shining.pdf

25 Things You Might Not Know About The Shining
 1. DIRECTOR STANLEY KUBRICK HAD AN INTEREST IN HORROR WELL BEFORE HE MADE THE SHINING. Kubrick is known for his forays into different genres—and horror was a genre that piqued his interest. In the early '70s, he was in consideration to direct The Exorcist. But he ended up not getting the job because he only wanted to direct the film if he could also produce it. Kubrick later told a friend that he wanted “to make the world’s scariest movie, involving a series of episodes that would play upon the nightmare fears of the audience.” 2. THE FILM WAS INSPIRED BY AN EPISODE OF OMNIBUS. In 1952, Kubrick worked as the second unit director on one episode of the television seriesOmnibus. But it was a different episode, about poker players getting into a fight, that inspired parts of The Shining. According to Kubrick, “You think the point of the story is that his death was inevitable because a paranoid poker player would ultimately get involved in a fatal gunfight. But, in the end, you find out that the man he accused was actually cheating him. I think The Shining uses a similar kind of psychological misdirection to forestall the realization that the supernatural events are actually happening.” 3. KUBRICK DIDN'T EVEN READ A SCREENPLAY THAT STEPHEN KING WROTE...

According to one of Kubrick’s biographers, David Hughes, King wrote an entire draft of a screenplay for The Shining. Kubrick didn’t even deem it worth a glance, which makes sense as he once called King’s writing “weak.” Instead, Kubrick worked with Diane Johnson on the screenplay because he was a fan of her book, The Shadow Knows. The two ended up spending eleven weeks working on the script.
 4. ...BUT KUBRICK STILL HAD QUESTIONS FOR KING... This is a legendary story that King apparently still tells at some book readings. Stanley Kubrick called him at seven in the morning to ask, “I think stories of the supernatural are fundamentally optimistic, don’t you? If there are ghosts then that means we survive death.” When King responded with the question of how hell fit into that picture, Kubrick simply responded, “I don’t believe in hell.” 5. ...THEN KING DIDN’T EVEN LIKE THE MOVIE. King told Playboy in 1983, “I’d admired Kubrick for a long time and had great expectations for the project, but I was deeply disappointed in the end result. Parts of the film are chilling, charged with a relentlessly claustrophobic terror, but others fell flat.” He didn’t like the casting of Jack Nicholson either, claiming, “Jack Nicholson, though a fine actor, was all wrong for the part. His last big role had been in One Flew Over the Cuckoo’s Nest, and between that and the manic grin, the audience automatically identified him as a loony from the first scene. But the book is about Jack Torrance’s gradual descent into madness through the malign influence of the Overlook—if the guy is nuts to begin with, then the entire tragedy of

his downfall is wasted.”
 6. HE HIRED HIS FAMILY. The executive producer of the film was Kubrick’s brother-in- law, Jan Harlan. Christiane Kubrick and Vivian Kubrick, his wife and daughter respectively, helped with both the design and the music—though Vivian might be more well-known for the on-set documentary that she made titled, The Making Of The Shining. The 30-minute film, which aired on the BBC, was a very rare look into Kubrick’s directing styles. You can watch it above. 7. KUBRICK WASN’T THERE FOR LOCATION SHOOTS. Kubrick hated to fly and refused to leave England towards the end of his life—so he was not in attendance when the opening credits of The Shining were shot. A second unit crew headed to Glacier National Park in Montana where they filmed from a helicopter. 8. ROOM 217 WAS SWITCHED TO ROOM 237 AT THE REQUEST OF THE TIMBERLINE LODGE. In the book, the spooky events are set in Room 217, not Room 237. The Timberline Lodge, which was used as the hotel’s exterior for some shots, is to blame for this swap. The Lodge’s management asked for the room number to be changed so that guests wouldn’t avoid Room 217. There is no Room 237 in the hotel, so that number was chosen. The website of The Timberline Lodge notes, “Curiously and somewhat ironically, room #217 is requested more often than any other room at Timberline.”

9. “ALL WORK AND NO PLAY MAKES JACK A DULL BOY” HAS MANY DIFFERENT TRANSLATIONS. The iconic sentence actually changes meaning for foreign translations of the film, at Kubrick’s request. In German versions, the phrase translates to: “Don’t put off till tomorrow what you can do today.” The Spanish translation is: “Although one will rise early, it won’t dawn sooner.” In Italian: “He who wakes up early meets a golden day.” 10. THERE’S A LEGEND THAT KUBRICK ACTUALLY TYPED ALL OF THOSE “ALL WORK” PAGES. No one is quite sure whether Kubrick typed 500 pages of “All work and no play makes Jack a dull boy.” Kubrick didn’t go to the prop department with this task, using his own typewriter to make the pages. It was a typewriter that had built-in memory, so it could have turned out the pages without an actual person. But the individual pages in the film contain different layouts and mistakes. Some claim that it would have been characteristic of the director to individually prepare each page. Alas, we’ll never know—Kubrick never addressed this question before he died.
 11. THERE’S A HIDDEN PLAYGIRL MAGAZINE IN THE FILM. Kubrick is famous for being a particularly detail-oriented director. So when Jack Torrance is seen reading a Playgirl in the lobby of the Overlook before he gets hired, it’s probably not meaningless. There is an article in the issue about incest, so the most common theory is that Kubrick was subtly implying that Danny may have experienced sexual abuse. Another articleadvertised on the cover is “Interview: The Selling

of (Starsky & Hutch’s) David Soul.” Perhaps Kubrick was throwing in some extra foreshadowing. Regardless, no normal hotel leaves copies of Playgirl lying around, so the magazine serves as an immediate red flag in the film.
 12. DAN LLOYD, WHO PLAYED DANNY IN THE FILM, HAS ONLY BEEN IN THIS FILM. The Shining seemed to introduce a promising child star in Dan Lloyd. He ended up having a role in a TV film two years later, but that was the extent of his acting career. “We kept trying for several years ... until I was in high school and I stopped at about 14 with almost no success,"he told the New York Daily News. 13. YOUNG DAN LLOYD DIDN’T KNOW HE WAS FILMING A HORROR MOVIE. To protect Dan, who was 5 when he made the film, Kubrick told him that they were filming a drama. He didn’t even see the actual film until he was 16. He said later, “I just personally don’t find it scary because I saw it behind the scenes. I know it might be kind of ironic, but I like funny films and documentaries.”
 14. JACK NICHOLSON IMPROVISED THE LINE, “HEEEERE’S JOHNNY.” Jack Nicholson is responsible for the only line from The Shining to make it onto AFI’s Top 100 Movie Quotes. While filming the scene in which Jack breaks down a bathroom door with an axe, Nicholson shouted out the famous Ed McMahon line from The Tonight Show Starring Johnny Carson. The catch phrase worked and stayed in the film. Some behind-the- scenes footage, which can be seen here, shows

Nicholson’s method acting before filming the iconic scene.
 15. JACK NICHOLSON WROTE A SCENE.
 In addition to improvising one of the most famous lines of the film, Nicholson actually wrote an entire scene. He felt a particularly deep understanding of Jack Torrance's berating of his wife while he’s trying to write.
 In an interview with the New York Times, Nicholson explained, “That’s what I was like when I got my divorce. I was under the pressure of being a family man with a daughter and one day I accepted a job to act in a movie in the daytime and I was writing a movie at night and I’m back in my little corner and my beloved wife Sandra, walked in on what was unbeknownst to her, this maniac—and I told Stanley about it and we wrote it into the scene.”
 16. SHELLEY DUVALL AND STANLEY KUBRICK DID NOT GET ALONG. Though he had a good relationship with Nicholson, Kubrick was notoriously brutal on Shelley Duvall during filming. In her words, “From May until October I was really in and out of ill health because the stress of the role was so great. Stanley pushed me and prodded me further than I’ve ever been pushed before. It’s the most difficult role I’ve ever had to play.” The scene in which Wendy is swinging a bat at Jack is an example of this pushing. The scene actually made it into The Guinness Book of Records because it took 127 takes, the most for a scene with spoken dialogue. 17. SLIM PICKENS WAS OFFERED THE ROLE OF DICK HALLORANN. Pickens had already worked with Kubrick before. He played Major T. J. King Kong in Dr. Strangelove or: How I Learned to Stop Worrying and

Love the Bomb. Regardless, he was a particularly strange pick for the role of Dick Hallorann because the character is black in the book. Pickens chose to not work with Kubrick again, as he did not like the strenuous Dr. Strangelove shoots. The role then went to Scatman Crothers. 18. THE OVERLOOK HOTEL DOESN’T MAKE SENSE SPATIALLY. Observant Shining fan Rob Ager noticed that there are many aspects to the set of The Overlook Hotel that make no sense. For example, Ullman’s office has a window to outside, but there are rooms surrounding the office, making that window impossible. This is the case for many of the windows in the film —they don’t work in context. There is also a hallway in the Colorado Lounge that essentially appears out of nowhere. Ager created a video in which he maps out the nonsensical visuals. The executive producer of The Shining, Jan Harlan, has stated that this was intentional. “The interiors don’t make sense," he said in 2012. "Those huge corridors and ballrooms couldn’t fit inside. In fact, nothing makes sense.” 19. MUCH OF THE SET BURNED DOWN. Toward the end of shooting, a fire broke out and destroyed multiple sets. According to the set still photographer, “It was a huge fire in there one night, massive fire, we never really discovered what caused that fire and it burned down two soundstages and threatened a third at Elstree Studios. It was an eleven alarm fire call, it was huge.” The rebuild of one of these soundstages cost an estimated $2.5 million.

There’s a famous picture of Kubrick laughing in front of this wreckage. Perhaps he’s laughing because he knows the novel ends with The Overlook Hotel burning down. 20. NINE HUNDRED TONS OF SALT WERE USED TO MAKE THE FILM. And that was just for the final scene! At the end of The Shining, Jack chases young Danny through a snow-covered hedge maze before finally dying. To create the elaborate, wintery maze, it took a lot of salt and crushed Styrofoam. 21. THE FILM TOOK FIVE YEARS TO MAKE. Kubrick is notorious for his lengthy film productions. Sources differ on how long shooting itself lasted, but it probably went on for almost a year. Around the time he was making the film, Kubrick said, “There is a wonderful suggestive timeliness [that the structure] of making a movie imposes on your life. I’m doing exactly the same as I was doing when I was eighteen and making my first movie. It frees you from any other sense of time.” 22. THERE IS AN ORIGINAL, DIFFERENT ENDING. It’s not uncommon for a film’s ending to change in post- production, but Kubrick changed the ending of the film after it had been playing in theaters for a weekend. The film version is lost, but pages from the screenplay do exist. The scene takes place after Jack dies in the snow. Ullman visits Wendy in the hospital. He tells her, “About the things you saw at the hotel. [A lieutenant] told me they’ve really gone over the place with a fine tooth comb and they didn’t find the slightest

evidence of anything at all out of the ordinary.” He also encourages Wendy and Danny to stay with him for a while. The film ends with text over black, “The Overlook Hotel would survive this tragedy, as it had so many others. It is still open each year from May 20th to September 20th. It is closed for the winter.”
 Roger Ebert deemed the cut a good decision. According to him, “Kubrick was wise to remove that epilogue ... it pulled one rug too many out from under the story.”
 23. IT WAS KUBRICK’S NEXT FILM AFTER HIS WORST- RECEIVED FILM,BARRY LYNDON.
 Things weren’t looking good for Kubrick after Barry Lyndon was released in 1975. Film reviewer Tim Robey notes, “It was not the commercial success Warner Bros had been hoping for.” The film cost $11 million to make and earned $9.5 million in the United States, though it did have a good life in foreign box offices. According to Hughes, the film would have had to earn $30 million to be profitable.
 The Shining did a lot better financially. The film cost $19 million to make and it went on to earn $47 million in the United States. It was one the top ten highest-grossing films of 1980.
 24. IT HAS INSPIRED MANY CONSPIRACY THEORIES.
 So many film theorists have their own takes on The Shining that these conspiracies star in their own film: the documentary Room 237. One theory is that Kubrick helped to fake the moon landing and The Shining is his confession. Another claims that the film is truly about the genocide of Native Americans. Yet another theory reads the film as a story about the Holocaust and concentration camps.
 Leon Vitali, Kubrick’s personal assistant during filming, has since denied these theories. Hesays of the documentary, “I was falling about

laughing most of the time. There are ideas espoused in the movie that I know to be total balderdash.”
 25. ITS MOST FAMOUS FAN SITE IS RUN BY TOY STORY 3 DIRECTOR, LEE UNKRICH.
 Unkrich runs The Overlook Hotel, which contains tons of pictures and behind-the-scenes information about the film. “I started the site purely for selfish reasons," he said. "I’ve been collecting stuff from The Shining over the years, and I just wanted to have one place where they could be organized.” Unkrich was also one of the people who helped fund the Room 237documentary.
 But, undeniably the most fun part about Unkrich’s Shining obsession is finding the hidden references in Toy Story 3. Sid’s carpet is very similar to a carpet in the Overlook Hotel. A garbage truck’s license plate reads “RM237.” And Trixie chats online with a dinosaur toy down the street who happens to have the screen name “Velocistar237.” What happened to Jack in the end of the movie? One of the most puzzling questions in The Shining has always been; what happened to Jack at the end of the movie?
 In Stephen King’s novel he dies in a boiler explosion inside The Overlook, but nothing that simple happens here. In another undeniable Kubrickian reversal of the source novel at the end of the movie we see him frozen solid outside of The Overlook. But what may have been also included in the first directors cut, and later removed, is that his body couldn’t be found by the police. This is very important. His body just disappears and to answer the question we should look at something else first; was Jack ever in the hotel before?

What would lead us to believe Jack’s been to The Overlook before as he definitely wasn’t there before in Stephen King’s novel? Early on he says this to Wendy, “It was as though I had been here before” but this statement doesn’t really prove anything. Grady’s famous line, “I'm sorry to differ with you, sir, but you are the caretaker. You have always been the caretaker, I should know, sir. I've always been here” cannot be used as proof that Jack’s returned because his visions of Grady are a product of his own imagination, combined with his growing madness coupled with his ability to “Shine”. If The Overlook is speaking to him through Grady it can’t be believed because as Danny states in Stephen King’s novel, “The house always lies”. Then we see it! Jack appears standing in The Overlook in the last picture of the movie dated July 4th 1921. Ask anybody who’s seen "The Shining" if Jack Torrance has ever been there before and they will all use this picture as the one irrefutable example of it.

“Of course he was, I’ve seen a picture of him with a date under it from 1921, I’m absolutely sure of it, it has to be; Are you f’ing crazy?” The audience has been masterfully manipulated, this is just too easy. On the surface the picture is just to easy to interpret and as I’ll show you Stanley Kubrick’s put specific suggestions in our heads throughout the movie; Jack has never been in the hotel before, hasn’t returned, and isn’t Grady reincarnated. No matter how hard you say, “I believe, I believe” it just isn’t so; we’ve been manipulated by a master. Any serious discussion of this film must address what happens in the last scene and can’t be considered complete without it. We’ve seen throughout the movie that whenever someone “Shines” something moves, changes color or disappears whether inside or outside of The Overlook. Just about all of the props in the last shot except the ceiling

and floor have changed, and this alters everything because the question has to be; Who did it now? The cast members have all gone. But you must ask yourself; am I the one seeing the vision this time with the song "Midnight, The Stars and You" playing in my ears? The chairs are now covered maybe indicating that “The Caretaker” is gone and there are more no invisible entities sitting around on them. The Gold Room sign moves across the floor from left to right but hasn’t changed with the same 2 artist’s pictures on it (indicating to me that we’re still in the present time frame and not in the past, or in some recurring BS sci-fi time warp). The 2 mirrors on the sides of the 21 pictures are gone, replaced by Indian artwork, and the red couch, another place to sit, has now disappeared. Lastly, don't forget there’s the most important alteration in the whole movie (maybe of any movie ever), the 21 pictures on the wall. They’re entirely different from what was in this spot when we’ve seen it several other times throughout the movie and the most puzzling image of all time dead center, “Overlook Hotel July 4th Ball 1921”, just wasn’t there before this last shot of the movie. No one ever noticed this. How could all the pictures be different? Anyone who doesn’t realize by now that all the cast members in this movie have a very special ability may be hopelessly thick. They can see visions, speak together telepathically, change the colors of possessions and surroundings, and they can move objects without touching them.

This is what the movie is about and it’s obvious someone used this special power and “Shined” that picture onto the wall at the end of the movie, but everyone in the story with the power is either dead or has left the building; Do you know who did it this time? Stanley Kubrick has added yet another brilliant twist to this movie (maybe the greatest hidden twist in movie history); In the end as the camera zooms in on the center picture we, the audience, are the only ones there in the lobby, and we become an integral part of the movie. Jack was never in The Overlook in 1921 but we, never realizing that it’s us doing it, “Shine” him to the spot on the wall where we believe he was and belongs; back into the Overlook’s past. In the end he doesn’t exist anymore. Nothing more, nothing less. We’ve turned him into just a picture on a wall. Now he’s where he belongs, in the Overlook, frozen for all time, “for ever and ever and ever”. Throughout this entire movie we’ve been guided by the art of Stanley Kubrick’s simple suggestions and are unshakenly positive in our belief that Jack Torrance was in a past life, Grady, The Overlook’s caretaker. In the end, again, we’re seeing a reflection of what we thought was real. Anyone who erroneously tries to explain why this picture, the most enigmatic prop in movie history, isn’t there for 99% of the movie as a movie mistake or continuity error is insulting Mr. Kubrick’s intelligence, and just doesn’t get this movie. This must have a valid and plausible explanation. No one would go through the trouble of finding an authentic picture from 1921, as stated in his interview with Michel Ciment, and then forget to hang it up till the end of the movie. Come on, get real. Jack was never

there before, but he sure is now, “for ever and ever and ever”; and you did it. There’s a classic episode of “The Twilight Zone” from 1961 that reminds me of all this, and I bet Stephen King or Stanley Kubrick must have seen it. In “It's a Good Life”, Billy Mumy plays a child who has a special power that will look very familiar if you ever get to watch it. He’s totally evil and is able to transform people he doesn’t like into inanimate objects at will. If you ever get to see this episode you’ll know why the picture isn’t there for most of the movie and what power transformed the 21 pictures on the wall in the end. It will also become very clear who did it. But it’s so obvious; Jack’s been reincarnated. Everyone believes he’s been in The Overlook before. This is the enormous power held in this one enigmatic image. The image of Jack standing there is almost like a religious icon. There’s a weird kind of faith people have in it, that it’s telling us he’s been in The Overlook before. It's unshakable. The audience must be aware of the visual inconsistencies contained in that picture though. They can’t be explained away or ignored, and I believe they prove that he’s never been there before. Unfortunately Stanley Kubrick will be no help whatsoever in trying to understand what’s going on in the end of “The Shining”. Look carefully at what Stanley Kubrick said about this scene in his interview with Michel Ciment. He could have told Michel exactly what the ballroom picture means, but instead he cleverly says this; “The ballroom photograph at the very end suggests the reincarnation of Jack”. What

an interesting choice of words he uses as the definition of ‘suggests’ is to cause one to think that something exists. The implication here is obvious. He wants Michel Ciment, as well as the rest of us, to “think that something exists” or else he simply wouldn’t have used that word. Everyone is positive they have the answer to the most puzzling question in this movie because the power of this one image, and what it says, is unbelievable. But look closely at Jack in the final picture. The Overlook's caretaker worked in the winter. It’s a total paradox. July 4th is in the summer and Jack wouldn’t have been there. He isn’t the caretaker in that picture either if you look closely he’s The Manager. It isn’t even July 4th, as the only identifiable object seen there would obviously make us think of a New Year’s Eve party. Unless you're someone who uses New Years Party favors in the summer. And what happened to all the other caretakers that had to have worked in between and before Jack and Grady? It can be just as powerful in a movie but we see this in life all the time; the amazing power of a single image. Stanley Kubrick purposely created a cinematic enigma that he knew viewers would be trying to understand for a very long time. In a beautifully simple way he made it as hard as possible to figure out because the more you look, the more you notice. And the more you notice, well.... No one can argue this fact though; he released a work that looked exactly the way he wanted it to. It was planned out ahead of time and what we see on the screen was placed there purposely. It is what it is. What we see can’t be changed and has to be the foundation of any attempted explanation.

If you just want to enjoy “The Shining” on a basic level what I’ve shown here won’t matter to you, but if your desire is to delve into a deeper understand of this work you’ll need to look very carefully at this picture. I stated before I don’t believe Jack’s ever been in The Overlook before. It’s the reverse of what everyone else believes but everything needed to prove my seemingly outrageous statement is there in the picture. It must be looked at and any examination of the last shot in “The Shining” that doesn’t acknowledge or attempt to explain these three obvious facts is intentionally incomplete. The first problem as I stated before is the definition of reincarnation; the rebirth of a soul in a [new] body. Jack is still in the same body and this can’t be changed; by the very definition he hasn’t been reincarnated. Second, there’s one glaring problem with the July 4th picture that hardly anyone has ever realized, yet can’t be ignored. If Jack is the reincarnated caretaker from the Overlook’s past, or for that matter if he has ever been there in a previous life, than the picture had to have been taken in The Overlook. It may say “Overlook Hotel July 4th Ball 1921” but the party depicted in the picture quite simply isn’t in any room of The Overlook. We’ve seen all the big rooms in the hotel and there's absolutely no indication of another one either in the movie or the novel. This is no mistake. It’s such a brilliant yet simple deception. Stanley Kubrick makes us believe the photo was taken in The Overlook by what’s written on it. Anything can be written on a picture but it doesn’t make it true. Kubrick aficionados can jump up and down, throw tantrums, spit blood, or spin their heads like Regan from the Exorcist, but it will

not change a thing. The place depicted in the picture is just not The Overlook. Stanley Kubrick planned it this way and this picture simply cannot be used as proof that Jack has ever been in The Overlook before in this or any other lifetime because it’s obvious, the picture has been taken somewhere else. The “somewhere else” Stanley Kubrick may have had in mind might be an interesting thing to ponder though. Again we must return to what I showed you before. The third and most important thing about this picture that I bet you never noticed until now is; it’s not there on the wall at any other time in the movie. The most enigmatic prop in movie history just appears on the wall in the last shot? I believe someone “Shined” it up there. After all “Shining” is what this story is about, not reincarnation and there’s not a shred of evidence that any supernatural power other than “Shining” is going on here. Something else happened to Jack Torrance at the end of this story. We still see him in the same body; it’s not reincarnation as the definition of the word is very precise. Jack's never been in The Overlook before and the final picture wasn’t there earlier in the movie because, in the story’s time line, what it depicts simply hasn’t happened yet. It’s our vision of Jack’s future that Stanley Kubrick made to look like the past, and it happens at the very end of the story when all the cast members with this power are gone. He’s been frozen again a second time, for the rest of time. “Shined” onto a wall in a hotel where he will be “for ever, and ever, and ever”.

Look at all the major reversals Stanley Kubrick made to Stephen King’s story. In the novel Jack burns to death, The Overlook is destroyed and

no one remains there. In the movie The Overlook is not destroyed, Jack is frozen and remains there on the wall forever. It’s obvious, but old perceptions die- hard and again a knee-jerk explanation for all this is that the picture has mistakes in it. But Stanley Kubrick doesn’t make “mistakes” like this without a reason and anyone who thinks he does should be prepared to prove how they know this for a fact. “The Shining” was released looking exactly the way he wanted it to. We’re looking at a brilliant deception. Everyone thinks they see people attending a party back in 1921. The picture looks like the past but we don’t even know for certain whether it’s past, present, or future; or what it actually depicts. The question that’s never asked is “who are the people in the picture?” Maybe it’s a get together of previous “Shiners” who visited The Overlook in the past. If you look closely all the sofas do disappear as the movie progresses – no place for their Doppelgangers to sit. When you read the next section of my blog you’ll understand why I believe the picture is not only there in the end but might actually depict a different type of end; a future gathering in hell. Whether you like his character or not Jack took a major wrong turn in life. I mentioned before Stanley Kubrick’s obvious manipulation of time codes in this movie. If you look closely the shot where Jack gulps down his first drink is exactly 66 minutes and 6 seconds into the movie. Could this have just happened by chance? It’s undeniable the time code is exact to the second from when the story starts after the :11second Warner Brothers logo is finished. If you don’t believe me “go check it out” for yourself.

In the last picture if Jack has become, as I believe, The Manager or the Master of Ceremonies in hell the people with him may very well be other “Shiners” who, like Jack, have passed through life and taken a similar wrong turn. It’s not The Overlook in the picture though, that’s not where they’re gathered. The picture may have ended up on The Overlook’s wall but they are definitely somewhere else. You may still feel Jack’s been in the hotel before but think about this. There’s something in the dialog that proves Jack in the present day Overlook could not be a reincarnation of Charles Grady who killed his family and himself. Listening to the bathroom conversation between the two Charles Grady and Delbert Grady appear to be, on the surface, the same person, but they actually aren’t. Stanley Kubrick gave them two different names for a reason; they’re two different entities. One is a vision and the other is a real person. There should be no confusion about this; Delbert Grady is a vision inside Jack’s head that looks exactly like the real Overlook caretaker, Charles Grady. We know this positively from the dialog Stanley Kubrick put in the movie. Jack says this as he speaks to him in the bathroom, “Mr. Grady. You were the caretaker here. I recognize ya. I saw your picture in the newspapers.” There’s something here that movie viewers who have never read the book are not aware of. When Jack says, “I saw your picture in the newspapers” he’s referring to the unexplained scrapbook that we see open on his desk throughout the movie. The scrapbook plays a big part in the novel as it’s in the basement and used by “the manager” to lure Jack. It contains articles about the hotel and Jack eventually decides to

use it to work on a different project about The Overlook’s past. When he says, “I saw your picture in the newspapers” he already knows what Charles Grady looks like. You don’t know what Grady looks like, but Jack does. Delbert Grady, “the ghost”, and Charles Grady, “the caretaker”, look exactly the same and Jack knows this for sure. He’s imagining talking to the same Charles Grady that he’s seen in the newspaper clippings who killed his family and himself in 1970. But there’s a major problem here; there can’t be any reincarnation of these two people because of what we know from the interview with Mr. Ullmann. We know when the two little girls were killed. Jack and Charles Grady, when he worked at the hotel, are both alive at the same time in 1970. The party is all a vision we’re seeing from Jack’s imagination. Grady may say this line “You are the caretaker, you have always been the caretaker” indicating all the caretakers are the same entity; Jack. But he and Charles Grady were obviously both alive at the same time and this can’t be debated or changed no matter what your opinion is. You can’t be a reincarnation of someone who is alive at the same time you are. This perplexing picture is the final vision in a movie that’s full of visions. It’s by someone who has the exact same ability to “Shine” and see visions as The Overlook’s previous guests, the Torrences and Dick Hallorann who we know in the end are all either dead or like Elvis have "left the building”. The hotel is now empty except for us, the audience. Just think of how brilliantly this was put across in Stanley Kubrick’s script by Dick Hallorann, the only expert on “Shining” we know of; “But there are other folks, though mostly they don't know it, or don't

believe it”. That may be you he's talking about, think about it; you are the other folks that don't know it, or don't believe it. What an unbelievable twist! The power of this one image. The unbelief of realizing that it might not be what it seems. It turns out in the end Stanley Kubrick has taken Stephen King’s story about a little boy who possesses the power to “Shine” and in the end reverses that power by giving it to the audience. Now, in this last perplexing shot as John Lennon sang in the song that inspired the novel.... “We all ‘Shine’ on”!

Dialectics From Apocalypse Now, "Do you know what the man is saying? Do you? This is dialectics. It's very simple dialectics. One through nine, no maybes, no supposes, no fractions -- you can't travel in space, you can't go out into space, you know, without, like, you know, with fractions -what are you going to land on, one quarter, three-eighths -- what are you going to do when you go from here to Venus or something -- that's dialectic physics, OK? Dialectic logic is there's only love and hate, you either love somebody or you hate them." In this movie it has to do with truth. Dialectic logic is there's only truth and lies, you either believe somebody or you don't believe them."
 The Gollywog In the novel The Overlook uses racism to scare Dick Hallorann. In the movie Stanley Kubrick hides the racism very well. If Grady is a figment of Jack's imagination, then it's Jack and not the "ghosts" inside the Overlook where the racism now lies. Someone else on another website noticed this and it doesn't belong in this movie; I would never know what this toy was as I'd never heard of or seen aGollywog before. But you have to believe that Stanley Kubrick added this little touch in Danny's toys to indicate that one of his parents might be a racist, as they were the ones that probably gave it to him. It might have something to do with Dick Hallorann's death but I don't believe it because Stanley Kubrick is a perfectionist and the Gollywog isn't even close to the spot where he is killed. The rabit on the tryke is but not the Gollywog. You'll have to be the judge but it is an

interesting little visual tidbit that's been added to the film. Hidden very subtly just like everything else I've discussed. The Visions Seen In "The Shining" My list of visions in "The Shining" are at the bottom of this page. A vision is similar to a hallucination or an illusion, and a ghost is an actual presence that becomes manifest to the living. It’s very interesting that Stanley Kubrick doesn’t use either word, ghost or vision, when he has Dick Hallorann explain “Shining”, and what he might be seeing inside the hotel, to Danny. “Well, you know Doc, when something happens it can leave a trace of itself behind. Say like if someone burns toast. Well, maybe things that happened leave other kind of traces behind. Not things that anyone can notice, but things that people who 'shine' can see.” He’s talking about Danny’s ability to “see” past events that have happened inside The Overlook, and he doesn’t say a word about ghosts or that The Overlook is haunted. He’s describing visions to Danny here not ghosts, and he would have indicated so if he was. In Stephen King’s novel he doesn’t know about “ghosts” either. The spirits are aroused because Danny is in the hotel and they want his power. In Stanley Kubrick's Overlook it’s Jack that arouses the "ghosts" after he opens the scrapbook we see sitting on his desk throughout the film. Jack is the only cast member that knows what The Overlook's previous guests all look like; Dick Hallorann doesn't!

In the movie Dick Hallorann doesn’t mention The Overlook being haunted, or that there are ghosts there, because he’s never perceived any of this himself and if he did know of these things he would have told Danny so (exactly like he explained his ability to “Shine”). What the Torrances’ are perceiving in The Overlook only happens after Jack arrives. To a screen audience a vision or a ghost would both appear the same. But if you look closely at the script Stanley Kubrick puts proof that characters can project these visions into each others minds. It appears that both Danny and Dick Hallorann experience the exact same vision of Jack entering room 237. Danny is in his room and Dick Hallorann is several thousand miles away yet they see the exact same thing. If it happens once it can happen many other times like when Jack kills Dick Hallorann, Danny sees it and screams while hiding inside the cabinet on the other side of the hotel. The visions that characters in the movie experience are interesting and important to look at and I’ve listed each of them. Jack is at the Overlook during every vision that Danny Dick or Wendy have, and we know from the dialogue the exact spot where he has the opportunity to peer into the Overlook’s scrapbook (5:26 into the movie, “I’d like you to take him around the place soon as we’re through ... ”). Visions begin appearing to the characters right after that. Stanley Kubrick tells us in the dialogue that these visions aren't real, “Remember what Mr. Hallorann said. It's just like pictures in a book, Danny. It isn't real.”, and Dick Hallorann knows exactly what he’s talking about. In the movie the Torrance's see 21 separate visions. After Jack has the opportunity to

open the scrapbook he knows exactly what all of The Overlook’s most notorious guests look like. The ones that didn’t make it onto the hotel’s walls, the ones that aren’t, “all the best people” that Mr. Ullman speaks about during their tour. The exact same guests that appear in their visions. If The Overlook was haunted Mr. Ullman would have been proud of it and told Jack that fact during the interview, after all he did tell him about the murders. Stanley Kubrick got an idea for using certain colors from Stephen King’s novel where Dick Hallorann smelled oranges when he “Shined”. Being that smell can not yet be adequately brought across to a theater audience Stanley Kubrick made the brilliant decision to use the two pigments a painter mixes together to make the color orange, then use those as a visual device to indicate “Shining”. Here’s my list of the visions and I've indicated where the color red, yellow, or the color produced if you mix them together (orange) is present in each. Danny sees 9 visions (the audience only sees 8 of them) and they are in dark red. Jack sees 8 visions and they are in dark violet. Wendy sees 4 visions and they are in dark green. With the final vision seen only by the audience. Danny sees the bloody elevators, the women in room 237, and “Redrum” all twice, and he sees the Grady twins four times. Lloyd and Grady both talk to Jack twice. And Wendy’s visions appear to her only once each. Jack arrives at the hotel and is taken on his first tour by Bill Watson where he has an opportunity to look into the scrapbook. 1) :11 Danny has a vision of the bloody elevators (3X) and the Grady twins for the first time (1X). The elevator doors and the blood are red.

2) :21 Danny has a vision of the Grady girls in the playroom (2X). Danny is throwing red darts. 3) :39 Jack’s vision of the Hedge Maze Map. Jack is throwing the yellow ball and both Wendy and Danny are wearing red. 4) :42 Danny has a vision of the Grady girls again as he looks at the door of room 237. Red shirt and red trike wheels (changed from white in the beginning of the film). 5) :46 Jack has a vision of Danny and Wendy playing in the snow. Wendy’s red coat and Danny’s red boots. 6) :49 Danny has a vision of the Grady twins in the hallway (6X) all hacked up (4X). Danny is wearing a red sweater. X) :58 Danny is strangled by his father but has a vision of being strangled by a woman (This is the only vision that Stanley Kubrick doesn't let the audience see). A red room key is in the door of room 237. 7) 1:04 Jack has a vision of Lloyd for the first time. Both Lloyd and Jack are wearing red. The middle of the film where Jack becomes totally possessed by evil (If you look closely at the time code, the shot where we hear Jack gulp down his first drink is exactly 66 minutes and 6 seconds into the movie).

8) 1:11 Dick Hallorann and Danny have the same vision of Jack walking into room 237. Dick Hallorann's room is orange and he has a large red picture behind his head. Danny is wearing red. 9) 1:11 Jack has a vision of the women in room 237. Jack is wearing red. 10) 1:19 Danny in his bedroom overhearing his parent’s conversation he has a vision of “Redrum” printed in red (1X), and the Bloody elevators (1X). Danny and Jack are both wearing red. 11) 1:21 Jack’s vision of the party balloons. The other set of red elevators are seen. 12) 1:22 Jack’s second vision of Lloyd at the party. Both Lloyd and Jack again are wearing red. 13) 1:24 Jack’s vision of Grady at the party (he only talks to Lloyd and Grady at the party). Grady spills yellow advacot on Jack and they have a conversation in a red bathroom. 14) 1:45 As Wendy swings the bat Danny has a vision of the Bloody elevators (2X) and “Redrum” (1X). “Redrum” is written in red on a yellow door. 15) 1:54 Jack has an audio hallucination and imagines talking to Grady in the storeroom. Jack is wearing red and is surrounded by red Calumet cans and red Golden Rey boxes; all of which mysteriously move between shots without being touched.

The final chase after Wendy looks into another important book on Jack's desk, "All Work and No Play Makes Jack a Dull Boy", and she begins to see visions for the first time in the film. 16) 2:08 After Jack swings the ax Danny has a vision the death of Dick Hallorann with red blood in an orange lobby". 17) 2:09 Wendy has a vision of the 2 gentlemen in the room. Dogman’s face is yellow. 18) 2:12 Wendy has a vision of the old man who says, “Great party isn’t it” (2X) and has red blood on his head. 19) 2:13 Wendy has a vision of the New Years Eve Party “skeletons” (4X). Wendy passes the red couch that disappears in the last shot of the movie. The three mirrors in the shot also disappear. 20) 2:14 Wendy has a vision of the bloody elevators (2X). The hallway and elevators are both red. Jack is dead and everyone is gone. One last vision is seen by the audience who also have the ability to "Shine" and see visions that are like, "pictures in a book". 21) 2:20 The July 4th photo appears on The Overlook’s wall for the first time in the final vision of the film (other photos are in it's place when ever else we see that spot). The conspicuous red couch under the pictures and the mirrors have also disappeared.

Does Delbert Grady ever tell the truth in the story? It’s amazing how in “The Shining” Stanly Kubrick is able to manipulate the audience into believing that lies are the truth and that the truth is a lie. And this may be what the final picture in the movie is actually all about. Why do we believe what we believe? What I’m going to show you now has flown right over the heads of most viewers. It’s quite incredible when you think about it though. As you viewed “The Shining” have you ever thought about what Delbert Grady’s character is actually saying? Is he telling the truth? Of course he is everyone knows that Jack’s been in The Overlook before because Delbert Grady says so; no one ever asks this question about his truthfulness because we’ve been manipulated. Grady is an honest God fearing “ghost”. He may have had some problems with his family in the past but he “corrected” them. He even tries to convince Jack to kill his family but if you put all these shortcomings aside he has stellar credibility. As far as “ghosts” go he’s the top of the heap; honest and true. But it never dawns on us that something is tremendously wrong here. Dick Hallorann never lies in the movie and what he says is not believed yet Grady has no credibility at all and what he says is believed wholeheartedly. If you actually thought about it what seems right is where the truth ends up being; in the movie Grady lies about everything and Dick Hallorann never lies – it’s so obvious. But when you finally realize this it’s gonna’ make your head spin because it will change everything about how you perceive this movie. 25

Look closely at the conversation Jack has with Delbert Grady as there is evidence in the dialogue that everything he says to Jack is a lie. And remember that I believe that Jack is talking to his imaginary friend (his version of Danny's friend Tony) as he looks into the mirrors, not a “ghost”: Grady: Grady, sir. Delbert Grady.... That's right, sir.
 Jack: Delbert Grady?
 At first this seems to be just one more of those enigmatic things that Stanley Kubrick placed in “The Shining”. Just a perplexing mystery with no real answer. But he doesn’t tell Jack his real name; it’s a lie as we know from the dialogue where Mr. Ullman tells us that his real name is Charles Grady, not Delbert Grady. In the novel there is no Delbert Grady, just Charles Grady. The name Delbert Grady is a lie. Jack: Ah, Mr. Grady... haven't I seen you somewhere before? Grady: Why no, sir. I don't believe so.
 This is another lie as in the dialogue Jack tells us later on that he's seen his picture in the scrapbook we see opened on his desk and Grady would definitely know about the scrapbook. Jack: Eh... Mr. Grady... weren't you once the caretaker here? Grady: Why no, sir. I don't believe so.
 Another lie as Charles Grady (as we know from the dialogue where Mr. Ullman tells us) was the caretaker of The Overlook in 1970. Jack: You’re a married man, are you, Mr. Grady?
 Grady: Yes, sir. I have a wife and eh two daughters, sir. Jack: And, ah... where are they now?


Grady: Oh, they're somewhere around. I'm not quite sure at the moment, sir.
 Another lie as Mr. Ullman tells us in the dialogue that Grady actually did hack them to death. Jack: Mr. Grady, you were the caretaker here. I recognize you. I saw your picture in the newspapers. You ah... chopped your wife and daughters up into little bits, and ah... and you blew your brains out. Grady: That's strange, sir. I don't have any recollection of that at all.
 Another lie as Mr. Ullman tells us that all this actually happened. We also now know that the "ghost" Jack is imagining looks exactly the same as the real Charles Grady. Jack: Mr. Grady, you were the caretaker here.
 Grady: I'm sorry to differ with you, sir, but you are the caretaker. You have always been the caretaker, I should know, sir. I've always been here.
 Another lie because if Delbert Grady had, “always been” in The Overlook his face would be in the picture at the July 4th ball in 1921 along with Jack at the end of the movie. They were both “caretakers” and he must be in that picture and must (like Jack) look exactly the same. Grady: Did you know, Mr. Torrance, that your son... is attempting to bring an outside party into this situation? Did you know that?
 Another lie as it’s Jack with his ability to “Shine” who alerts Dick Hallorann that something is wrong at The Overlook. If you find this hard to believe remember that Dick Hallorann knows something is

wrong only when Jack walks into room 237 and not when Danny is strangled, which happened earlier. This is very important; as Jack meets the old woman he is “Shining” that image of room 237 into Dick Hallorann’s head. Danny never telepathically calls Dick Hallorann when he's attacked, in fact there is no place in the dialogue or on the screen that proves that he ever calls on him at all. 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. This is an obvious lie as Danny never does anything except ride around The Overlook, play with his toys, watch cartoons, and escape from his crazy ax wielding father. Stanley Kubrick hides this extremely well but we hardly ever see Danny use his special ability in the movie. If you find this hard to believe, think about this. At the end of the movie as he's running for his life Danny uses his wits rather than his "very great talent" to outsmart his father. It’s an amazing example of manipulation we’re witnessing here and it has obvious parallels in human society. Because of the way the characters are presented the natural instinct after viewing “The Shining” is to believe all the things that the putative “ghost” Delbert Grady says and to ignore what the totally truthful Dick Hallorann says. It’s really unbelievable when you stop and think about it. Dick Hallorann never lies yet people don’t believe the obvious explanations he gives us about whether the “ghosts”in the hotel are real or not, “Remember what Mr. Hallorann said. It's just like pictures in a book, Danny. It "isn't real” yet everyone believes that Jack has been in The Overlook before because Delbert Grady says, “You have always been

the caretaker, I should know, sir. I've always been here.” This ends up being a study in mass manipulation on the highest level and has everything to do with the final picture in the movie which is also not what it appears. Ask yourself this question; why do you believe what you believe? he Does Dick Hallorann Ever Lie in the story? If you truly want to understand Stanley Kubrick’s “Shining” you have to be able to decipher whether what the characters are telling you is the truth or a lie. One thing I never expected when writing this blog was that anyone would question the truthfulness of Dick Hallorann’s dialogue. For me it’s part of the explanation of this enigmatic movie and the meanings that Stanley Kubrick concealed in the script (like the pictures taken from the movie and the alterations he made to Stephen King’s novel) can’t be changed. Viewers will attempt to interpret things in their own ways but the words Stanley Kubrick placed in his finished film can't be altered. They are what they are. It’s like when Stanley Kubrick added this easy to miss statement in the dialogue as Dick Hallorann's explanation of why he returns to The Overlook, “Ullman phoned me last night, and I'm supposed to go up there and find out if they have to be replaced.” It’s not a mistake to take his explanation along with the other things Dick Hallorann says in the film as the truth. I believe the statement for two reasons. 1) Because of the quality of the person who says it and 2) because there is a very good chance that it is actually what happened as it’s the only explanation Stanley Kubrick gives us in the dialogue of why Dick Hallorann returns to The Overlook. Whether

people like it or not; his boss ordered him back to The Overlook. It's all about character, and Dick Hallorann has character. He's the hero of this story. In the novel Dick Hallorann lies several times about why he's going back to The Overlook. He tells variations of his story about his son being shot to the park rangers, to his boss, to the cop that pulls him over, and to Larry Durkin at the garage. They all ask him flat out the same question but he doesn't tell 29 them the real reason for his return. He doesn't tell any of them that Danny uses the "Shine" to call him in Florida. But in the film Stanley Kubrick cleverly alters all this, his "Shining" is different from Stephen King's. If you can find any spot in the dialogue of this film where Danny calls on anyone for help please go back to my main blog and post it. You may feel in your bones that Danny is calling for help in the room 237 scene but he isn't. He doesn't call or ask for help when he's being strangled, at the end of the film when he's being chased by his father with an ax or at any other point in the story. This simply never happens in the film. In his movie Stanley Kubrick cleverly reverses what's happening and Dick Hallorann now only gives one reason for his return and it's either true or false. There's nowhere in the movie where Dick Hallorann lies, cheats, dumbs down, exaggerates, misleads or tells any falsehood to anyone at all. Any attempt at un-explaining this explicit statement that he makes to his friend Larry Durkin about why he’s returning to The

Overlook and who sends him there is pure speculation and a fabrication from the mind of someone that has another agenda, someone who doesn’t want his statement to be true. But what Stanley Kubrick has him say is very explicit and we don’t have enough information to make a wild guess that contradicts what Dick Hallorann plainly states. In the end, as in life, we either believe what he says because of the type of person he is or we don’t. There's no other information to go by in the film. But what’s even more important is; his statement is either true or it isn’t as Stanley Kubrick gives us no other explanation in the movie as to why he returns to the hotel. If it’s true, the implications of the sentence on how we view this movie are immense. His statement totally changes everything about what's actually going on under the surface of this movie because the phones are out and the only way his boss could know something is wrong at the hotel is if he sees the exact same vision of Jack walking into room 237 as Dick and Danny see. There is no other way he could know and the only information we’re given 30 from Stanley Kubrick about this is contained in that sentence. This is what totally frustrates so many of my readers who have a certain agenda. If you don't want to believe the obvious, that Stanley Kubrick gives the "Shine" to other characters in his film than you'll fight this sentence of Dick Hallorann's vehemently. But you can't change it. It’s obvious that this question must be answered. In the film does Dick Hallorann have any proclivity for lying? Some may think he was he lying to his friend like he did in the novel. He didn’t want to let Larry in

on the exact reason for his return to The Overlook. Maybe he was afraid to tell anyone else about his supernatural ability to “Shine” and see visions. Maybe he was afraid to tell Larry about the vision he saw of Jack in room 237 because his friend would think he was completely crazy. But these are all just guesses because Stanley Kubrick only gives us one bit of information about this and it's different from the novel, “Ullman phoned me last night”, and that’s it. A lot of what I’ve written about “The Shining” is only valid if Dick Hallorann is telling the truth as he’s the only character that knows anything about the “Shine”. We really need to know if he’s truthful or not if we ever want to truly understand this film. I was alerted to a spot in the movie where he appears, on the surface, to tell a lie so I investigated a little and ended up discovering one of the most important things about this movie that no one has ever realized. Just who and what can you believe. Dick Hallorann: Well I think we can manage that too, Doc. Come along now. Watch your step.
 Wendy: Mr. Hallorann, how’d you know we call’em 'Doc'? Dick Hallorann: Beg pardon? Wendy: Doc. You called Danny 'Doc' twice just now. Dick Hallorann: I did? 31 Wendy: Yeah. We call him Doc sometimes, you know, like in the Bugs Bunny cartoons. But how did you know that?


Dick Hallorann: Well I guess I probably heard you call him that. Wendy: Well, it's possible, but I honestly don't remember calling him that since we've been with you. Later.... Dick Hallorann: Do you know how I knew your name was Doc? You know what I'm talking about, don't you? I can remember when I was a little boy; my grandmother and I could hold conversations entirely without ever opening our mouths. She called it shining, and for a long time I thought it was just the two of us that had the shine to us. Just like you probably thought you was the only one. But there are other folks, though mostly they don't know it, or don't believe it. At first it appears he lies to Wendy by not telling her that the real reason he knows Danny’s nickname is “Doc” is because he has a supernatural ability called the “Shine”. If he’s deceptive here I can’t state that he never lies, and my belief in the sentence above,“Ullman phoned me last night...” relies on his truthfulness. But again in Kubrickland all is not what it appears to be. This quote is actually a goldmine for proving that Dick Hallorann is not a liar at all. This is just what I needed even though I never thought I would have to prove that Dick Hallorann speaks the truth, being the hero of this story. It appears that Stanley Kubrick through his dialogue was well prepared for this conundrum and he has his characters give us the answers to our questions from their own mouths. The lie appears to be here; “Well I guess I probably heard you call him that.” He doesn’t tell Wendy that he has the ability to “Shine”. A lie of omission? Thinking his explanation is false is understandable because we know, or at least we think we know, that what he said can’t be true.

We’ve been watching the movie from the start and we never actually see him hear Wendy call Danny “Doc”. 32 But I thought about it for a while and it dawned on me; how on earth can anyone after watching the first few minutes of this movie know that he’s lying from that statement alone? We know Dick has the ability to “Shine” but when he uses his special gift this early in the story we don’t know yet how it actually works. And they do call him “Doc” all the time. When he "Shines" does Dick read Wendy’s mind or did it actually happen the way he said, “I guess I probably heard you call him that.” It has to be one or the other. If he’s able to read her mind than he’s lying but if he actually heard her call him “Doc” then he’s not. And if he actually heard her call him “Doc” then not telling her about his ability to “Shine” is not a lie of omission either as he answered her question simply yet truthfully. There was no implication in her question as to whether or not he possesses a supernatural ability, or which of his many supernatural abilities he might be using on that particular day. For these characters “Shining” is an unusual gift but I can’t think of anywhere in the movie where one of them uses it to read someone’s mind. It doesn’t mean it’s not there I just can’t think of any. It doesn’t matter anyway, it’s undeniable that there are several times in the film where people use it to hear conversations that are happening elsewhere. At 1:45 into the movie Danny, sitting in their apartment, is able to use his ability and listen to his parents conversation before Wendy clobbers jack with the bat. When Jack, inside the hotel, has his vision of Danny and Wendy walking in the center of The Hedge Maze

at 00:39 he not only sees it but he’s also able to hear what they’re saying outside the hotel. Stanly Kubrick gives us plenty of evidence that people who possess the “Shine” can hear conversations that occur out of earshot so what Dick Hallorann tells Wendy is the truth. Dick did hear her call Danny, “Doc” before they met and Stanley Kubrick cleverly puts this into the dialogue so there’s absolutely no confusion as to when Dick hears her use the 33 nickname “Doc”. She says, “I honestly don't remember calling him that since we've been with you”. His perfectionism is unbelievable as Stanley Kubrick has all the bases covered. Wendy obviously knows she said it earlier in the hotel before they all met. We know Dick Hallorann can hear conversations out of earshot but do we know for sure if he’s able to know the nickname "Doc" by reading Wendy’s mind? Well, rigorous logic won’t work here but it seems that Stanley Kubrick has also addressed this problem for us, and the answer is again in the dialog he wrote. This simple line is so easy to pass up as being unimportant. Jack says, “Mr. Hallorann, I'm Jack, and this is my wife, Winifred.” In the movie (and novel) it's her real name and Jack never uses the nickname Wendy inside The Overlook before they meet Dick. Not only do we never actually hear the name but Stanley Kubrick shows us that example of how she's introduced and there’s no evidence that Jack doesn’t introduce her to everyone they meet in exactly the same way. Jack says, "Hey Babe" when he calls her up after

the interview, and even Mr. Ullman never calls her Wendy as we always hear him call her Mrs. Torrance. The nickname Wendy is simply never heard in The Overlook until later. Knowing all this helps to explain this seemingly meaningless fluff sentence Stanley Kubrick added to the dialogue, “Mrs. Torrance, your husband introduced you as Winifred. Now are you a Winnie or a Freddie? - I'm a Wendy.” It’s obvious that Dick Hallorann doesn’t know her nickname is Wendy and there’s only one reason for this; when he “Shined” he simply never heard anyone call her Wendy in the hotel. He doesn’t read her mind at all. There should be no confusion here; Stanley Kubrick alerts us to this by bringing up the two nicknames, Doc and Wendy and Dick heard only one, not the other; he knows Danny's nickname and doesn't know Winifred's. "Now what kind of ice cream do you like Doc? - Chocolate. Chocolate it shall be." It's so obvious, he doesn't 34 read Danny's mind or he would have known the answer to that question. The dialogue is clear. We’re talking about Stanley Kubrick, a director who's inhumanly precise and in his movie (unlike in real life) Dick Hallorann never lies to anyone. Not Danny, not Wendy, not the forest rangers and definitely not his friend Larry Durkin. In asking for the Sno-cat he doesn't have to make up any story at all for Larry as to why he’s going up to The Overlook in a snowstorm. Not mentioning “The Shine” to Larry means nothing; it’s not a lie. Larry's question was, “What’s the big deal about getting up there today” and he answers

truthfully. Larry didn’t ask about what supernatural ability Mr. Ullman possesses. He doesn’t lie to his friend and anyone that believes he does, is entertaining pure un-provable speculation as any proclivity for lying cannot be found in him in this story. He's the same as Olivia de Havilland's character in "Gone With The Wind". The purest soul in movies. Someone that doesn't exist in real life. But in film we find people like this. The only person who lies in the film is Jack. Anyone who puts forth another explanation as to why Dick Hallorann would lie by saying that his boss ordered him back to The Overlook (such as nonsense like we never actually see him get Mr. Ullman's phone call or he's confused or was scared to tell Larry that he “Shines”) are wrong. These are just wild unsubstantiated guesses by people who have other agendas to uphold. Like I said before, if you find a place where he lies or exaggerates post it on my blog otherwise he doesn’t and I believe him at his word. We have a movie about people who possess a supernatural ability enabling them to communicate with each other over great distances. I can't imagine how anyone cannot see that in “The Shining’s” reality another of Dick Hallorann’s lines"there are other folks" is true and Mr. Ullman is included in that very small crowd (5 main characters) inhabiting this film's reality. It appears that Mr. Ullman knows something is very wrong at 35 The Overlook. Something that could only be known if he uses the exact same supernatural ability that enables Dick Hallorann to know the exact same thing. There's no violation of the movie's reality in what I

believe. Mr. Ullman "Shines" and sees the exact same vision of Jack in room 237 with the old woman as Dick and that’s how he knows what’s happening in “The Overlook”. Don't forget the phones are all out. The implications of this in the film are far reaching yet the dialogue Stanly Kubrick wrote is precise and cannot be altered - it's part of the explanation of this movie. It’s hard not to take Dick Hallorann’s statements as gospel truth when you can’t point to a single lie that he ever tells! “Ullman phoned me last night.” If he isn't lying then he's telling the truth. If you have concrete notions and all this rocks your perception of this movie, well that’s just to bad because you can’t change it and you'll have to live with it, even though you might never fully get it. But why doesn't Mr. Ullman, if he can "Shine", just talk telepathically with Dick Hallorann rather than phoning him? Again from the pen of the director who is ready for that question, "But there are other folks though mostly they don’t know it, or believe it. That's Mr. Ullman. The answers are all in the dialogue, Stanley Kubrick left nothing out. “Larry, just between you and me, we've got a very serious problem with the people who are taking care of the place. They've turned out to be completely unreliable assholes. Ullman phoned me last night, and I'm supposed to go up there and find out if they have to be replaced.” Dick tells us exactly why he’s going back to the hotel and it isn't because Danny called - which he never does. “But, there are other folks though mostly they don’t know it, or believe it”. Dick tells us that others have the same ability that he has, and some don't know it.

36 “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.” He isn't scared because he's lived there and knows of nothing (especially in room 237) that can hurt Danny. If he did he would have told him so. “You're scared of Room 237, ain'tcha?”
 “No I ain't.”
 “Mr. Hallorann, what is in Room 237?”
 “Nothing. there ain't nothing in Room 237.” He never lies to anyone; there is absolutely nothing that he knows of in room 237. "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.”All of the Torrances see the same spook show because they all possess the same "Shine". They also have the ability to see the future and the past. “Remember what Mr. Hallorann said. It's just like pictures in a book, Danny. It isn't real.” The visions they're seeing in The Overlook aren’t real. Not one vision in particular, not every other vision, not just visions on Saturday or Thursday, but every vision they see. “Well I guess I probably heard you call him that.” They can hear conversations that occur well out of earshot.

“The Overlook Hotel here has somethin' about it that's like 'shining'.""Somethin' about it that's like 'Shining' again isn't the same thing as "Shining" - it's different. The Overlook doesn't "Shine". Dick Hallorann is the only character in the "The Shining" that knows anything about the special supernatural power that they 37 possess. These statements are all from a board certified expert on the subject. A person who never lies or exaggerates, and in the framework of this movie's reality; I believe everything he says - his dialogue is not only the explanation of the "Shine", in it is the explanation of the entire movie itself. Is there an explanation of the July 4th 1921 picture? .
 .
 The one question everyone who views “The Shining” wants to know is what does the black and white photo at the end of Stanley Kubrick’s film mean? The answer to the question of what the final July 4th, 1921 photo represents is found in the novel. There’s only one important black and white photo in Stephen King’s novel. It’s Jesus and you can read the excerpt from his novel if you click here. What he did to Stephen King’s novel is quite remarkable and has to be understood. In the film Stanley Kubrick is showing us the reverse of

the novel as if it were being viewed in a mirror. It's exactly like the word, "Redrum". He was so bold in what he did that it starts in the very first shot of the film and no one ever noticed. The most obvious clue is in the colors he chose to use. Jack has an old red VW in the novel and it becomes a new yellow VW in the film. In the novel they’re saved in a yellow snowmobile and in the film it becomes a red Sno-cat. Danny plays with his red ball in the novel and it becomes Jack’s yellow ball in the film. The colors being reversed is only the beginning of an incredible hidden alteration of the source novel.Stanley Kubrick chose to create a mirror image of Stephen King’s novel and he altered Stephen King’s black and white photo of Jesus exactly the same way. In the film we’re 38 viewing the opposite of Jesus. In the July 4th, 1921 photo Stanley Kubrick has Jack posed as the devil (click here). The photo is a purposeful paradox; a true visual enigma on the screen and audiences have been wondering about it for a very long time. Without looking at Stephen King’s source novel it’s an enigma with no possible correct explanation, and when you first view “The Shining” you'll leave with the impression that Jack Torrance has been in The Overlook before. But this assumption is way to simple and it’s also quite wrong. The July 4th photo is the most perplexing image in the history of cinema and everything we’re looking at in it is the opposite of what’s true. Not only is it the mirror image of the photo in the novel but several things about it must be pointed out and addressed before you realize the true extent of what’s been done here. The key line that

Stanley Kubrick took from Stephen King’s novel about the photo is this, “It was a big fake...”. Click on each line for a more detailed explanation. 1) Stanley Kubrick has it say “Overlook Hotel” but the photo obviously is somewhere else. It’s not The Overlook Hotel. 2) The picture is not a July 4th party like it says. It’s a New Years Eve party. 3) The final photo simply doesn’t exist until after Jack’s death. Stanley Kubrick has it magically appearing, “Shined”, on the wall only in the last shot of the movie. It’s not there at any other time in the movie. 4) Jack Torrance is not the caretaker in the picture, he’s the manager. 5) Jack doesn’t belong in that picture. 39 6) Delbert Grady must also be there with Jack in the final photo; but he isn't. 7) Jack Torrance is not a reincarnation of the person in the photo. 8) The party in the 1921 picture can't possibly have anything to do with the party Jack imagines in the Gold Room.

9) Jack and Charles Grady were obviously both alive at the same time in 1970. You can’t be the reincarnation of someone who is alive at the same time you are. 10) Where are all the other caretakers? 11) Stanley Kubrick has Jack singing a special song from the year 1921 just before he dies. 12) Who are the people in the photo with Jack? 13) The photo is a vision. Stanley Kubrick took Stephen King’s quote and has truly created, “a big fake...” in that final July 4th photo. Jack isn’t the caretaker and shouldn’t be there, and what’s printed on the photo is totally wrong; it isn’t The Overlook we’re looking at, it isn’t July 4th, it isn’t 1921 and Jack isn't the caretaker. The entire photo was produced as a fake and we know this from Stanley Kubrick’s interview with Michel Ciment. Jack Nicholson's face was airbrushed onto someone else’s body. To quote Danny's imaginary friend Tony again, “it's like pictures in a book “, "it isn't real". The July 4 photo is exactly the same as the most famous fake photo in history. Lee Harvey Oswald with his face purported to be airbrushed in by the CIA. When someone's face is airbrushed onto another body there’s only one way to describe 40

the photo; it's an obvious fake and this is what Stanley Kubrick did.

41 Examples of how meticulous Stanley Kubrick was in altering the novel.

Here’s a closer look at how meticulous Stanley Kubrick is as he inverts the entire scene with Danny and the pediatrician. It’s from chapter 17 “The Doctor’s Office” in Stephen King’s novel and it’s easy to spot how even the smallest details are reversed. • 1st off, in the novel Danny blacks out in their bathroom in The Overlook, Stanley Kubrick reverses this and now it’s the bathroom at their apartment in Boulder before they get to The Overlook. • Tony tells Danny to lock himself in the bathroom. In the movie he doesn’t. • Danny’s pediatrician has a name, Doctor Bill Edmonds where in the movie this is reversed and we have an unnamed female Doctor. • The three have to go down to Sidewinder to see Doctor Edmonds in his office. In the movie this is reversed and the Doctor makes a house call. • Danny is “Stripped to his underpants, lying on the examination table”. In the movie Danny wears his “Bugs Bunny, what’s up Doc” sweatshirt. • Doctor Edmonds gives Danny a thorough examination with an EEG and TB test. In the movie the Doctor does the reverse and just asks him a few simple questions. • Doctor Edmonds seems to know something about “Shining” as he asks Danny if he smelled, "a funny smell, maybe like oranges”. In the movie the Doctor seems to know nothing about “Shining”.

• Danny tells Doctor Edmonds all about Tony. In the movie this is reversed and he will not talk about Tony to the Doctor. 42 • Danny “Shines” and reads Doctor Edmonds’ mind. In the movie this doesn’t happen. • Danny even tells Doctor Edmonds about “Redrum”. In the movie this is reversed and he doesn’t tell the Doctor or anyone else about “Redrum”. • Jack discuss Danny with Doctor Edmonds. In the movie only Wendy does. • Jack tells Doctor Edmonds the story about how Danny, “spilled some beer on a bunch of papers I was working on”. In the movie it’s Wendy who tells the Doctor that Danny, “had scattered some of his school papers all over the room”. • Jack, “broke his arm turning him around to spank him”. In the movie he doesn't break his arm he, “dislocated his shoulder”. • When they talk to Doctor Edmonds they both realize that Danny is able to read their minds as they never discussed “divorce” in front of him. In the movie this never happens and neither Wendy nor Jack has the faintest clue about his ability.

• Doctor Edmonds points out to Wendy and Jack why Danny’s imaginary friend is named Tony (his middle name). In the movie the Doctor doesn’t do this. • Wendy knows that Danny has “second sight” and he demonstrates it to Doctor Edmonds. In the movie we have a total inversion as Wendy doesn’t know much and Danny doesn’t demonstrate anything to anyone. • Doctor Edmonds says this, "Does the phrase 'the shining' mean anything to you?" In the movie the Doctor doesn't say anything about it as only Dick Hallorann knows about or utters that word. • In the novel Jack tells Doctor Edmonds that he hasn’t had a drink in 3 months. In the movie Wendy tells the Doctor that Jack hasn’t had a drink in 5 months.
 What did Stanly Kubrick do to Stephen King's novel. ..........“A film is not a book.” - Roger Vadim 43 What important visual message was Stanley Kubrick telling us in this shot filmed in the same mirror that Wendy later sees "Redrum" in? The fictitious town of Stovington, Vermont is mentioned in 4 of Stephen King’s novels, and it’s the only direct visual link in the movie to his novel. What’s printed on Jack’s t-shirt is meaningless to moviegoers but it’s a well-known name in Stephen King circles. What’s interesting is that for some strange reason Stanly Kubrick shows it to

us backwards, “NOTGNIVOTS”. It’s reversed because we’re looking at it in a mirror. The inverted word is a metaphor because as I will show you we’re viewing Stephen King’s entire novel the same way, in a mirror; Stanley Kubrick’s special mirror, his version of “The Shining” where everything may turn out to be the opposite of what you think. I can’t think of any other movie where reading the source novel was so enlightening. You cannot have a through understanding of Stanley Kubrick’s “Shining” without looking at what he did to Stephen King’s story. Viewers have often wondered why so much was changed from the novel but just exactly what did he do to alter the story? After reading it myself I discovered something else that’s been cleverly hidden in the same fashion as the numbers I spoke about in the last section. Something Stephen King has never said anything about even though he must have noticed right away. Stanley Kubrick, being one of the most intense perfectionists in modern cinema, didn’t just randomly alter things from the novel as many viewers think. He’s inverted them. It’s like looking at the image of Jack in the mirror, the image we see is the reverse of what’s real. I realized this with the colors of the two main vehicles in the story, and that's just the beginning. Stanley Kubrick meant for these color changes from the novel to be obvious and noticed and they’re a crucial part of the explanation of what’s 44 happening in this movie. In the novel it’s not that easy to find the color of their VW as it is only mentioned once but just look at the VW in the opening credits of the movie; you’ll never forget that color. In the

novel they’re brought to The Overlook in a red VW and have a yellow snowmobile at The Overlook. In the movie they’re brought to The Overlook in a yellow VW and have a red Sno-cat at The Overlook. They're also saved in a red Sno-cat. In the movie Jack plays with his yellow ball and in the novel Danny plays with his red ball. The colors Stephen King uses in the novel for these major props have been inverted by Stanley Kubrick. He even does it with the sets. Except that they’re in the same hotel (or are they?) Stanley Kubrick was very meticulous in changing all the places from the novel where the scenes in the movie occur. The location of The Overlook has even been altered. In the novel the Torrance’s are in Colorado. In the movie The Overlook is in Oregon as we see early on when we’re shown The Timberline Lodge, which is located on Mount Hood in Oregon. Don’t let the Colorado State Flags all over the Colorado Lounge fool you. What we see in the beginning of the movie and when Dick Hallorann returns near the end is in the state of Oregon, not Colorado. Not one major thing happens in the movie’s Overlook in the same place it did in the novel’s Overlook (room 237 and 217 are different in each, the VW’s are different and change from red to yellow, Jack works in the basement in the novel and in the movie there is no basement, there’s no Gold Room in the novel and Jack meets Grady and Lloyd in the Colorado Lounge not The Gold Room. In the end of the novel Wendy and Jack have their knock down fight in the hallway not in the apartment. The final chase takes place inside The Overlook in the novel, not outside like the movie. Even Mr. Ullman's office was changed. In the novel Jack has his interview in the Manager's office and the story starts there, in the

movie Mr. Ullman has been changed to the General Manager and the story starts in Jack's VW.). When he didn’t change the exact location, like Larry Durkin’s Conoco or 45 the pantry, he alters something else about it. He did a perfect job and these inversions can’t be ignored. As I’ll discuss later, he’s also done this with the plot. He’s turned the novel inside out. Stanley Kubrick has taken Stephen King’s work and held it up to a mirror, and what we’re seeing in the movie is that reflection. A reflection where, in typical Kubrick fashion, just enough obvious changes are puzzlingly noticeable (The Hedge Maze and colors) and just enough is left alone (names and places), not being so obvious as to give it all away; the alterations are hidden exactly like the numbers he wants us to notice. If you're interested in looking at more of the differences I've noticed between the novel and the movie, and how closely they relate to each other click here. If you have preconceived ideas the reversals I’ve noted that he made to the novel are shocking. Especially when you think of how he was able to hide all this in plain site. But if you “go check it out” what I’ve writen is quite correct. It’s not only correct but it can’t be debated, altered or most importantly dismissed. It is what it is. In the novel he noted that readers would never know what “Redrum” meant without looking at the word in a mirror and he created a movie that can’t be truly explained without looking at it in a mirror. Red is yellow and yellow is red, a true reversal of the source material and, as I show throughout

this article, these reversals are crucial to understanding many of the mysteries this movie holds. Perfectionism without attention to detail can be a real train wreck but when a true perfectionist works average people look on in wonder at the world wind of intensity they create. When you think about the scope of the reversals here, the minute details that were altered and the time it must have taken, it’s a marvel to see and should be appreciated by all. Stanley Kubrick’s “Shining” may truly be The Eighth Wonder of the world of cinema. Here’s an interesting example of the 46 inversions (and doubling) Stanley Kubrick made to the novel. The Grady girls, the most famous twins in history, never appear in the novel. This can't be ignored. Danny only meets up with the lonely invisible spirit of one single child in the playground in Chapter 34 (page 197). “... Now, in spite of the snow-dazzle, he thought he could see something there. Something moving. A hand. The waving hand of some desperately unhappy child, waving hand, pleading hand, drowning hand. (Save me O please save me. If you can't save me at least come play with me... forever, and forever, and forever.)” In the movie instead of one unseen child we now see two children who repeat the line together, twice, “Come and play with us. Come and play with us, Danny, For ever and ever, and ever.” Here’s another interesting example of the inversions. In the novel Danny sees but doesn’t understand what “Redrum” means and he mentions it to several people throughout the story. In the movie this is all reversed and Danny never sees “Redrum”. If you look closely at the movie it’s Tony

that sees it, keeps repeating it, and writes it on the bathroom door. Totally reversed; and Stephen King’s fans never noticed. The chapters and page numbers I’ve included are all from Stephen King’s 307 page version. It’s impossible to pinpoint when Stanley Kubrick decided to alter the source novel the way he did but Stephen King’s style of adding many details to his work may have been part of it’s appeal to him. He definitely had a brilliant source novel providing him a lot to work with. Here’s another great example indicating how Stanley Kubrick shows us inverted mirror images of plot points from the novel. Take a look at the entire scene with the old woman in the bathroom. In the novel it’s Danny who disobeys Jack and Dick Hallorann by walking into room 217 where he sees a dead women in the bathtub. In the movie we’re shown an entire reversal of this. If you look very closely Danny never disobeys anyone, as he doesn’t walk into the room. It’s Jack that walks in and sees not 1 but 2 women in the bathroom of room 237. In the novel Jack never sees 47 anyone as he enters the bathroom only to find an empty tub with no woman in it. He only thinks he hears her after shutting the front door, and she rattles the doorknob. He never sees her. It’s obvious everything in this scene except the names of the characters has been inverted. Even the bathrooms are in different rooms. In the novel it’s 217, but in the movie they’re in 237. It’s so subtle and barely noticeable unless you stop and really think about it, and the entire movie is like this from beginning to end. Stanly Kubrick is beyond

meticulous, even the person who pulls the shower curtain in the bathroom is reversed, in the novel it’s Danny but in the movie he never touches it, it’s the woman who does. The movie’s dialogue is also inverted. In the novel Dick Hallorann says this, “People who shine can sometimes see things that are gonna happen, and I think sometimes they can see things that did happen. But they're just like pictures in a book.” In the movie this line is very cleverly reversed because when Danny, after the beating, is in his catatonic state it’s Tony who says, “Remember what Mr. Halloran said. It's just like pictures in a book, Danny. It isn't real.” We never hear Dick Hallorann speak this line in The Overlook’s kitchen. In the novel the place where Danny and Dick Hallorann have this conversation is outside of The Overlook in Dick’s car, it's now been reversed to inside The Overlook’s kitchen while Danny has ice cream. It just goes on and on. Tony is Danny’s subconscious mind that protects him just like any other normal person’s subconscious does. What’s unusual in the story is that Danny has the ability to “Shine” therefore his subconscious also has that special power. Stanley Kubrick made a huge inversion here as now Tony can’t be seen, in Stephen King’s novel he can. In the novel Lloyd the bartender and Grady never speak to Jack with a mirror present. In the movie this is also reversed as Jack speaks directly to both while looking directly at himself in a mirror. Stanley Kubrick’s attention to detail is unbelievable. 48 You still may not agree with me that the movie is an inversion of the novel but (click here) take a look at how meticulous Stanley Kubrick is

as he inverts the entire scene with Danny and the pediatrician. It’s from chapter 17 “The Doctor’s Office” in the novel and it’s easy to spot how the details are reversed. Not only did he alter Stephen King’s novel but it appears that Stanley Kubrick may have left a special message just for him in the middle of the movie. Click here for one of the more interesting hidden shots you’ll ever come across in a movie. I feel this shot is a very special visual message “Shined” from Stanley Kubrick to the readers of Stephen King’s novel. He’s telling you what he did to ‘The Shining?’ Just like 'Redrum' only makes sense when seen in the reflection of Wendy’s mirror Stanley Kubrick created a movie that’s the same as the word “Redrum”. It will never truly make sense unless viewed in the genious director’s special mirror”. He even placed that reverse image of Stovington, as viewed by us, in the opposite side of the exact same mirror where we later see "Redrum" as the word murder. It's clear; we must also watch the movie's mirrors as something important is hidden in their reflection. Sometimes it’s shocking to see how a screenwriter changes your favorite novel for the big screen. I remember reading “To Kill A Mockingbird” and being surprised to find out that Arthur 'Boo' Radley talked to the children. They changed this in the screenplay and I believe not having him speak throughout the story created a mystery that added much to the movie’s appeal. I can see how fans of the novel could be a little perplexed at what Stanley Kubrick did but you must admit he did an unbelievable job and Stephen King really couldn’d say much about the alterations.

49 Here’s a great clip of Stephen King talking about Stanley Kubrick on You Tube. Again after seeing it he described Kubrick’s film as “a big beautiful Cadillac, with no engine.” Recently a question was posed to Stephen King in USA Weekend (March 6-8 2009); I have always heard that you never really liked Stanley Kubrick’s version of “The Shining”. He answered; “My problem with ‘The Shining’ was never the adaptation. I certainly didn’t mind the idea that it was more psychological than supernatural. What I didn’t like was that I thought it was cold, and I always resented that. I’m an emotional writer. I think that’s why I’ve written so many things that people term “scary” or “horror”. I’m not that interested in what you think all the time, but I am interested in what you feel.” I feel both stories are brilliant in their own special ways. Does Danny actually go into room 237? In the movie we never see Danny in room 237 and there is a reason. You may be wondering how I’m so sure that Danny didn’t go into room 237 because if you listened closely to the dialog Wendy tells this to Jack, “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 bathtub. She tried to strangle him.” But you must think about this for a moment. Danny “Shines” and sees visions throughout the movie, how can we know for sure that what he tells Wendy wasn’t a vision of a woman in 237 while he was standing there at the doorway or while he was somewhere else in the hotel? After all this statement is

no stretch of the movie’s reality because when Jack walks into room 237 and “Shines” the vision of what he’s seeing into both Danny’s and Dick Hallorann’s minds, they see it as real even though they’re nowhere near that room (click here). Danny is beat up by something yet there’s nothing in room 237 that can hurt 50 anyone and the proof of this is in this statement by a person who has spent a lot of time in The Overlook, can also “Shine” and knows exactly what he's talking about; “You're scared of Room 237, ain'tcha?” “No I ain't.”
 “Mr. Hallorann, what is in Room 237?” “Nothing. there ain't nothing in Room 237” Stanley Kubrick is explaining everything for us in the dialogue. Dick Hallorann’s statement is crystal clear and can’t be changed; if there was anything that could hurt Danny in room 237 he would have told him so and the fact that he doesn’t is very telling; “Remember what Mr. Hallorann said. It's just like pictures in a book, Danny. It isn't real.” "It isn't real" and what "isn't real" simply can't beat you up. There isn’t anything in that room but an echo of a past event that only a person who “Shines” can see. Stanley Kubrick plainly tells us this in the dialogue.

“Not things that anyone can notice, but things that people who shine can see" Jack obviously “Shines”. That's why he can also see the woman. He’s the only person out to hurt Danny. He beats him up during his nightmare and has the ability to make his son think it was a woman in “one of the rooms”. Stanley Kubrick cleverly makes you think Danny went into room 237 but he never does and this is another reversal of Stephen King’s novel where he certainly does go into the room (click here). There’s a reason we never see Danny in 237 and anyone who really believes he does go in should go to the end of my main blog and produce a screen shot of him in room 237 to prove it. 51 Do cast members who can “Shine” possess a supernatural ability to alter things in the movie? “The Shining” is one of the most enigmatic movies in history and the obvious visual images Stanley Kubrick placed in it can't be ignored. There are hundreds of continuity errors in this movie but some of them were placed there on purpose and need to be looked at closely. There’s no question that Dick Hallorann has a special supernatural ability. He “Shines” and talks telepathically to Danny in the storeroom and as he does a red Calumet can appears out of nowhere right next to his head, only to disappear in the very next shot when he stops "Shining".

Unless you look closely you'll miss this. When Jack talks to Delbert Grady the exact same thing happens as, now, several red Calumet cans appear out of nowhere right next to his head. They also weren’t there when Wendy dragged him in. They just appear out of thin air the same way. Think about the similarities in the two scenes; They’re both in the same place.
 They’re both talking to someone in a supernatural way.
 And the same red Calumet cans appear out of nowhere on the shelves behind their heads. The red Calumet cans that appear out of nowhere are not some common run of the mill movie mistake, they're important to the story. You can’t say Dick Hallorann is “Shining” and Jack is not when the exact same bizarre thing happens to both of them. Stanley Kubrick has hidden something in these movements. 52 They both have the same ability and it’s no stretch of the movie's reality to see that Jack also “Shines” in the storeroom. The increase in the number of cans indicates how much more of this ability Jack has over Dick Hallorann. This helps answer one of the most perplexing plot errors of this movie. How is it that Dick Hallorann, inexplicably, doesn’t know that Jack is hiding around the corner with an ax at the end of the movie? Jack can simply out ”Shine” Dick Hallorann who is unable to utilize his special ability to foresee the end his life.

Don’t forget the little hints that Stanley Kubrick sprinkles around the movie that point to Jack’s ability to “Shine” like Wendy bringing him breakfast in bed and we hear the obvious play on words, “I made ‘em just the way you like ‘em, sunny side up.” and Stanly Kubrick placing a red box from the "Golden Rey" company (pronounced ray), another play on words, that also appears out of nowhere between shots in the same scene next to his head. There’s something else in this scene that lets us know that Jack has the ability to “Shine” as we look at Danny obviously posed next to a different red “Golden Rey” box of sliced pineapples as he "Shines". Get out your copy of the movie and listen to the sound effect we here during this scene (:27 into the movie). There’s no doubt that Danny is “Shining" as he talks telepathically with Dick Hallorann in the storeroom. The weird sound effect we hear, as well as the red box, alerts us to this and is also part of the scene like the moving Calumet cans I just showed you. How can you say that Jack is not doing the same thing when Stanley Kubrick lets us hear the exact same weird sound as he visions Wendy and Danny playing outside throwing snowballs at each other in the snow (:46 into the movie)? When Dick Hallorann sees the vision of room 237 again we hear a similar sound effect (1:11 into the movie). 53 When Danny sees his vision of the bloody elevators we know it’s a product of his ability to “Shine” (:11 min. into the film). This is never disputed, then how can it be any different when Wendy has frame for

frame the exact same vision of the bloody elevators at the end of the movie (2:14 into the film). This is so obvious. They're seeing exactly the same vision of the bloody elevators and you cannot say that Danny is “Shining” when he sees his vision and Wendy is not “Shining” when she sees her vision. It’s exactly the same. Danny doesn't "Shine" it into her head either. Stanley Kubrick goes way beyond meticulous here and you have to observe this scene very carefully. The scuff marks on the floor in front of the elevators show us something important. The point of view is different each time we see the bloody elevators so even though they're seeing the same thing frame for frame each vision is totally unique to that character; they are seeing twin visions. The scene was shot with two adjacent cameras (Wendy’s on the right and Danny’s on the left) giving each character their own unique point of view. Can you think of any other scene in the history of moviemaking that was shot like this? Wendy's ability becomes more apparent in direct proportion to her state of mind, but they are still doing the exact same thing and the pictures Stanley Kubrick placed in his finished work don’t lie and can’t be changed just like the ones of Dick Hallorann and Jack in the storeroom. They both prove the same thing. Mr. Ullman’s tie changes color right before our eyes in these two sections of the same scene. In the novel Dick Hallorann says this to Danny, "If there is trouble ... you give a call.” and Danny calls him several times. In the movie Dick

Hallorann never says this line and Danny never calls him. There’s another reason why Dick returns to 54 The Overlook from sunny Florida. Stanley Kubrick gives this explanation in his dialogue in Dick Hallorann's phone call to Larry Durkin at the gas station, “They've turned out to be completely unreliable assholes. Ullman phoned me last night, and I'm supposed to go up there and find out if they have to be replaced.” What he says is crystal clear and must have an explanation. Dick Hallorann never lies or exaggerates anything to anyone in the film (or the novel). How can this statement be true? It can't be debated, he says that Mr. Ullman ordered him to go back to The Overlook but how on earth does his boss know what’s happening at the hotel; the phones are out? Mr. Ullman knows because he has the same ability to see visions as the others. There’s absolutely no violation of the movies reality here. Stanley Kubrick simply makes an alteration from the novel and has another person viewing the same vision as Dick Hallorann, at the same time. It’s just been hidden from the audience. Like John Lennon sang in the song, "Instant Karma", that inspired Stephen King’s novel.... “We all ‘Shine’ on!” He’s taken those words from the song and turned them into the movie's reality. In Stanley Kubrick's Overlook that means Mr. Ullman too. He “Shines” and sees the exact same image of Jack in room 237 with the old woman that Dick Hallorann is seeing. In "The Shining's " reality there’s no other explanation as to how he would know something was wrong and order Dick Hallorann back to The Overlook. It’s now Stanley Kubrick’s "Overlook" and he can give that

special supernatural ability to any character he wishes. Stanley Kubrick even puts this in the dialogue so there is no confusion of this fact, “But, there are other folks though mostly they don’t know it, or believe it”. But what if you believe Dick Hallorann is lying to Larry Durkin about Mr. Ullman calling him, or lying or exaggerating about anything else in the movie (click here if you believe this could be true)? 55 How much proof is needed? Wendy, Jack and Mr. Ullman can also "Shine". You might not feel it in your gut (yet) but can anyone prove that they don't have this ability? Give it some time. At first this seems shocking as it's so cleverly hidden from the audience but you must remember it's Stanley Kubrick’s "Overlook" and he can do anything he wishes to alter the story; no matter what opinion viewers may have. He can hide anything he wishes but the pictures don’t lie. Again, he even tells us in the dialogue what he’s doing as Dick Hallorann says this to Danny about other people with their special gift, “But, there are other folks though mostly they don’t know it, ............................ or believe it”. There are only a few characters in this movie, who do you think Stanley Kubrick was talking about when he wrote this? In the novel The Overlook covets Danny for his power and uses Jack to get it. What does it covet in the movie? Think about it for a second The Overlook is trying to kill Danny and ends up with Jack on the wall. It’s obvious that in the

movie this time, if it wants anything at all, it wants Jack. Why would The Overlook want him if he didn’t have the most power to covet? At this point you may be wondering why Dick Hallorann only seems to pick up on Danny’s special ability if these other people also have the “Shine”? Stanley Kubrick lets us know, “there are other folks” but why does Dick Hallorann only seem to pick up on Danny’s special ability if these other people also have the “Shine”? In the novel Dick Hallorann meets several people that have the “Shine”. He knows it right away and so do they (“A Shine knows a Shine”, page 217 Chapter 38). Stanley Kubrick reverses the novel 56 again. In the movie ‘a Shine doesn’t know a Shine’. The others don’t know that they have this ability and he plainly tells us this in the dialogue, “Though mostly they don’t know it”. Dick Hallorann is obviously not able to perceive it in them, and in the film he’s the only one we know of who knows he has the “Shine”. Then I realized that I had a huge problem to solve because it appears that he knows right away that Danny possesses the “Shine”. How could he not know about the others the same way? At first I thought that Danny’s age has something to do with him picking up on it. But that’s not it. Then I thought when Danny “Shines” in the game room seeing the twins, maybe that’s when Dick picks up on his ability. But that’s not right either. I went back to look at the scene again because I knew Stanley Kubrick wouldn’t leave out the answer. I couldn’t believe what I found;

Dick Hallorann doesn’t know that Danny “Shines” at all. This seems crazy because it’s so incredibly well hidden by Stanley Kubrick in the dialogue. Look again at the question Dick Hallorann asks Danny in the kitchen, “Do you know how I knew your name was Doc?” The obvious question should have been, do you know how I spoke to you in your thoughts and said, “How'd you like some ice cream, Doc?” But he doesn’t mention the obvious elephant in the room. Because of the director’s brilliant manipulation we all just assume that Dick Hallorann starts the thought transfer between himself and Danny. This isn’t the case at all, if you look at the film it’s Danny that “Shines” first and Dick Hallorann is then able to pick up on the boy’s ability. That’s when he knows for sure and transfers the thought into Danny’s mind for the first time. In the film this is so important; Dick Hallorann only knows someone possesses “The Shine” if it’s directed at him. Again we know from Stanley Kubrick’s dialogue that there are others. And in a story with only five main characters it doesn't leave many for you to choose from. How do you think those red Calumet cans behind Jack and Dick Hallorann’s heads appear right out of nowhere? And how about Mr. Ullman's tie? 57 The assumption that what I just showed you are accidental continuity errors is nonsense. There are many explanations that could explain individual shots but taken as a whole it’s pretty obvious with going on here - it's intentional. Stanley Kubrick places them up front to be noticed. They're part of the movie and within the framework of "The

Shining's" reality they must have an explanation. Either The Overlook does it or they did it themselves but whatever the answer; a supernatural power is involved. There's no other answer yet many viewers form their own rock solid opinion's choosing to ignore the pictures that Stanley Kubrick placed within the movie, or choosing to ignore the dialogue he put into the movie, or not reading Stephen King’s novel and understanding the alterations that were made to it. Like the magically appearing Calumet cans and Mr. Ullman’s tie changing color before our eyes, a supernatural power is involved. How can I proove that there are supernatural movements in Stanley Kubrick's Overlook? There were supernatural movements in Stephen King's Overlook also. After all this is where Stanley Kubrick got the idea for the movie from and we must look there for some answers - and not ignore what we find. For me the best and creepiest part of the novel was when The Overlook animates certain objects for its guests. It’s classic horror and Stanley Kubrick wouldn’t leave out such a great plot point from the novel. You just have to look very very closely if you want to see what actually moves. Three items move through supernatural power in the novel. The Overlook animates The Hedge Animals, the fire hose, and the elevators. They’re all possessed by the hotel and scare the crap out of the Torrance’s because they obviously can move on their own. But what Stanley Kubrick did to these three items

in the movie just cannot be denied or ignored. He’s totally inverted Stephen King’s novel and no one can dispute that these three items, glaringly if not hauntingly, remain totally motionless throughout the entire movie instead of moving by themselves (click here). Stanley Kubrick is “Shining” a vision right into our heads. Look at them all you like, because, in the movie, they will not move an inch (the elevator doors only move in the visions - not in the hotel). This is telling us something important. Stanley Kubrick reversed what moves by supernatural powers in the novel and this leaves it open for anything other than these three items to move under mysterious supernatural circumstances; and in Stanley Kubrick's Overlook that's exactly what happens. While he's scolding Wendy Jack pulls the sheet of paper out of the typewriter. After he's finished he makes another sheet appear back in the carriage again right out of thin air without touching it and without the audience hearing a thing. So many items move when they shouldn't how do I know that it's not spooks inside The Overlook that are doing this? Over ninety five percent of the movie is shot inside the hotel but there are scenes that take place outside of the hotel and these supernatural movements also happen in them. After Danny "Shines" and sees the vision of the bloody elevators watch the yellow and red dwarf Dopey as

he makes it disappear from his bedroom door long before he enters the hotel. In sunny Florida, Dick Hallorann "Shines" when he sees room 237 and makes the red painting above his headboard dissappear. 59 There's no other explination as the exact same thing happens outside of the hotel and well before Danny ever gets there. The characters posses a supernatural ability that also enables them to alter their surrondings. This is what the movie is about a supernatural ability; "The Shining". What a brilliant way Stanley Kubrick chose to alter their special ability from the novel. He works in the visual realm and made these character’s supernatural ability look like a common movie mistake. Again, Stanley Kubrick tells us others have the ability to “Shine” in the dialogue. “But, there are other folks though mostly they don’t know it, ............................ or believe it”.
 .....................And one of them is insane. What's happening couldn't be more obvious. In the reality of the movie this must have an explination. The definition of psychokinesis (aka. telekinesis) is: the power to move a physical object by thinking about it without the application of physical force. Stanley Kubrick has made it quite obvious that when they "Shine" cast members in his movie also possess the ability to supernaturally move or change the color of items.

There's so much to show. As he tries to save himself from his father, Jack "Shines" and moves the entrance of the hedge maze closer to Danny in order to entice and trap his son in the maze. (Early on when we see this area several times, and in the hedge maze maps, there’s only one entrance to the maze and it’s not on the wall facing the hotel. Later the entrance moves from its original position to the wall 90 degrees to the left, and we now see it facing The Overlook. This can be seen best just before they escape the hotel as Danny walks straight into Wendy’s arms at the end of the movie. She’s standing right in front of the rear entrance of The Overlook where Dick Hallorann parked the Sno-cat. Earlier we see this same spot and there’s no entrance there.) 60 Skeptics say Stanley Kubrick didn’t alter the novel and give these characters the additional ability to psychokinetically move things but they'll have to have a good explanation for what happens in this picture. It's so obviously playful and also very well hidden - right in plain sight. We see their trip up the mountain and they're the only ones on the road heading toward The Overlook. Just like when he moves the Calumet can, the Golden Rey box and opens the latch of the storeroom, Jack "Shines" and uses psychokinesis to move the unnaturally large pile of luggage on the right that couldn't fit in a VW if the engine and passengers were removed. It just appears at the end of their journey (without any indication of any outside help or a shred of luggage on or

in the car). A supernatural power is involved, there's no other explanation of how the luggage got there. They had no other help. People who “Shine” emit psychic energy and are able to power the TVs in The Overlook and again outside of The Overlook, at Dick Hallorann’s house, with no visible wires coming out of them. You may have noticed as Jack gets crazier and crazier, whenever we see the outside of The Overlook different sets of lights are on each time. Especially in the end where no one ever flicks a light switch. Throughout the chase scene different lights go on and off by themselves even though no one is inside the hotel. It’s a no-brainer to say that the hotel is haunted and the spooks are causing this to happen but if you look deeper it’s not the case at all. It's like I showed in a previous section, the TV sets, Jack’s lamp on his desk, the clocks on the walls all have no wires coming out of them, these people have a special energy around them. Jack's descent into madness combined with his power to “Shine” can also cause odd things to happen like lights turning on and off by themselves. 61 Many items change color when they shouldn't. Danny didn't bring 2 trikes with him yet the wheels change color from white to red. Jack didn't bring 2 typewriters either yet it also changes color. Their room, same thing. They didn't repaint it durring their stay It's been painted a different color (by Stanley Kubrick's crew) as the back wall is also the same color.

The hallway in the final chase.
 It's all a result of "Shining". That's what this movie is about. Her state of mind is desperate and after Wendy drags Jack into the storeroom she changes the direction that the knives are facing. How many times does Stanley Kubrick have to make the knife reverse position or dissapear? Later in the bathroom, she moves the same knife again. She throws it in the sink with the handle to the right, yet later when picking it back up she reverses the handle’s position to the left without ever touching it. In the end when she doesn't need it anymore Wendy throws the knife down into the packed snow and now it disappears. The knife also reverses position between shots when Danny "Shines" and Tony writes "Redrum" on the bathroom door. You might be wondering about this; how could the characters not know that something moves around them? The answer is found in Stephen King's novel when Danny talks about the Moving Hedge Animals and says, "It only happens 62 when you're not looking.” Stanley Kubrick makes this sentence come alive in the movie. If you observe the characters closely they're never looking directly at the object that moves. Most are directly behind their

heads and you must also remember it's a movie about a supernatural power, stuff happens. The movements are for the audience not the characters in the movie. Stanley Kubrick works in a visual realm, he reverses the sentence from the novel and now in the movie, "It only happens when [the audience is] looking.” But you do have to know where to look. But Dick Hallorann doesn’t say anything to Danny about telekinesis as they speak about the "Shine" in the hotel's kitchen. Hiding things must be something Stanley Kubrick enjoyed and making it overly obvious would have spoiled his fun. It's been hidden. Dick Hallorann simply doesn’t know about it, again, "It only happens when you're not looking.” If he knew everything there would be no movie and the fact that he doesn't means nothing. This is discussed by Stanley Kubrick in his interview with Michel Ciment . "If Danny had perfect ESP, there could be no story. He would anticipate everything, warn everybody and solve every problem. So his perception of the paranormal must be imperfect and fragmentary. This also happens to be consistent with most of the reports of telepathic experiences."The same applies to Dick Hallorann. There's something else Dick Hallorann doesn't know about; he also has an invisable friend (click here) that Stanley Kubrick didn't tell Michel Ciment about. The July 4th picture (the most enigmatic image in the history of motion pictures) just appears the same way on the wall in the final shot of “The Shining”. When we see that spot several times earlier in

the movie, it isn’t there. It isn't hung on any other wall of The Overlook either, it just appears out of 63 nowhere exactly like the Calumet cans. There's no evidence that any other supernatural power other than "Shining" is going on in this movie either. This is what the story is about and it's no stretch of the movie's reality to come to the correct assumption that someone "Shined" it onto that wall. It’s Jack who puts the key into the lock of room 237, turns it, and opens the door. It's Jack who "Shines" the image of the woman into Danny, Dick Hallorann and Mr. Ullman's minds. It’s Jack who beats up Danny during his nightmare. And it’s Jack who unlocks the storeroom and he does it all by psychokinesis. There are so many continuity errors in "The Shining" and there are a myriad of explanations as to why they appear here (as well as in every other movie ever made). Stanley Kubrick goes to the next level though, and includes some that are actually intended to be a part of the movie. I've just shown them to you and here are some others for you to look at and wonder about. Who beat up Danny?

In the movie, Jack has the same ability as Danny and therefore both are able to telepathically “Shine” images into the minds of other people. This is exactly what Danny does to Dick Hallorann in his bedroom in Florida when he needs his help. When Danny is beat up Jack is having a nightmare and his power to “Shine” combined with his increasing madness is what makes him able to lash out at Danny without being physically present. It couldn’t have been the old woman in 237 because, as Dick Hallorann tells Danny over ice cream, she’s only a vision of the past and not real. Having this special ability enables them to “Shine” these images into each others minds 64 Why are there so many references to Native Americans and what do they mean? I feel these references, which are seen in just about every shot of the movie, are only meant to throw off anyone trying to figure out the meaning of this movie. The only important Indians here are the wellhidden Mayan’s and their prediction of the end of the world, 12/24/2011. The rest is a con unless someone can prove different. Are the ghosts in the movie real? No! Not a one and that’s the beauty of Stanley Kubrick’s unbelievable deception. What the audience thinks are “ghosts” are visions from the Overlook’s guests who all have this very special supernatural ability to “Shine” that enables them to see these visions. I’ve often thought that in the movie version of this story The Overlook may have been a place

that attracted people with this special power to “Shine”. It appears to be quite obvious, and it also seems that people who “Shine” have invisible friends by their sides.
 I believe the ghosts that everyone believes haunt The Overlook are actually the Doppelgangers of the current residents, and there’s no solid evidence that I can find to the contrary. Everything they see are visions, whether they be of the past, future, or of their deepest fears. No one is there except the Torrance family. It’s brilliant how Stanley Kubrick gave each cast member powers that make it appear to the audience that The Overlook is haunted, when it actually isn’t. Who lets Jack out of the storeroom? In the movie Jack has the ability to “Shine” and therefore he's able to supernaturally move objects. Charles Grady is a real person, who worked in The Overlook in 1970, but the other one Delbert Grady is a product of Jack’s mind and as he speaks to him in the storeroom he’s really talking to himself. 65 But it’s his power to “Shine”, that’s so well hidden in the movie, which enables him to unlock the storeroom door and get out by himself.
 Does Jack also have the ability to “Shine”? In this movie Stanley Kubric put the proof of who has the ability to “Shine” on the screen in front of us, but one of the most baffling questions that anyone asks after watching is; Who let Jack out of the

storeroom? A similar question that ends up having the same answer is; who rolls the yellow ball to Danny as he plays on the carpet? If you look closely at the movie, people who “Shine” have the ability to move things and change the color of surroundings and personal items. Stanley Kubrick masterfully hides this, along with the fact that Jack has this very same ability. The pictures don’t lie. It’s quite obvious if you look closely that Jack “Shines” and lets himself out of the storeroom. He also rolls his yellow ball toward Danny, luring him to room 237. And the proof is in the pictures. This is after all what this movie is about, people with the special ability to “Shine”. There’s no law that says Stanley Kubrick can’t change, or hide from the audience, which cast members have this special ability. Just look at the unmistakable similarities in these two pictures. It’s obvious, they're both "Shining" and the Red Indian moves each time. We know that Dick Hallorann has this ability and a red Calumet can appears out of nowhere right next to his head when he telepathically talks to Danny, and disappears in the very next shot when he stops. When Jack “Shines” and unlatches the storeroom door there are now six (even more unseen) red Calumet cans near his head, and they weren’t there when Wendy dragged him in. The increase in the number of cans may indicate how much more of this power he has over that of Dick Hallorann. I believe Jack not only rolls the ball to Danny luring him to room 237 but also is the cause of the other items that move in The Overlook. The “ghosts” of 66

Grady and Lloyd that Jack sees and talks to are from his own imagination alone and not a product of the hotel as is commonly believed by some. Looking at these 2 pictures (along with the others shown) it’s obvious that Stanley Kubrick is purposely moving things between shots in the movie. Please remember that the red Calumet cans appear out of nowhere. They weren’t there in previous shots, and this is very important. Many use this quote from Stanley Kubrick’s interview with Michel Ciment as proof that Grady, a ghost, let Jack out of the storeroom. But if you read closely you’ll see he’s talking about what happened in the novel and not the movie.
 "...What I found so particularly clever about the way the novel was written. As the supernatural events occurred you searched for an explanation, and the most likely one seemed to be that the strange things that were happening would finally be explained as the products of Jack's imagination. It's not until Grady, the ghost of the former caretaker who axed to death his family, slides open the bolt of the larder door, allowing Jack to escape, that you are left with no other explanation but the supernatural." He cleverly keeps his secret as he tells Michel Ciment exactly what everyone expects to hear; a ghost lets Jack out of the storeroom.
 The problem is that if you read the novel there is undeniable proof that Stanley Kubrick has reversed and altered every major aspect of it except the names of the characters and the hotel, and there’s no proof that he stopped doing it in the storeroom scene. Stanley Kubrick simply reverses the novel here. “The strange things that were

happening would finally be explained as the products of Jack's imagination” and that’s exactly what he did. In the novel there is no question that a ghost opens the door. In the movie the ghosts are all in Jack’s head. If you have preconceived ideas the reversals I’ve noted that he made to the novel are shocking. Especially when you 67 think of how he was able to hide all this in plain site. But if you “go check it out” what I’ve noted is quite correct. It’s not only correct but it can’t be debated, discussed, altered or most importantly dismissed. It is what it is. Red is yellow and yellow is red, and it’s also quite obvious that in the movie Jack “Shines.” It’s a very controversial statement to say that cast members in “The Shining” are able to move things telepathically but not only is this obvious to anyone that looks, the proof of this statement can be found if you read Stephen King’s novel. As I showed you before in the movie there’s not one major aspect of the novel that has been left out. Some things just have to be searched for then you’ll say ‘I never noticed that’ when they’re pointed out to you. For me one of the best parts of the novel was when The Overlook animates certain objects for its guests. It’s absurd to think that Stanley Kubrick would leave out such a great plot point from the novel, and if you look closely; he doesn’t. Even though it’s impossible to prove which movements in the movie are deliberate and which aren’t, the proof that there are deliberate movements, is in the novel itself. The three items I’m referring to from the novel were all out in the open and obvious. The Hedge Animals, the fire hose, and the elevators all moved on their own, but what

Stanley Kubrick did to these three items in the movie just cannot be ignored and should be explained by anyone who thinks there’s no such thing as a deliberate continuity error. Stanley Kubrick has totally reversed what happens in Stephen King’s novel again, and no one can dispute that these three items that were animated by The Overlook in the novel, glaringly, remain motionless throughout the entire movie. None of them budges an inch and not only do they not move but the elevators don’t even change floors. It appears that what The Overlook moves in the novel doesn’t move in the movie, it’s obvious and it’s been reversed. What’s not so obvious is that reversing this leaves it open for Stanley Kubrick 68 to move any other object that’s not one of the three from the novel; and as unbelievable as this sounds, it’s precisely what he did. The power that moves the objects has also been reversed and The Overlook does none of it in the movie. Just like the numbers Stanley Kubrick wants us to notice, the movements I’m speaking about are pretty obvious when someone points them out. Noticed the sheet of paper that Jack pulls out of the typewriter. After he finishes scolding Wendy he “Shines” and another sheet appears right out of thin air, back in the typewriter again, without him touching it and without the audience hearing a thing.

Look at how Stanley Kubrick hides this in the drive up to The Overlook. Here Jack "Shines" as he constantly looks in the rear view mirror of his yellow VW, and an unnaturally large pile of luggage, that couldn't fit in a VW if the engine and passengers were removed, appears at the end of the journey (without any indication of any outside help, or luggage on the car). Stanley Kubrick hid this brilliantly in the film. All cast members that have the “Shine” are able to move items and change the color of their possessions. The pictures can’t be denied.
 As Danny "Shines" watch the yellow and red dwarf from Snow White (Dopey) as it disappears from his bedroom door. Dick Hallorann "Shines" and the red painting above his headboard in Florida just disappears between shots. Watch as Dick Hallorann’s pile of change at the airport payphone moves constantly without him touching it with either hand. Wendy also has some ability to “Shine” as she has four visions of her own. When Danny had his vision of the bloody elevators 69 it’s never questioned that he’s “Shining”, so why should it be any different when we watch Wendy have the exact same vision, frame for frame, at the end of the movie? Her ability is well hidden but

nonetheless obvious when she telepathically moves the direction the knives are facing after dragging Jack into the storeroom. Later in the bathroom, she telepathically moves the same knife again. She throws it in the sink with the handle to the right, yet watch as later when picking it back up she reverses the handle’s position to the left without ever touching it. Magazines, mirrors and other items also move or disappear when she’s around. Wendy’s special power to “Shine” means she also has the ability to see visions of things that have happened in the past in The Overlook, just like Jack and Danny’s vision of the old woman that committed suicide in room 237. It explains what this shot is all about, that many believe is Horace Derwent with Dog Man who are both mentioned in the novel as people who were at The Overlook years before. If you look closely in the end of the movie, Danny "Shines" and actually moves the entrance of the hedge maze closer to him before Jack chases him into it. Early on when we see this area there’s no entrance on the wall facing the hotel, later the entrance moves from it's original position to the wall 90 degrees to the left, now facing The Overlook. This can be seen best just before they escape the hotel as Danny walks straight into Wendy’s arms at the end of the movie. She’s standing right in front of the rear entrance of The Overlook where Dick Hallorann parked the Sno-cat. Earlier we see this same spot and there’s no entrance there.

We are witnessing the work of a craftsmen who is the best in the world at what he does, but what places Stanley Kubrick apart from other directors is the sheer magnitude of his 70 deception and he must have chuckled till the day he died knowing that no one ever noticed all this. No one ever put it together and figured out what he was actually doing. The Overlook may be a place that attracts people who posses this special power. Cast members who “Shine” have the ability to change what they’re wearing as Mr. Ullman and Bill Watson both have personal articles of clothing that change between shots. If you think these are mistakes, you’re wrong. A perfectionist like Stanley Kubrick would never let this happen by accident in a million years. Watch as Mr. Ullman’s tie changes right before our eyes. Watch as Bill Watson’s pants do the same thing changing from solid color to plaid between shots. Again, Jack is also able to “Shine” and it’s obvious that his ability to supernaturally move things is what unlatches the storeroom door, and not that of a ghost. In the novel people who “Shine” don’t have the ability to telekinetically move things but there’s no law that says Stanley Kubrick can’t change this in his version, and this is exactly what he did. Pictures don’t lie.

71 OLD Is there an explanation of the July 4th 1921 picture? Everyone who views this movie wants to know what the final photo in “The Shining” represents. Unfortunately it’s a purposeful visual enigma placed there by Stanley Kubrick and it has no simple explanation. When you first view the movie you will leave with the impression that Jack Torrance has been in The Overlook before, but this is one of the most perplexing images in the history of cinema and it must be looked at carefully before what it actually represents is fully understood. I believe the photo depicts Jack Torrance’s future, not his past, and it's been “Shined” onto that spot on the wall at the end of the movie by someone else who also posses this special power.Someone that has the ability to move things by telekinesis (click here). “Shining” is precisely what Stanley Kubrick’s movie is about and someone uses this special power to make that picture appear at the end of the movie. The picture is a paradoxical enigma and there are several things that you must look at and address before you attempt any explanation of it. 1) The most intriguing fact about the final photo is that it simply doesn’t exist until after Jack’s death. Stanley Kubrick has it magically appearing on the wall only in the last shot of the movie. You can have any opinion you like but it must include why the photo is nowhere to be found either on that wall, or any other in The Overlook at any other time in the movie. Could Stanley Kubrick have just forgotten to hang the 1921 picture up? Many viewers have missed this. Every other time we see those 21 pictures in the movie they’re different and the July

4th 1921 picture simply isn’t there. It doesn’t exist until the end of the movie. 2) In the dialogue Delbert Grady says, “I'm sorry to differ with you, sir, but you are the caretaker. You have always been the 72 caretaker, I should know, sir. [I've always been here.] ” If he’s "always been" there why is he not in the final photo? If he is real and not a product of Jack’s imagination, he must also be there with him in the final photo; but the fact is that he isn't there. 3) The ballroom depicted in the final picture is not The Overlook’s. It may say “Overlook Hotel July 4th Ball 1921” but the party depicted in the picture is quite simply somewhere else and this cannot be ignored. It isn’t in any room of The Overlook. We see all the big rooms in the hotel and there's absolutely no indication of another one either in the movie or the novel. There should be no confusion about this fact as even Stanley Kubrick states that it’s not The Overlook in his interview with Michel Ciment. In the photo Stanley Kubrick obviously has Jack standing somewhere else, other than The Overlook. 4) In the final shot we see Jack’s image in a picture that's dated 1921. Many believe Jack Torrance, the caretaker in the movie, is a reincarnation of the person in the photo. This cannot be for 2 very good reasons 1) the definition of the word is very precise; reincarnation - the rebirth of a soul in a [new] body. Jack is still the same person. 2) Stanley Kubrick makes it obvious that it’s not The Overlook. The photo

is not proof that Jack has ever been there before because the place depicted isn’t The Overlook. 5) Jack Torrance is the winter caretaker and he would not be working in the summer and the person depicted in the photo is not the caretaker, he’s the manager. We must look at the the novel to understand this because in Chapter 48 (Page 261) we find out that Jack strives to become the manager of The Overlook, but he obviously doesn’t make it. The way in which Stanley Kubrick altered Stephen King’s novel (click here) becomes a tremendous help in understanding the final picture. In the movie we’re seeing a mirror image, an inversion, of what 73 happens in the novel and after his death Jack does become the manager of The Overlook in the final picture. And it's, “for ever, and ever, and ever”. 6) Stanley Kubrick creates an obvious visual paradox for the audience in the picture. The date says it’s a summer party but the only item that can be picked out in it indicates it’s a New Years Eve party; the opposite time of year. 7) And this obvious question must be answered; what happened to all the other caretakers that had to have worked in between and before Jack and Grady? Who and where are they and why didn’t they try to kill their families? Have they been “reincarnated” also? 8) We should think about where Stanley Kubrick got the idea for the July 4th picture? The only black and white photo in Stephen King’s

novel ends up being of tremendous importance in understanding Stanley Kubrick’s ending. It’s mentioned in Chapter 33 (page 191) of the novel. It tells us exactly what that enigmatic photo depicts at the end of his movie. Here is an excerpt from Stephen King’s novel; “In that instant, kneeling there, everything came clear to him... In those few seconds [Jack] understood everything. There was a certain blackand- white picture he remembered seeing as a child, in catechism class... a jumble of whites and blacks... Then one of the children in the third row had gasped, "It's Jesus!" .... "I see Him! I see Him!" ... Everyone had seen the face of Jesus in the jumble of blacks and whites except Jacky... when everyone else had tumbled their way up from the church basement and out onto the street he had lingered behind... He hated it... It was a big fake... [But] as he turned to go he had seen the face of Jesus from the corner of his eye... He turned back, his heart in his throat. Everything had suddenly clicked into place and he had stared at the picture with fearful wonder, unable to believe he had missed it... Looking at Jack Torrance. What had only been a meaningless sprawl had suddenly been 74 transformed into a stark black-and-white etching of the face of Christ Our Lord. Fearful wonder became terror. He had cussed in front of a picture of Jesus. He would be damned. He would be in hell with the sinners. The face of Christ had been in the picture all along. All along.” Unless you’ve read Stephen King's novel you may not have realized what Stanley Kubrick has done to it. The picture is an exact and purposeful reversal of the novel. The black and white photo we all see

at the end of “The Shining” is the mirror opposite of what only Jack sees in the novel. In one black and white photo we have the ultimate good that is inverted now becoming in the second black and white photo the ultimate evil. It’s the devil! Jack represents the devil! The Manager or Master of Ceremonies in hell. 9) You may not agree with what I’ve written but take one last look at this because Jack is obviously posed in that final shot as Who do you think “Shined” Jack’s picture onto the wall? My explanation of the last shot in “The Shining” includes all of these facts and can be seen if you click here. 1) The final photo simply doesn’t exist until after Jack’s death. Stanley Kubrick has it magically appearing on the wall only in the last shot of the movie. It’s not there at any other time in the movie. 2) Delbert Grady must also be there with Jack in the final photo; but he isn't there. 3) In the photo Stanley Kubrick obviously has Jack standing somewhere else. It’s not The Overlook. 4) Jack Torrance is not a reincarnation of the person in the photo. 75 5) The image of Jack Torrance is not the caretaker in the picture, he’s the manager.

6) The picture is not a July 4th party. It’s a New Years Eve party. ^7) Where are all the other caretakers? 8) The black and white photo in Stephen King’s novel must be looked at. 9) Jack is posed in the final picture and it is an obvious clue as to what it represents. Who is Tony? In Stephen King’s novel Tony is Danny's subconscious mind protecting him just like any other person's subconscious mind would do. Danny's difference, from most of us on this site, is in his ability to "Shine". In the novel Tony is also Danny’s imaginary friend and he can talk to him face to face, but Stanley Kubrick reverses this in the movie and we don’t see him because he’s invisable. We just hear him talking through Danny in a strange voice. Another thing Stanley Kubrick changed in the movie is that other people can “Shine” and they also have invisible imaginary friends. Who are the women in room 237? This is not explained in the movie. In Stephen King’s novel, the woman's name is Mrs. Massey and she committed suicide in the bathtub of room 217. Cast members who “Shine” can see visions of what happened there in the past and are able to see her in that bathroom. Stanley Kubrick doubled much from the

76 novel and we now see 2 woman in the bathroom of a different room, 237.
 What do the Numbers Mean? Why does Stanley Kubrick have so many of the same numbers (12, 21, 24, and 42) showing up throughout The Shining on Danny’s sweaters, room numbers, movie titles, dates, times, etc. etc.? He wants the audience to notice them and they’re key to explaining the date in the last shot of the movie. They are quite obvious; Room 237 adds up to 12, the 21 pictures on the wall in the final shots, the numbers of the date 7/4/1921 added together equal 24, and Danny wearing the number 42 on his sweatshirt in their bathroom. What's the significance of the four shots filmed entirely in the reflection of a mirror, and why does Stanley Kubrick have Danny wear an Apollo sweater with the number 11 on it? Mirrors or so important in Stanley Kubrick’s “Shining”. If you read the novel it’s obvious he’s holding Stephen King’s novel up to a mirror and in the movie we are seeing that reflection. The time codes of the four unique shots where a cast member is filmed entirely in the reflection of a mirror are part of a code that Stanley Kubrick wants us to notice throughout the movie. Just as we would never know Redrum is murder if we didn’t see it in the reflection of a mirror, we would never know of the number 11’s significance (a mirror image of itself) if we didn’t look at the time codes of the four mirror shots. Mirrors are the

key clue that leads to the explanation of what the puzzling date at the end of the movie, “July 4th 1921”, actually means. Danny’s reflection as he talks to Tony in the bathroom mirror (the duration is :24 seconds exactly and the time code is :11 minutes). 77 Jack’s reflection in the bedroom mirror as Wendy gives him breakfast (the duration is 1:21 minutes exactly and the time code is :35 minutes, :24+:11). Jack’s reflection in the bedroom mirror as Danny comes in for his truck (the duration is :24 seconds exactly and the time code is :53 minutes, : 42+:11). Wendy’s reflection as she sees Redrum reflected in the bedroom mirror (the duration is :04 seconds exactly and the time code is 2 hours and : 01 minute, 1:10+:11). Why does Stanley Kubrick have an enigmatic date on the screen in the final shot instead of what you see there in thousands of classic movies, The End? The date on the screen, 7/4/1921, is meaningless unless you add up its component numbers. It’s put at the very end of the movie as a clue to another date he has in mind, an ancient Mayan Indian prediction of the end of the world just a few years from now. Stanly Kubrick wanted us to wonder about this fictitious date while giving us numerical clues throughout the movie to the real date he believes to be a prediction of

the Apocalypse. The end of this movie is a metaphor for The End of everything and he even gives us the date positioned in the most perfect spot; the end. To get the month, take the mirror image of 21 (the number of pictures on the wall in the last shots). To get the day, add up 7/4/1921. To get the year, count the 20 people in the second to last close-up picture of the movie. ... and add that to the number 11 on Danny’s Apollo sweater (or 2, 1’s (twins) from the last two digits of the year 1921). 78 The hidden date is 12/24/2011.
 By now you’ve probably already made up your mind about how wrong I am about the Mayan Indians. After all they’re never mentioned in the movie so how could this be right. The Mayan Indians never being mentioned in the movie doesn’t mean anything. They’re there, just look at how subtly he included them. For almost 30 years viewers have looked at this shot and not seen what it actually is. There’s a perfect depiction of an ancient Mayan pyramid (top, sides and stairs) in Jack’s dream of the hedge maze and it’s proof positive that I’m correct about the Mayan date 12/24/2011. The many American Indian references throughout the movie are obvious and hold no mystery at all. The real mystery here is the date in the last shot of the

movie. The inclusion of a hidden depiction of an ancient Mayan pyramid in Jack’s dream of the hedge maze (in conjunction with the mysterious numbers) has no explanation other than that it has something to do with Mayan Indians and not American Indians as is a popular belief held by some. If this isn't enough maybe seeing the actual numbers of the date 12/24/2011 hidden in the picture will be. They’re all there and quite obvious if you know where to look. 12 is represented by adding up the three 4’s formed by the center shadows. 24 is represented by multiplying the number 12 from the center shadows by the 2 Mayan Temples that are shown in the picture. 20 is represented by adding the four 5’s on the left and right of the number 12 in the center ( the bottom 2 are inverted). 79 Adding the Roman Numerals X and I also hidden in the picture represents the number 11. 12/24/2011, it’s unbelievable how much was hidden in plain sight in this one picture. What do Delbert Grady and Tony have in common?

Something very odd moves around in "The Shining" when it shouldn’t. It was one of the first things I ever noticed and I just knew it was the most common of continuity errors seen hundreds of times in other movies. Than I read Stephen King's novel and everything changed. Tony is Danny's imaginary friend and can be seen by him in the novel.I believe in this movie Stanley Kubrick is showing us an inverted image of Stephen King's novel (click here), and now in the movie Tony's invisible; but he is still there if you know where to look. In the movie Tony is not only a voice inside Danny, but he's an actual invisible entity. In fact anyone else who "Shines" in this movie also has an invisible entity around them. This may be a little hard to comprehend but the proof of what I'm saying is in the pictures. Every time one of these invisible entities makes an appearance in the movie they do the exact same thing. I'll show you the pictures first and see if you can find where they are in each one. Did you notice a chair moving between shots in each scene? This isn't a mistake. No cast member went near them and they shouldn’t have moved. It’s deliberate and it happens at least five times in the movie. The invisible entities are present and are sitting in a chair making themselves comfortable while hanging around their host. In the Merriam-Webster’s dictionary the definition of the word Doppelganger is; a ghostly counterpart of a living person, and I believe there's proof here in these pictures that each major character in “The Shining” has a Doppelganger associated with them. Even though the 80

modern Internet definition indicates an evil presence Stanley Kubrick is working from the older definition here, as only Jack’s Doppelganger is evil. There should be no confusion as to whether The Overlook itself is causing this because it happens three times in the hotel and twice outside of it. Therefore the moving chairs are happening as a result of “Shining” and not any other popular phenomena, like ghosts. As I’ve already stated it’s pretty obvious that all these people have the same ability. I’ve shown this many times in pictures throughout my blog (click here).
 Now just look at the 6 chairs to the right of Mr. Ullman that move between shots in this scene. 6 people who arguably have the “Shine” are present and not one of them went near any of these 6 chairs. Their invisible Doppelgangers are sitting right there with them. I'm sure that these invisible entities are the power in the movie behind what's causing everything to move around, disappear, and change colors and the person who "Shines" or their invisible entity is present in the scene when they do. The actual characters have no idea what's going on. It's their subconscious that is doing it and Danny is the only one who may have the slightest clue. It's obvious that Dick Hallorann and Wendy have imaginary friends; but what about Jack, his are a little different because we can actually see them (Stanly Kubrick is letting us see the results of Jack’s imagination on the screen). We know that Charles Grady was an actual person who worked in The Overlook, murdered his family then killed

himself. The other one, Delbert Grady, never actually exists and is Jack's subconscious version of Danny's imaginary friend Tony. That's why he's able to let him out of the storeroom without Jack's conscious mind (or the audience's) knowing it. Grady and Tony probably communicate without Jack or Danny ever knowing it. 81 I'm sure this is how Danny was beat up during Jack's nightmare. There never was and old woman in room 237 while they were The Overlook, just a vision of one who was there in the past. It's true that Jack is talking to himself when he speaks to Grady with the mirror in front of him. Don't forget about Lloyd the bartender he's part of Jack's subconscious also as he speaks to himself again with a mirror in front of him. As the movie progresses the madder Jack gets the more stuff happens, it's his subconscious that's doing everything. It's amazing how much mystery there is in this movie and all the answers are right there in front of us if you know where to look. Someone else also had an invisible friend sitting next to him when he did his dirty work. First of all the ax is the same one that Jack uses later in the movie, but don’t let that confuse you the important thing is the overturned chair. The chairs we see throughout The Overlook are not the same style as this one but I knew that if I looked through the movie I would find this particular chair somewhere in there. We see it a total of four times but the thing that's really important is that every time we see it it's upside down. It's right outside of Wendy and Jacks apartment.

Charles Grady was also able to “Shine” and his invisible entity was sitting in that very chair before he killed his family and himself. The reason the chair is now overturned is because he killed himself and there's nothing sitting there any more. 82 Why does Stanley Kubrick have so many important objects colored either red or yellow? Even though he never stated this, Stanley Kubrick (just like Stephen King) may be using color to indicate when certain characters are “Shining” as surroundings and possessions which are entirely yellow or red are numerous as well as obvious. In the novel oranges are what Dick Hallorann smelled as he Shined and being that smell can’t be adequately brought across to theater audiences, Stanley Kubrick just happens to makes a brilliant decision (or maybe this just appears by accident) to use the two pigments that painters add together to make orange. Red and yellow equals orange, “Shining”. It’s also interesting to note that important red items in the novel are yellow in the movie, and important yellow items are red. 83 Does The Overlook “Shine”? At first I thought that the hotel was behind everything out of the ordinary that happened in the movie, and that’s what we’re supposed to think, until you look deeper.
 In the movie we’re seeing a mirror image (reversal) of many major plot

points from the novel. Just like the obvious color reversal Stanley Kubrick chose for the VW and Sno-Cat, what’s red is yellow and what’s yellow is red. But in typical Kubrick fashion he doesn’t make this obvious. In the novel Jack’s possessed by The Overlook, and in the movie we’re led to believe, that it’s possessing him again. What’s actually happening may be a complete reversal of this. I believe the cast members who “Shine” are controlling everything that happens in the movie. The visions and ghosts are all in their own minds (at least up to the last scene)! Jack’s ability to “Shine” coupled with his decent into insanity is what’s causing many of the spooky goings on in the movie and not The Overlook itself. In fact I believe Stanley Kubrick put an almost unbelievable twist to his version of The Shining; He’s totally reversed what was in Stephen King’s novel and The Overlook isn’t possessed or even haunted, and doesn’t have the special ability to “Shine” like it’s visitors. I can’t think of one other director that could (or would even try to) pull something like this off, and the proof is this. If The Overlook were able to “Shine” Dick Hallorann would have immediately picked it up when he was working there, just like he immediately picked up Danny’s ability when they first met and he warned him not to go into room 237. If you find this a little hard to believe just think about this; everything we’re told about “Shining” comes from one source, the lips of Dick Hallorann. Whether we’re reading the novel or looking at the movie, 84 he’s the only one that knows anything or says anything about it. He’s a board certified expert on the subject, and when he says “the Overlook

Hotel here has somethin' almost like 'shining'." we have to take this as coming from someone that knows exactly what they’re talking about. “Somethin' almost like 'shining” is not the same thing as “Shining”, it’s almost like it. If you look at what he and Danny are talking about over ice cream you’ll see he’s trying to convince him not to go into room 237. The reason is not that he’ll find anyone in there or that it’s even dangerous (which he would have told him if it was) but because Danny, with his very special ability, will see the echo of something that was there in the past, exactly like what he knew the maid in the novel saw, a suicide. All these years everyone’s thought that The Overlook was in control, because it’s that way in the novel. And now it may be that the exact opposite is true. Again the proof is in the treatment he gave to Stephen King's novel. The inversions I’ve pointed out from the source novel cannot be ignored; where do they stop? Does anyone think a perfectionist like Stanley Kubrick would stop right at the end in his alteration of the source material? If you think about it there's not one shred of evidence anyone can point to that the movie Overlook, as evil as it may be, has done anything to, or affected it’s inhabitants in any way. There’s just as much evidence that they did it all to themselves, and that’s the beauty of it; the ambiguity. What I’m saying is very controversial but why would he make this point so ambiguous if The Overlook were actually (as everyone believes) haunted? 85 Is Grady real or just in Jack’s imagination?

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 This is a difficult question to answer. Either he’s a real spirit haunting The Overlook with the power to open a storeroom door or he’s a figment of the Jack Torrances’ own imagination. There is no inbetween. I believe he's a vision produced in Jack's irrational mind but It’s hard to definitively prove this. Stanley Kubrick hides the answer to this question very well. But if you think about these seven points that he put into the movie it will help you to come to your own conclusion and you'll see why I believe Delbert Grady is a figment of Jack’s imagination. Click on each point for an explanation. 1) It’s well hidden but if you look at the dialogue Stanley Kubrick and Diane Johnson put the answer to this question right in the script and it can’t be changed. 2) Every time Jack sees a “ghost” he’s looking at himself in a mirror. 3) Who let Jack out of the storeroom if Grady is not real? 4) Why didn’t Grady “correct” Danny and Wendy himself? 5) Grady is not in the final photo.
 6) How did Stanley Kubrick alter Stephen King’s novel? 7) We see him and hear him speaking to Jack. 86