months. Eh we're from Vermont. My husband was teaching school there.

DOCTOR: Did the appearance of Danny's imaginary friend...?

WENDY: But eh what was the matter with him?

DOCTOR: Mrs. Torrance, most of the time these episodes with kids are never explained. They are brought on by emotional factors, and they rarely occur again.

DOCTOR: Mrs. Torrance, I don't think you have anything to worry about. I'm quite sure there is nothing physically wrong with Danny.

WENDY: Oh, yeah. Oh, yeah, he seems absolutely fine now, but you should have seen him.

WENDY: Please...

DOCTOR: Thank you.

WENDY: Shall we go into the living room?

DOCTOR: Yes.

HERMIE: Oh I wouldn't think of it.

DOROTHY: Well how can I repay you?

HERMIE: It's okay, really.

DOROTHY: Well I'm going to have some coffee. Would you like some?

HERMIE: Sure.

DOROTHY: Great. Sit down. Oh these marvellous doughnuts, help yourself. Coffee will be ready in a few minutes.

GRADY: I fear that you will have to deal with this matter in the harshest possible way, Mr. Torrance. I fear that is the only thing to do.

JACK: There's nothing I look forward to with the greater pleasure, Mr. Grady.

GRADY: You give your word on that do you, Mr. Torrance?

JACK: Just give me one more chance to prove it, Mr. Grady. That's all I ask.

GRADY: Your wife appears to be stronger than we imagined, Mr. Torrance. Somewhat more resourceful, she seems to have got the better of you.

JACK: For the moment, Mr. Grady. Only for the moment.

JACK: No need to rub it in, Mr. Grady. I'll deal with that situation as soon as I get out of here.

GRADY: Will you indeed, Mr. Torrance.

GRADY: It's Grady, Mr. Torrance. Delbert Grady.

JACK: Grady... oh.

JACK: She eh... interferes.

GRADY: Perhaps they need a good talking to, if you don't mind my saying so. Perhaps a bit more.

JACK: How?

GRADY: Your son has a very great talent. I don't think you are aware how great it is, but he is attempting to use that very talent against your will.

JACK: Well, he is a very willful boy.

JACK: No.

GRADY: He is, Mr. Torrance.

JACK: Who?

GRADY: A nigger.

JACK: A nigger!

GRADY: A nigger cook.

GRADY: Yes, sir. I have a wife and eh two daughters, sir.

JACK: And, er... where are they now?

GRADY: Oh, they're somewhere around. I'm not quite sure at the moment, sir.

GRADY: Ah ha, it's coming off now, sir.

JACK: Eh... Mr. Grady... weren't you once the caretaker here?

GRADY: Why no, sir. I don't believe so.

JACK: haven't I seen you somewhere before?

GRADY: Why no, sir. I don't believe so.

JACK: Grady?

GRADY: Yes, sir.

JACK: Delbert Grady.

GRADY: That's right, sir.

GRADY: Won't keep you a moment, sir.

JACK: Fine.

GRADY: That doesn't matter, sir. You're the important one.

JACK: Awfully nice of you to say. Of course I intend to change my jacket this evening before the fish and goose soiree.

GRADY: I'm afraid it's advocaat sir. It tends to stain.

JACK: Advocaat is it?

GRADY: Yes sir. Look um... I think the best thing is to come along to the gentlemen's room, sir, and eh...

RANGER: Good evening. Forest Service.

HALLORAN: Hallo, this is Dick Halloran again. I called a while ago about the folks at the Overlook Hotel.

RANGER: I'd be glad to do that, sir. Oh why don't you call me back in about eh twenty minutes?

HALLORAN: Thank you very much. I'll do that.

RANGER: All right, sir.

RANGER: Good evening. Forest Service.

HALLORAN: Hallo. My name's Dick Halloran. I'm the Head Chef up at the Overlook Hotel.

RANGER: Good evening, Mr. Halloran. What can I do for you?

HALLORAN: Sir, I've been trying to make an urgent phone call up there,

ULLMAN: Dick, can we borrow Mrs. Torrance for a few minutes? We're on our way through to the basement - I promise we won't keep her very long.

HALLORAN: No problem, Mr. Ullman. I was just getting to the ice cream.

ULLMAN: Dick, if you're ready to do it now, I think it would be a good idea if you could show Mrs. Torrance the kitchen, while I continue on with Jack.

HALLORAN: It will be a pleasure. Right this way Mrs. Torrance.

ULLMAN: The Torrances are going to take care of the Overlook for us this winter.

HALLORAN: Oh, that's just great. How do you folks like our hotel so far?

ULLMAN: Oh Dick, come on over and say hello to Mr. and Mrs. Torrance.

HALLORAN: Sure.

ULLMAN: This is Dick Halloran, our Head Chef.

WENDY: No, we don't mind.

HALLORAN: Good.

WENDY: Sound good to you, Danny?

HALLORAN: Beg pardon?

WENDY: Doc. You called Danny 'Doc' twice just now.

HALLORAN: I did?

WENDY: Yeah. We call him Doc sometimes, you know, like in the Bugs Bunny cartoons. But how did you know that?

HALLORAN: Well I guess I probably heard you call him that.

HALLORAN: Don't let it get you down Mrs. Torrance - it's big but it still ain't nothing but a kitchen... a lot of the stuff you'll never have to touch.

WENDY: I wouldn't know what to do with it if I did.

HALLORAN: Well one thing for sure, you don't have to worry about food because you folks could eat up here a whole year and never have the same menu twice.

HALLORAN: Mrs. Torrance, your husband introduced you as Winifred. Now are you a Winnie or a Freddie?

WENDY: I'm a Wendy.

HALLORAN: Oh Wendy. That's nice. That's the prettiest.

WENDY: God. This is the kitchen, huh?

HALLORAN: Yeah, this is it. How do you like it, Danny? Is it big enough for you?

HALLORAN: Glad to meet you, Winifred.

WENDY: Nice to meet you.

JACK: Eh - formerly a school-teacher.

WATSON: What line of work are you in now?

JACK: I'm a writer um... Teaching has been more or less a way of making ends meet.

WATSON: Well this ought to be quite a change for you.

JACK: Well, I'm looking for a change.

JACK: Bill, how do you do?

WATSON: Pleased to meet you.

JACK: Pleasure to meet you.

JACK: I'm the kind of man likes to know who's buying their drinks, Lloyd.

LLOYD: It's not a matter that concerns you, Mr. Torrance - at least not at this point.

JACK: No charge?

LLOYD: Your money's no good here.

LLOYD: It's good to see you.

JACK: It's good to be back, Lloyd.

LLOYD: What'll it be, sir?

JACK: Hi Lloyd. I've been away. Now I'm back.

LLOYD: Good evening Mr. Torrance.

JACK: Nothing that I can't handle though, Lloyd. Thanks.

LLOYD: Women! Can't live with 'em. Can't live without 'em!

LLOYD: How are things going, Mr. Torrance?

JACK: Things could be better, Lloyd. Things could be a whole lot better.

LLOYD: I hope it's nothing serious.

JACK: Best goddamned bartender from Timbuctoo to Portland Maine - Portland Oregon for that matter.

LLOYD: Thank you for saying so.

JACK: How's my credit in this joint anyway?

LLOYD: Your credit's fine, Mr. Torrance.

JACK: That's swell. I like you, Lloyd. I always liked you. You were always the best of them.

LLOYD: What'll it be?

JACK: Now I'm awfully glad you asked me that, Lloyd, because I just happen to have two twenties and two tens right here in my wallet. I was afraid they were going to be there until next April. So here's what: you slip me a bottle of Bourbon, a glass and some ice. You can do that, can't you, Lloyd? You're not to busy, are you?

WENDY: I'll bring back a doctor.

JACK: Wendy...

WENDY: I'm gonna go now.

JACK: Wendy...

JACK: Wendy...

WENDY: Go away.

JACK: Give me the bat.

WENDY: Go away.

JACK: Give me the bat.

JACK: Give me the bat.

WENDY: Go away from me.

WENDY: Stay away from me.

JACK: Give me the bat.

WENDY: Jack, stay away from me!

JACK: Stop swinging the bat.

WENDY: Get down.

WENDY: Stay away from me! Please...

JACK: Stop swinging the bat.

WENDY: Stay away from me.

JACK: Put the bat down, Wendy.

WENDY: Stop it!

JACK: Wendy give me the bat.

WENDY: Stay... stay away!

JACK: Give me the bat.

WENDY: Stay away from me!

JACK: I'm not going to hurt you.

WENDY: Stay away from me!

WENDY: Stay away from me,

JACK: Wendy!

WENDY: Stay away...!

JACK: Darling, light of my life, I'm not going to hurt you. You didn't let me finish my sentence. I said 'I'm not going to hurt you... I'm just going to bash your brains in!' I'm going to bash them right the fuck in.

WENDY: Don't hurt me! Don't hurt me!

JACK: I'm not going to hurt you.

WENDY: Stay away from me!

JACK: Why?

WENDY: I just want to go back to my room.

JACK: Why?

JACK: Have you ever thought about my responsibilities?

WENDY: Oh Jack, what are you talking about?

JACK: Have you ever had a single moment's thought about my responsibilities? Have you ever thought for a single solitary moment about my responsibilities to my employers?

WENDY: Of course I am.

JACK: Of course you are.

JACK: As soon as possible.

WENDY: Jack...

WENDY: Well I... I think maybe he should be taken to a doctor.

JACK: You think maybe he should be taken to a doctor?

WENDY: Yes...

JACK: When do you think maybe he should be taken to a doctor?

WENDY: I don't know.

JACK: I don't think that's true. I think you have some very definite ideas about what should be done with Danny... and I'd like to know what they are.

WENDY: I...

WENDY: I can't really remember.

JACK: You can't remember.

WENDY: Jack!

JACK: How do you like it?

JACK: Shovellings out driveways, work in a car wash - any of that appeal to you?

WENDY: Jack...

JACK: Wendy, I have let you fuck up my life so far, but I'm not going to let you fuck this up!

JACK: Get him out of here?

WENDY: Yes.

JACK: You mean just leave the hotel?

WENDY: Yes.

WENDY: Somebody did that to him.

JACK: I think he did it to himself.

WENDY: He's still asleep.

JACK: Good.

WENDY: You went into the room Danny said - to 237?

JACK: Yes, I did.

WENDY: And you didn't see anything at all?

JACK: Absolutely nothing. How is he?

WENDY: Did you find anything?

JACK: No, nothing at all.

WENDY: No. It's the truth, really. I swear it. Danny told me. He went up into one of the bedrooms, the door was open, and he saw this crazy woman in the bath-tub. She tried to strangle him.

JACK: Which room was it?

JACK: I had... I had the most terrible nightmare I ever had. It's the most horrible dream I ever had.

WENDY: It's okay. It's okay, now. Really.

JACK: I dreamed that I... that I killed you and Danny.

JACK: or whether you don't hear me typing, whatever the fuck you hear me doing in here, when I am in here that means that I am working - that means don't come in. Now do you think you can handle that?

WENDY: Yes.

JACK: Fine. Why don't you start right now and get the fuck out of here, hmm?

JACK: and it will then take me time to get back to where I was, understand?

WENDY: Yes.

JACK: Fine. Now we're going to make a new rule. Whenever I am in here and you hear me typing,

JACK: I'm not being grouchy. I just want to finish my work.

WENDY: Okay. I understand. I'll come back later on with a couple of sandwiches for you and... maybe you'll let me read something then.

JACK: Wendy, let me explain something to you. Whenever you come in here and interrupt me, you're breaking my concentration.

JACK: What do you want me to do about it?

WENDY: Ah, come on hon. Don't be so grouchy.

WENDY: It's really nice up here, isn't it?

JACK: I love it. I really do. I've never been this happy, or comfortable anywhere.

WENDY: Yeah. It's amazing how fast you get used to such a big place. I tell you, when we first came up here, I thought it was kinda scarey.

WENDY: Well, something'll come. It's just a matter of settling back into the habit of writing every day.

JACK: Yeah... that's all it is.

WENDY: Any ideas yet?

JACK: Lots of ideas. No good ones.

WENDY: It's really pretty outside. How about taking me for a walk after you've finished your breakfast?

JACK: Oh I suppose I oughta try to do some writing first.

WENDY: I made 'em just the way you like 'em, sunny side up.

JACK: Hmm, nice.

JACK: Eleven thirty - Jesus!

WENDY: I guess we've been staying up too late.

JACK: I know it.

WENDY: Good Morning, hon. Your breakfast is ready.

JACK: What time is it?

WENDY: It's about eleven thirty.

JACK: Perfect for a child.

WENDY: Yeah.

JACK: Sure is.

WENDY: God, I've never seen anything like this before. Are all of these Indian designs authentic?

WENDY: Boy, we must be really high up. The air feels so different.

JACK: Uh...huh.

JACK: Hi, babe.

WENDY: Hi, hon. How's it going?

JACK: Great. Look, I'm at the hotel and I still have an awful lot to go through. I don't think I can get home before nine or ten.

ULLMAN: Yes, very cosy for a family, and if you feel like spreading out you have the rest of the hotel to move around in.

JACK: Well, it's very... homely.

JACK: I'd better collect my family first.

ULLMAN: Oh...

JACK: Right there.

ULLMAN: Oh fine. Well in view of all the ground that we to cover today, I suggest we go and have a quick look at your apartment and then get started straight away.

ULLMAN: Good. Glad you made it before they shut down the kitchen. Is your family having a look around?

JACK: No, my son's discovered the games room.

ULLMAN: Oh... Has your luggage been brought in?

ULLMAN: Good morning Jack. I hope you haven't been waiting too long.

JACK: No problem. In fact we had time to grab a bite to eat.

ULLMAN: Well, obviously some people can be

ULLMAN: put off by the idea of staying alone in a place where something like that actually happened.

JACK: Well, you can rest assured Mr. Ullman, that's not going to happen with me, and eg as far as my wife is concerned, I am sure she'll be absolutely fascinated when I tell her about it. She's a confirmed ghost story and horror film addict.

ULLMAN: The police eh... they thought that it was what the old-timers used to call cabin-fever, a kind of claustrophobic reaction which can occur when people are

ULLMAN: shut in together over long periods of time.

JACK: Well, that is eh quite a story.

JACK: I don't believe they did.

ULLMAN: Well, my predecessor in this job

ULLMAN: been known to give a few people second thoughts about the job.

JACK: I'm intrigued.

ULLMAN: I don't suppose they eh told you anything in Denver about the tragedy we had up here during the winter of 1970?

JACK: five months of peace is just what I want.

ULLMAN: That's very good Jack, because eh... for some people eh solitude and isolation...

ULLMAN: can of itself be a problem.

JACK: Not for me.

ULLMAN: How about your wife and son? How do you think they'll take to it?

JACK: They'll love it.

ULLMAN: Great...

ULLMAN: Physically, it's not a very demanding job. The only thing that can get a bit trying up here during the winter is eh... the tremendous sense of isolation.

JACK: Well, that just happens to be exactly what I'm looking for. I'm eh... I'm outlining a new writing project, and eh...

JACK: Only in a very general way.

ULLMAN: Well...

ULLMAN: ...the winters can be fantastically cruel, and the basic idea is to...to cope with the very costly damage and depreciation which can occur. And this consists mainly of running the boiler, heating different parts of the hotel on a daily rotating basis, repairing damage as it occurs and doing repairs, so that the elements can't get a foothold.

JACK: Well, that sounds fine to me.

ULLMAN: Let's see, where were we? Yes. I was about to explain that eh... our season here runs from oh May 15th to October 30th and then we close down completely until the following May.

JACK: Do you mind if I ask why you do that? It seems to me that the skiing up here would be fantastic.

ULLMAN: Oh, it sure would be

ULLMAN: JAck, just make yourself at home. Would you like some coffee?

JACK: Well, if you are going to have some, I wouldn't mind. Thanks.

ULLMAN: Susie.

ULLMAN: Have any trouble finding us?

JACK: Oh, no problem at all. I made the trip in three and a half hours.

ULLMAN: Well, that's very good time, very good. Please sit down a minute.

ULLMAN: Very nice to meet you.

JACK: Nice to meet you, Mr. Ullman.

JACK: Mr. Ullman?

ULLMAN: Yes?

JACK: I'm Jack Torrance.

ULLMAN: Oh, well - come on in Jack.

ULLMAN: By five o'clock tonight, you'll never know anybody was ever here.

WENDY: Just like a ghost ship, huh?

ULLMAN: Yes.

WENDY: It's amazing how much activity is going on today.

ULLMAN: Yes, well the guests and some of the staff left yesterday, but the last day is always very hectic - everybody wants to be on their way as early as possible.

ULLMAN: Hi.

WENDY: Hi.

ULLMAN: How're you getting on?

WENDY: Thanks.

ULLMAN: Thank you, Susie.

ULLMAN: We can accommodate up to three hundred people here very comfortably.

WENDY: Boy, I bet you we could really have a good party in this room, huh hon?

ULLMAN: Oh...well this is our gold ballroom.

WENDY: Oh, I'll say.

ULLMAN: As a matter of fact we eh... brought a decorator in from Chicago just last year to refurbish this part of the hotel.

WENDY: Oh well he sure did a beautiful job. Pink and gold are my favorite colors.

ULLMAN: This is the staff wing of the hotel. None of the other bedrooms are heated during the winter.

WENDY: Oh!

ULLMAN: even before anybody knew what a jet set was. We've had four presidents who stayed here, lots of movie stars.

WENDY: Royalty?

ULLMAN: All the best people.

ULLMAN: Yes, I believe they are based mainly on Navajo and Apache motifs.

WENDY: Oh well they're really gorgeous. As a matter of fact this is probably the most gorgeous hotel I've ever seen.

ULLMAN: This is our Colorado Lounge.

WENDY: Oh, it's beautiful. My God, this place is fantastic, isn't it hon?

ULLMAN: Bill, would you have the Torrances' things brought in their apartment.

WATSON: Fine.

ULLMAN: What time does the plane leave?

WATSON: Eight thirty.

ULLMAN: Well, that still gives up plenty of time to go over everything first.

ULLMAN: Jack is going to take care of the Overlook for this winter. I would like you to take him around the place as soon as we are through.

WATSON: Fine.

ULLMAN: Jack is a schoolteacher.

ULLMAN: Bill, I'd like you to meet Jack Torrance.

WATSON: How do you do?

Oscar Awards

Wins

Haven't Won A Oscar

Nominations

Haven't Nominated for Oscar

Media

Featurette
What is The Shining to You?
Clip
Jack Doesn’t Want Wendy to Interrupt Him
Clip
Jack Chases Wendy