A well-crafted psychological tale of slow derangement

Rating: 9/10 (16 September 2002)

Like most of Kubrick's works, The Shining works on you after the initial viewing. The sounds, the images, the dialog resonant  almost hauntingly in this case. Many were disappointed by this film when I first saw it in 1980. But, such is the case with all of Kubrick's efforts after Dr. Strangelove. Upon further review and the required multiple viewings you find yourself humming the tunes, chuckling at many of Jack Nicholson's lines, and reveling at several of the film's brilliant images and steady-cam shots. Nicholson and Shelly Duvall both give terrific performances. Duvall's has been particularly underrated. Try sustaining the sense of sheer vulnerable terror that she does throughout the second half of the film and you'll see what I mean. The carefully selected music accompanying the film is among the best of any movie in history. It is a crime that there is no `official' digital soundtrack available  though there are a couple of decent bootlegs out there if you look hard enough. Those expecting to find the traditional horror flick in the vane of Stephen King's novel will be disappointed. This is horror Stanley Kubrick style. It is a well-crafted psychological tale of slow derangement, of helpless isolation, of the traces of the past that linger on to speak to those with the mind to listen  those who `shine' - whether they want to or not. It's not the `boo' that scares you, it's the effective build-up and juxtaposition using all that the film medium provides to place the viewer inside a metaphysical construct. Audiences aren't used to this approach to the horror film. They are accustomed to surprise and in-your-face abruptness. The Shining is more subtle. And it lingers. Much like all those things that have never escaped the lure of the Overlook Hotel itself.