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How Stanley Kubrick's Editing Conveys a Horrifying Supernatural Vision in The Shining
by Adam Polselli
Copyright © 1980 Warner Bros. Entertainment Inc.
Rosemary's Baby - Alternative Movie Poster
Original illustration - posters, prints and many other products available at:
Come play with us, Danny.
The first poster I ever made was for The Shining, and by now I've come to dislike it like you can't even imagine. It's always just sitting there in the set; the bastard. I figured I'd redo it.
Previously:
Since Halloween is soon upon us I thought it was time to get back to the Stanley Hotel and finish the ghost tour.
This is the Music Room. It was the favorite room of F.O. Stanley's wife, Flora. It's also the only room left on the main floor that retains the original look of the hotel.
In 1997 when The Shining miniseries was filmed at the hotel the walls and moldings of the entire main floor with the exception of the Music Room were painted to look like wood. Originally they were all white plaster to provide this clean, fresh look that you can still see in the Music Room.
The piano in the alcove is the original piano that was played by many celebrities, including John Philip Sousa. Sousa played it several times and each time he would scratch his name and year into the underside of the piano cover to mark the date. Several years ago the piano was sent out for refurbishment and tuning. When it came back the refurbisher proudly told the hotel manager that not only had they re-tuned the piano, they'd also, "removed a bunch of scratches on the wood some vandals must have done" so sadly Sousa's signatures are now lost.
This room is said to be haunted by Flora's ghost. She can be seen sometimes standing near the windows or seen standing behind the viewer when she/he looks into the mirror that hangs over the fireplace to the far left. Ghostly music is heard late at night and ghostly dancers seen from time to time. One story tells of a patron or tourist to the hotel who sat at the piano, tried a few keys, and then complained about the fact the piano was out of tune... at which point the cover for the piano key's came slaming down on his hands.
Apparently Flora is sensitive about her piano.
You’re scared of room 237, ain’t ya?
A longtime and diehard fan of Stanley Kubrick’s The Shining and a bona fide Yosemite junkie, I’ve always viewed the interior of the Ahwahnee Hotel with a mixture of awe and dread. One can be forgiven if—upon first entering the grand hotel—he feels as though he’s just stepped from what John Muir called “the great temple,” into the lobby and great hall of the horrible Overlook Hotel. In fact, if there is a break in the illusion, it is that the common spaces of the Ahwahnee, rather than pregnant with foreboding silence, are overflowing with visitors.
This resemblance is no accident of course. Mr. Kubrick designed his set (especially the Colorado Room and the lobby) to mimic the Ahwahnee, and indeed, I have a hard time seeing the chandeliers, rugs, tables and windows of this hotel without imagining Mr. Torrance clacking away upon his Adler upon one of the long, sturdy tables. Smiling menacingly amidst the tourists and hikers come to catch a few moments rest by the enormous fireplace. All work and no play …
The great coup of The Shining was its replacement of Stephen King’s extensive backstory with a brooding atmosphere and a churning sense of doom. Mr. King allegedly hated it, but the rest of us fell in love with the film. No other film adaptation of Mr. King’s work risen to the mark that Stanley Kubrick set.
Now, Mr. Kubrick was a hell of a still photographer in his own right, and, for my money, it is no coincidence that he possessed a preternatural capability for creating mood. The greatest trick in still photography is to create a sense of place, to render a three-dimensional, flesh and blood world in the rectangular space of an emulsion or a computer screen replete with a taste of the subject’s emotive power. Now, there can be no argument that Mr. Kubrick achieved at least that throughout the film.
For my own part, I am fascinated with the reality that serves as the foundation for imagination and dreams. I’ve spent considerable time photographing The University of Chicago both because it served as the backdrop for a decade my own adventures and because it carries with it a germ of Oxford, one of many templates for Hogwart’s.
I can be forgiven then for long planning to shoot the Ahwahnee interiors. “But,” I always asked myself, “how to capture the silence and desolation that so defined the film?” How could I turn The Ahwahnee into The Overlook?
The answer came with a winter bug that laid me low. Feeling feverish and fortunate enough to be a guest, I sneaked out of bed late one night, closed the door gently behind me, and stepped into the long, carpeted hallways of The Overlook Hotel.
Click on VIEW ALL SIZES to see animated version! or go here....... www.kickstarter.com/projects/iwantyoumag/i-want-you-magaz...
The Shining is a 1980 British-American psychological horror film produced and directed by Stanley Kubrick, co-written with novelist Diane Johnson, and starring Jack Nicholson, Shelley Duvall, Danny Lloyd, and Scatman Crothers. The film is based on Stephen King's 1977 novel of the same name, although the film and novel differ in significant ways.[4]
In the film, Jack Torrance, a writer and recovering alcoholic, takes a job as an off-season caretaker at the isolated Overlook Hotel. His young son possesses psychic abilities and is able to see things from the past and future, such as the ghosts who inhabit the hotel. Soon after settling in, the family is trapped in the hotel by a snowstorm, and Jack gradually becomes influenced by a supernatural presence, descends into madness, and ultimately attempts to murder his wife and son.
Unlike previous Kubrick films, which developed an audience gradually by building on word-of-mouth, The Shining was released as a mass-market film, opening at first in just two cities on Memorial Day, then nationwide a month later.[5] Although initial response to the film was mixed, later critical assessment was more favorable and it is now listed among the greatest horror movies, while some have viewed it as one of the greatest films of all time. Film director Martin Scorsese, writing in The Daily Beast, ranked it as one of the 11 scariest horror movies of all time.[6] Film critics, film students, and Kubrick's producer Jan Harlan, have remarked on the enormous influence the film has had on popular culture.[7][8][9]
The initial European release of The Shining was 25 minutes shorter than the American version, achieved by removing most of the scenes taking place outside the environs of the hotel.
If you've never seen www.imdb.com/title/tt0081505/ this will make absolutely no sense to you...and I feel sorry for you. And if you saw it and thought it sucked you should read the book...the book rocks.
Happy Halloween!
You’re scared of room 237, ain’t ya?
A longtime and diehard fan of Stanley Kubrick’s The Shining and a bona fide Yosemite junkie, I’ve always viewed the interior of the Ahwahnee Hotel with a mixture of awe and dread. One can be forgiven if—upon first entering the grand hotel—he feels as though he’s just stepped from what John Muir called “the great temple,” into the lobby and great hall of the horrible Overlook Hotel. In fact, if there is a break in the illusion, it is that the common spaces of the Ahwahnee, rather than pregnant with foreboding silence, are overflowing with visitors.
This resemblance is no accident of course. Mr. Kubrick designed his set (especially the Colorado Room and the lobby) to mimic the Ahwahnee, and indeed, I have a hard time seeing the chandeliers, rugs, tables and windows of this hotel without imagining Mr. Torrance clacking away upon his Adler upon one of the long, sturdy tables. Smiling menacingly amidst the tourists and hikers come to catch a few moments rest by the enormous fireplace. All work and no play …
The great coup of The Shining was its replacement of Stephen King’s extensive backstory with a brooding atmosphere and a churning sense of doom. Mr. King allegedly hated it, but the rest of us fell in love with the film. No other film adaptation of Mr. King’s work risen to the mark that Stanley Kubrick set.
Now, Mr. Kubrick was a hell of a still photographer in his own right, and, for my money, it is no coincidence that he possessed a preternatural capability for creating mood. The greatest trick in still photography is to create a sense of place, to render a three-dimensional, flesh and blood world in the rectangular space of an emulsion or a computer screen replete with a taste of the subject’s emotive power. Now, there can be no argument that Mr. Kubrick achieved at least that throughout the film.
For my own part, I am fascinated with the reality that serves as the foundation for imagination and dreams. I’ve spent considerable time photographing The University of Chicago both because it served as the backdrop for a decade my own adventures and because it carries with it a germ of Oxford, one of many templates for Hogwart’s.
I can be forgiven then for long planning to shoot the Ahwahnee interiors. “But,” I always asked myself, “how to capture the silence and desolation that so defined the film?” How could I turn The Ahwahnee into The Overlook?
The answer came with a winter bug that laid me low. Feeling feverish and fortunate enough to be a guest, I sneaked out of bed late one night, closed the door gently behind me, and stepped into the long, carpeted hallways of The Overlook Hotel.
As I said previously, this was Stanley Kubrick's own typewriter. It is, however, uncertain, if he also used this to write the first draft screenplay to "The Shining." Or, if he used it for his previous screenplays, as the typeface to "Barry Lyndon" looks different, as it did for "Napoleon." Many famous writers have had their typewriters become museum pieces. Stanley Kubrick must be the first person to have as a museum piece a typewriter that is supposed to belong to a failed writer who tries to kill his family. He would no doubt find this amusing if he were still around.
Hey everyone! Sorry to be gone for a while, but I was down in Colorado.
What were you doing in Colorado, I hear you ask.
Well I took a job helping out the caretaker of this old hotel. Unfortunately, some of the hotel merchandise got damaged... ok, destroyed, so they sent me back.
On the good side of things, in the next little while I'll be posting a new set of shots: the Stanley Hotel Ghost Hunt.
Yes, we went to the home of The Shining, the Stanley Hotel, and hunted around for some ghosts! Some odd things happened and will pass on the stories, but the real finds are the pictures of that amazing hotel and the beautiful Colorado landscapes.
Ok, yeah, we didn't find any ghosts. Although I do have one picture with a weird shadow (again) so far that I've found going through the shots, and some of the other people we met there had some odd things happen to them.
I'll be posting it all soon. Glad to be back and looking forward to seeing everyone's shots!
Oh, and in case you were wondering, that is the actual door from The Shining miniseries (not the film) that was used for filming. Some things... and some guests... never leave the Stanley Hotel.
Cheers!
B Deck Corridor leading to lots of rooms and suites aboard the P&O Cruises cruise ship MV (Motor Vessel) Britannia.
Reminds me of that movie 'The Shining' and Room 237 etc.. ;-)
Photograph courtesy, copyright and taken by my regular photostream contributor David and is posted here with very kind permission.
From 46:53 of The Shining. Cf. this annotated storyboard of the shot.
"THERE IS NO OTHER WAY TO DO IT REPEAT NO OTHER WAY"
The Stanley Hotel in Estes Park, Colorado served as Stephen King's inspiration for his novel The Shining.
I felt the photo needed to be expansive with the hotel being prominent but not focal. I wanted to try and recreate the feelings of loneliness, despair and desperation that were so prevalent as I read the book and watched both film adaptations. That was pretty hard to achieve considering out of frame, below the hotel is a bustling tourist town.
I recommend anyone who is into psychological horror as opposed to the snuff porn that passes for horror these days, give the book a chance. Then the Stanley Kubrik film. Then the ABC event. In that order.
I also have a textured version that has an even creepier look and feel that I may post later on.
Best viewed in BlackMagic
How Stanley Kubrick's Editing Conveys a Horrifying Supernatural Vision in The Shining
by Adam Polselli
Copyright © 1980 Warner Bros. Entertainment Inc.
Proyecto El Cinefilo
14/26
Wendy, I have let you fuck up my life so far, but I am not gonna let you fuck this up!
Jack Torrance
Para esta foto utilicé algo parecido a la técnica de Brooke Shaden para sus cosas flotando, la vi en un video de su canal en youtube que me pasó Kryzz (gracias).
Gracias a Juane, por posar y ser mi primer asesor técnico, a Izzie por enseñarle actuación a su papá, a Aglaia y Cristina por su apoyo técnico en la edición.
Estes Park, Colorado
September 18th, 2018
All photos © Joshua Mellin per the guidelines listed under "Owner settings" to the right.
Throwback Thursday photos fitting for Halloween. Channeling Wednesday Addams meets The Shining twins with my friend Liz.
Found this story on the web:
When The Stanley Hotel in Estes Park, Colo., opened in 1909, founder F.O. Stanley marked the occasion by presenting his wife Flora with a Steinway grand piano. Since that time, the hotel has had a long tradition of bringing great music to the Rockies. In the early 1980s, the hotel’s night manager was on duty during an electrical storm. The lobby was deserted on the dark and stormy night, but he was sure he could hear the strains of music. Taking a walk through the lobby, he noticed that the lights were on in the Music Room. As he approached the doorway, he could clearly see the piano keys moving, filling the room with music. Once he crossed the threshold, the music abruptly stopped.
www.historichotels.org/eerie_archive
Just as a note, if you were standing at the lobby entrance to the Music Room and the Piano was in the position you see here, it would be very hard to see the keys. If you look back at the shot of the Music Room posted earlier that's taken from just inside the lobby door.
But maybe the night manager had good eyes, or possibly the piano was turned more towards the door, who knows! ;-)
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SOOC
Hi everyone!
Well, here I am, trapped in a hotel in Amsterdam due to a problem with my fly connection to Mexico, now I have to spend the night here and wait for my fly tomorrow at 14:00.
The hotel is kind of fancy and the food is really good, but which took my attention was the corridors and immediately I felt myself like walking into the Overlook Hotel from "The Shining" movie... yeah, I love horror movies...
Well, now time go relax and sleep, tomorrow the fly will be long so, better go to bed now...
Sweet dreams you all!
The replica of the Stanley Hotel was created into a dollhouse and used in the filming of The Shining Miniseries that was filmed here at the hotel in 1995. ABC, the production company, built two dollhouses in order to film the scene of the hotel burning down. The first take was successful and the second dollhouse was not needed, so ABC gave it to the Stanley Hotel.
The Stanley Hotel, located at 333 Wonder View Avenue within sight of the Rocky Mountain National Park, was built and designed by Freelan O. Stanley and opened on July 4, 1909. Forced by poor health to move West, F.O. Stanley, co-inventor of the Stanley Steamer automobile, arrived in Estes Park in 1903. In 1907, he purchased 160 acres of land from Lord Dunraven and began construction on the Main Building of the hotel, one of 11 in the original complex, with timber cut from the Bear Lake burn in 1900 from land now known as Rocky Mountain National Park. The hotel, which initially included an ice pond, a water reservoir, and a 9-hole golf course, catered to the rich and famous, including early guests like Titanic survivor Margaret Brown, John Philip Sousa, Theodore Roosevelt, and the Emperor and Empress of Japan. Today, the neoclassical hotel sits on 55 acres of property with 138 guest rooms.
The Stanley Hotel is most iconic for serving as the inspiration for the fictional Overlook Hotel in Stephen King's novel, The Shining. King conceived the idea for his third novel while staying at an empty Stanley at the end of a season with his wife. Contrary to information sometimes published, King was living in Boulder at the time and did not actually write the novel at the hotel. The Shining tells the story of a writer with a wife and son who accept the job of off-season caretaker at an isolated hotel, and after a paralyzing storm becomes influenced by the supernatural presence and descends into madness. The 1997 ABC television miniseries, The Shining, was filmed at the Stanley, although Mount Hood, Oregon's Timberline Lodge, stood in as the Overlook for Stanley Kubrick's cinematic version, which is played on a continous loop on Channel 42 on guest room televisions.
Many believe that the Stanley's haunted history is not relegated to the fictional realm. It is believed that Flora, Stanley's wife, continues to play the Steinway Grand Piano, still located in the ballroom, that he bought her for the grand opening in 1901. People have reported hearing piano music, and seeing the piano keys move but someone crosses the threshold of the ballroom, the music stops. F.O. Stanley is believed to haunt the Billiard Room and Lobby. Lord Dunraven reportedly can be spotted in room 407, where he turns the lights off and on and makes strange noises. The fourth floor hallways are said to be haunted by ghost children. Kitchen staff have reported hearing a party going on in the ballroom, only to find it empty. In one guest room, people claim to have seen a man standing over the bed before running into the cupboard. This same apparition is allegedly responsible for stealing guests' jewellery, watches, and luggage.
National Register #85001256 (1985)
Kubrick's films have been examined exhaustively, especially since "2001," to find any "hidden meanings" in the way a set looks, or a painting on a wall in the background, or the choice of a costume, such as this one. There has been an interpretation going around that this sweater signifies Kubrick's "atonement" for having "faked" the Apollo 11 lunar landing. In other words, there is someone who has gone on-line saying that Kubrick was hired by NASA to film a fake moon landing in July of 1969, and this sweater in "The Shining" is some "secret message" to the audience that is an apology for having done so. If anyone has seen the "documentary" (I put it in quotation marks because I don't think much of its professionalism as a documentary) "Room 237" they will see this bit of information in there.
Swiftcurrent Lake surrounded by mountains at Many Glacier in the northeast corner of Glacier National Park in western Montana.
Porst Compact Reflex SP with the Vivitar f/3.8 20mm wide angle lens on Arista EDU 400 35mm film (rebranded Czech Fomapan).
You’re scared of room 237, ain’t ya?
A longtime and diehard fan of Stanley Kubrick’s The Shining and a bona fide Yosemite junkie, I’ve always viewed the interior of the Ahwahnee Hotel with a mixture of awe and dread. One can be forgiven if—upon first entering the grand hotel—he feels as though he’s just stepped from what John Muir called “the great temple,” into the lobby and great hall of the horrible Overlook Hotel. In fact, if there is a break in the illusion, it is that the common spaces of the Ahwahnee, rather than pregnant with foreboding silence, are overflowing with visitors.
This resemblance is no accident of course. Mr. Kubrick designed his set (especially the Colorado Room and the lobby) to mimic the Ahwahnee, and indeed, I have a hard time seeing the chandeliers, rugs, tables and windows of this hotel without imagining Mr. Torrance clacking away upon his Adler upon one of the long, sturdy tables. Smiling menacingly amidst the tourists and hikers come to catch a few moments rest by the enormous fireplace. All work and no play …
The great coup of The Shining was its replacement of Stephen King’s extensive backstory with a brooding atmosphere and a churning sense of doom. Mr. King allegedly hated it, but the rest of us fell in love with the film. No other film adaptation of Mr. King’s work risen to the mark that Stanley Kubrick set.
Now, Mr. Kubrick was a hell of a still photographer in his own right, and, for my money, it is no coincidence that he possessed a preternatural capability for creating mood. The greatest trick in still photography is to create a sense of place, to render a three-dimensional, flesh and blood world in the rectangular space of an emulsion or a computer screen replete with a taste of the subject’s emotive power. Now, there can be no argument that Mr. Kubrick achieved at least that throughout the film.
For my own part, I am fascinated with the reality that serves as the foundation for imagination and dreams. I’ve spent considerable time photographing The University of Chicago both because it served as the backdrop for a decade my own adventures and because it carries with it a germ of Oxford, one of many templates for Hogwart’s.
I can be forgiven then for long planning to shoot the Ahwahnee interiors. “But,” I always asked myself, “how to capture the silence and desolation that so defined the film?” How could I turn The Ahwahnee into The Overlook?
The answer came with a winter bug that laid me low. Feeling feverish and fortunate enough to be a guest, I sneaked out of bed late one night, closed the door gently behind me, and stepped into the long, carpeted hallways of The Overlook Hotel.
This mural, by street artists Ink76 and Rebel NSA, on the corner of Delevan Street and Van Brunt Street, features SIENIDE's depiction of the Jack Nicholson characters, the Joker from Batman and Jack Torrance from The Shining.
The inspiration for Stephen King's "The Shining". The Ghost Hunters crew are inside signing autographs on this night
You’re scared of room 237, ain’t ya?
A longtime and diehard fan of Stanley Kubrick’s The Shining and a bona fide Yosemite junkie, I’ve always viewed the interior of the Ahwahnee Hotel with a mixture of awe and dread. One can be forgiven if—upon first entering the grand hotel—he feels as though he’s just stepped from what John Muir called “the great temple,” into the lobby and great hall of the horrible Overlook Hotel. In fact, if there is a break in the illusion, it is that the common spaces of the Ahwahnee, rather than pregnant with foreboding silence, are overflowing with visitors.
This resemblance is no accident of course. Mr. Kubrick designed his set (especially the Colorado Room and the lobby) to mimic the Ahwahnee, and indeed, I have a hard time seeing the chandeliers, rugs, tables and windows of this hotel without imagining Mr. Torrance clacking away upon his Adler upon one of the long, sturdy tables. Smiling menacingly amidst the tourists and hikers come to catch a few moments rest by the enormous fireplace. All work and no play …
The great coup of The Shining was its replacement of Stephen King’s extensive backstory with a brooding atmosphere and a churning sense of doom. Mr. King allegedly hated it, but the rest of us fell in love with the film. No other film adaptation of Mr. King’s work risen to the mark that Stanley Kubrick set.
Now, Mr. Kubrick was a hell of a still photographer in his own right, and, for my money, it is no coincidence that he possessed a preternatural capability for creating mood. The greatest trick in still photography is to create a sense of place, to render a three-dimensional, flesh and blood world in the rectangular space of an emulsion or a computer screen replete with a taste of the subject’s emotive power. Now, there can be no argument that Mr. Kubrick achieved at least that throughout the film.
For my own part, I am fascinated with the reality that serves as the foundation for imagination and dreams. I’ve spent considerable time photographing The University of Chicago both because it served as the backdrop for a decade my own adventures and because it carries with it a germ of Oxford, one of many templates for Hogwart’s.
I can be forgiven then for long planning to shoot the Ahwahnee interiors. “But,” I always asked myself, “how to capture the silence and desolation that so defined the film?” How could I turn The Ahwahnee into The Overlook?
The answer came with a winter bug that laid me low. Feeling feverish and fortunate enough to be a guest, I sneaked out of bed late one night, closed the door gently behind me, and stepped into the long, carpeted hallways of The Overlook Hotel.
How Stanley Kubrick's Editing Conveys a Horrifying Supernatural Vision in The Shining
by Adam Polselli
Copyright © 1980 Warner Bros. Entertainment Inc.