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&ref(https://m.media-amazon.com/images/M/MV5BZWFlYmY2MGEtZjVkYS00YzU4LTg0YjQtYzY1ZGE3NTA5NGQxXkEyXkFqcGdeQXVyMTQxNzMzNDI@._V1_UY113_CR0,0,76,113_AL_.jpg) 1980 liked it 843483 Votes genres Drama Stanley Kubrick, Diane Johnson Stanley Kubrick. I don't dislike The Shining. I just feel, as did King, that Kubrick's The Shining butchered his story and it does exactly that. I guess supposedly The Shining's artistic value is huge being that Kubrick is such a brilliant director but I don't see anything to the film that makes it such a Kubrick masterpiece. The core ideas are still in tact from the film but it seems as though Kubrick rushes everything through and in the process leaves all the meat and potatoes of the characters and the story in the dust. The characters in the film have virtually no depth, they are very shallow characters and the casting for the important roles couldn't have been more wrong. That being said Kubrick's The Shining makes a great horror story and is downright disturbing in numerous scenes. It gets a lot of it's "classic" status from many of it's more disturbing scenes including the blood in the elevator, REDRUM, the disturbing portrayal of Danny, and of course Nicholson's infamous portrayal of the madman but the problem with all of this is the story around it is so weak. You don't see Nicholson's decent into madness, it practically happens on a dime, and you don't get a sense of the evil hotel, everything just lumps together quickly, and the ending of the film makes such little sense that it leaves you frustrated and scratching your head.

Jack Nicholson plays Jack Torrance. Nicholson is a master actor, even nearly thirty years ago he was brilliant on screen and although his performance and character doesn't really match that of the novel he is still a decent choice for Torrance. The problem is Kubrick doesn't give Nicholson any depth to his character at all. So he gets to show sane, and then completely insane with nothing in the middle. Still it's easy to see why Nicholson's performance is so memorable because he is terrific. Shelley Duvall might be one of the worst actresses I've ever seen and casting her in this role might be one of the worst decisions I've ever seen. She is god-awful in this role and not to be mean but MAN is she crap. She was nominated for a Razzie for this role and I usually hate the Razzie's but they were dead on for this performance. She doesn't come close to fulfilling King's novel version of Wendy and she's just terrible in the role. Her facial expressions and downright hilarious acting makes her performance really, really awful. In his one and only performance on the big screen Danny Lloyd plays young Danny Torrance with a certain mundaneness. I mean I give him enormous credit for the scenes where he's "talking to Tony" and his belting out "REDRUM" which still gives me nightmares but apparently Kubrick shielded him even knowing he was in a horror movie (which surprises me and I gain a little respect for Kubrick for doing that.) Still Lloyd's performance is just adequate, nothing really huge about it. Finally veteran actor Scatman Crothers plays Dick Hallorann in a small role that isn't even really a "supporting role" but that's what they consider it. He does alright but doesn't even come close to the terrific role played by Melvin Van Peebles in the King Mini series version. But then his role is very small and like with the other characters, Kubrick gives them nothing to work with. Apparently I'm not a Kubrick fan because if I could pin point one thing wrong with The Shining, it would sum up into Stanley Kubrick who wrote the script and directed the film. I mean the man was rumored to be a monster on set forcing hundreds of re-shoots and yet manages to get no depth to these amazing characters? He focused far too much on the horror aspect of The Shining and missed all of the key elements that makes it brilliant. The film is okay and mostly okay because of Nicholson's performance once he becomes the maniac, and the hedge maze idea is cool but NO substitution for the Hedge animals from the novel and the later mini series. Some people passionately love Kubrick's The Shining but I think it's a matter of feeling like they have to because if you really watch it from a King fan perspective you'll realize there is so much missing and you'll understand why King himself didn't like this version. Still it is a classic and very watchable (except for Duvall's horrendous performance) so definitely see it but read the book and watch King's version of the mini series as well because that will give you a true look into The Shining. 7/10.

Dr setareh derakhshesh biography. Fun fact : the line Here's jonny! wasnt in the original script. he improvised it. HAIR OF THE DOG THAT BIT ME. Platinum dunes really messed this great movie up in 2010 when they tried to redo earl haley is a great actor dont get me wrong. but he is no robert will forever be freddy,they shouldve left it new version was so poorly received by fans and critics that it put to rest any thought of makin anymore reboots of this franchise i believe.
4:32 “haha scaredy-cat” looks in mirror “AHHH!”. This one has the best story by far. its not all about the gore, and the first time seeing jigsaw stand up at the end was such a glorious twist. what a good movie. Derakhshesh. Firouzeh derakhshesh. 1920s almost a century ago. She should have gone for the head. Marzie derakhshesh. 26:52 Love how batman is just hanging out in the background. Looook, I'm a crime fighter, not a marriage counselor, so maybe wrap up the domestic squabble and let's move on, huh.
Most unsettling parts for me is whenever it shows the blood spilling out the elevator/down the hallway. That and those bastard twins. Setareh derakhshesh. Published on May 26, 2011 The Shining movie clips: BUY THE MOVIE: Don't miss the HOTTEST NEW TRAILERS: CLIP DESCRIPTION: Jack (Jack Nicholson) forces Wendy (Shelley Duvall) into the bathroom, but she finds that she can't squeeze through the window. FILM DESCRIPTION: "All work and no play makes Jack a dull boy" -- or, rather, a homicidal boy in Stanley Kubrick's eerie 1980 adaptation of Stephen King's horror novel. With wife Wendy (Shelley Duvall) and psychic son Danny (Danny Lloyd) in tow, frustrated writer Jack Torrance (Jack Nicholson) takes a job as the winter caretaker at the opulently ominous, mountain-locked Overlook Hotel so that he can write in peace. Before the Overlook is vacated for the Torrances, the manager (Barry Nelson) informs Jack that a previous caretaker went crazy and slaughtered his family; Jack thinks it's no problem, but Danny's "shining" hints otherwise. Settling into their routine, Danny cruises through the empty corridors on his Big Wheel and plays in the topiary maze with Wendy, while Jack sets up shop in a cavernous lounge with strict orders not to be disturbed. Danny's alter ego, "Tony, " however, starts warning of "redrum" as Danny is plagued by more blood-soaked visions of the past, and a blocked Jack starts visiting the hotel bar for a few visions of his own. Frightened by her husband's behavior and Danny's visit to the forbidding Room 237, Wendy soon discovers what Jack has really been doing in his study all day, and what the hotel has done to Jack. CREDITS: TM & © Warner Bros. (1980) Cast: Danny Lloyd, Jack Nicholson, Shelley Duvall Director: Stanley Kubrick Producers: Robert Fryer, Jan Harlan, Mary Lea Johnson, Stanley Kubrick, Martin Richards Screenwriters: Stephen King, Stanley Kubrick, Diane Johnson WHO ARE WE? The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans. SUBSCRIBE TO OUR MOVIE CHANNELS: MOVIECLIPS: ComingSoon: Indie & Film Festivals: Hero Central: Extras: Classic Trailers: Pop-Up Trailers: Movie News: Movie Games: Fandango: Fandango FrontRunners: HIT US UP: Facebook: Twitter: Pinterest: Tumblr:.

Top 10 SCARIEST moments from The Shining That's what makes this scene so remarkable, THERE'S NOTHING INHERENTLY SCARY ABOUT IT. Fantastic comparison. It already impressed me when i saw Doctor Sleep at the cinema. But seeing a side by side only emphasizes the closeness. Very impressive. Damn good films. I love how they remake the movie but change the title and kinda other parts of the movie but still freakin awesome. Anyone excited for Doctor Sleep tomorrow.

She said “Jack” instead of Johnny! Poor thing was absolutely terrified. Tuesday It is the nature of obsession, the compulsion that causes the otherwise rational mind to charge into the labyrinth, to wrestle the obfuscating Minotaur within, and extract from the bull-man whatever morsel of meaning can be salvaged in this ?dumbed, flat world of ours. This was the quest, I felt, once again reviewing my fraught, evolving relationship with Stanley Kubrick’s film The Shining, in which an incipiently insane Jack Torrance (played by Jack Nicholson), his purposely oblivious wife (Shelley Duvall), and their oddly talented son, Danny, spend a particularly snowy winter at the supremely creepy Overlook Hotel. The movie came out in 1980, but my interconnect with the Kubrickian Kube long preceded that, back to the spring of 1964. That was when, as a high-school sophomore, I first saw Dr. Strangelove, the master’s glass-darkly comedy about what was then called “mutually assured destruction. ” Finally, after a Cold War childhood spent diving under desks and being told not to look out the window when the Russians dropped the big one, here was something that made sense. No fighting in the War Room, Sterling Hayden drinking grain alcohol and rainwater, Peter Sellers shouting, “Mein Führer, I can walk! ” was next-level Mad magazine, an advanced course in smart-ass, anti-authoritarian subversive moral feed for the budding sensibility. The fact that Kubrick was from New York, was born in the Depression cusp year of 1928, was raised in the South Bronx, hilariously blew off Taft High School with a 67 percent average (graduating 414th in a class of 509), was a staff photographer for Look magazine at age 17, made documentaries for virtually no money, and wound up bossing around big stars on Hollywood sets by age 30, held out the notion that any outer-borough Jew could do the same, or at least try. After Strangelove, the canon was filled in. There was The Killing, from 1956, in which Kubrick reconfigured time to stage a racetrack heist and had Vince Edwards tell Marie Windsor, “Don’t bug me, I got to live my life a certain way. ” There was Tony Curtis, talking like Sidney Falco/Bernie Schwartz as he washes Laurence Olivier’s back in Spartacus. And, of course, there was James Mason’s Humbert Humbert shooting Clare Quilty in the boxing glove and telling Dolores Haze of the “great feeling of tenderness” he has for her. But how could anyone have predicted the transformative experience of 2001? Four straight nights, we lay on the carpet between the first row and the screen, staring up into the Light. When it was over, the usher peeled us from the floor. Which brings us up to The Shining, which, like so many Kubrick fans of my vintage, I lined up to see the night it opened at the now-torn-down Criterion Theatre in old, scuzzy Times Square. * Barry Lyndon had been an oil painting. But The Shining augured so much more. Pre-Internet rumors had been circling for months: Kubrick, holed up in his English mansion, had ordered forklifts of books delivered to his file-filled study. He read the first few pages of each book, groaned, and threw it against the wall with a thump. A huge pile of discarded material grew, a dozen feet high or more. Then the thumping stopped. The master had found his new vehicle: a Stephen King horror story set in a haunted hotel. Brian De Palma had a hit with Carrie; King was hot. Bemoaning that for all his success he had yet to make a film that had “done blockbuster business, ” Kubrick pounced. Aesthetically, it made sense?a Kubrick horror picture, a return to the reliable genre chassis, one more opportunity to merge the high and the low in that seamless wiseguy way. Except it sucked. For the Kubrick fan, The Shining was like watching Roger Corman on Robitussin, a 16-rpm Fall of the House of Usher, some classroom chunk of faux -Pirandello absurdism. Among my ilk, the verdict was that the great Stanley, egghead avatar of Cold War cool, had gone terminally corny midway through A Clockwork Orange, halfway through the “Singin’ in the Rain” scene. The Shining seemed the final nail in the suddenly square-shape coffin. It was a rough year for the heroes of youth, with Bob Dylan born again, Muhammad Ali finished, and now Kubrick. I mean, “Here’s Johnny! ” This was supposed to be funny? White Men With Their Axes In the ensuing years, more than most movies, The Shining has deeply, inexorably embedded itself into the pop-culture mindscape. No one thinks much about naming a mid-range cop show Redrum, after the film’s backward “murder” riff. The identically dressed murdered little girls who roam the ghostways of the Overlook Hotel have far exceeded the recognizability of the Diane Arbus photo they are based on. Still, I remained in the dark. I had no notion that a DVD-based cult had risen up around The Shining, that the movie was studied by cine-psychonauts with a fine-tooth intensity usually reserved for the Zapruder film. I had no knowledge of the plethora of Internet sites like, which refers to itself as a clearinghouse for “ephemera related to Stanley Kubrick’s masterpiece of modern horror, The Shining. ” This would change, however, when I happened upon a screening of Room 237, an epic of Shining fixation that critic Todd McCarthy of The Hollywood Reporter described as “nutty, arcane, and jaw-dropping … a head-first plunge down the rabbit hole of Kubrickiana from which, for some, there is evidently no return. ” Named for the forbidden Overlook room where the hapless, sexually frustrated Jack Torrance embraces a beautiful naked woman only to have her body decay at his tainted touch, Room 237 presents a compendium of Shining fans and scholars offering various readings on what the film is really “about. ” These include: a metaphor for the extermination of the Native Americans; a retelling of the aforementioned Minotaur story channeled through an M.?C. Escher?like maze of “impossible” architecture; a meditation on the nature of the Holocaust; as well as an encoded apologia by the director for his alleged role in faking the footage of the Apollo 11 moon landing. It is to the everlasting credit of Room 237 and its director, Rodney Ascher, that this apparent claptrap soon uncoils in the gray matter like a tapeworm. Immediately upon returning home from seeing Room 237, I streamed The Shining. Over the next 36 hours, I streamed the film three more times. Three decades past that desultory Times Square evening, fourteen years after Kubrick’s death in 1999, scales clanked from mine eyes like rain. In 1980, at age 32, The Shining seemed a trifle, made by a fading talent. In 2013, on the verge of Medicare, I saw a completely different movie, a Faustian saga of errant humanity, a sick, sick, sick, black-humored Kafka take on horror-movie conventions, marital relations, and the way synthetic realities tend to drive you crazy. In other words, The Shining became emblematic of everything I had ever loved in Stanley Kubrick movies, a rewrapped gift from across time and tide from a once wrongly shunned, now thankfully resurrected idol. It was certainly not unusual for people who disliked The Shining at first to change their mind about the film, said Bill Blakemore as we ate dinner at Cafe Fiorello on Broadway, not far from the offices of ABC News, where Blakemore started working more than four decades ago, covering the Vatican and numerous Middle Eastern wars. In Room 237, Blakemore is the one who believes the thematic subtext of The Shining is the murder of Native Americans by “the genocidal armies, the white men with their ax, ” who came to build the Overlook Hotel in 1907. Blakemore said he was clued to the larger message of the film by the presence of cans of Calumet baking powder on the shelves of the Overlook pantry. “He gives you a little key to the film’s larger meaning. This was how Kubrick worked, ” Blakemore said. “He places something that catches your eye” that guides you through the confluence of false leads, misremembered memories, elliptical dialogue. Asked why the significance of the baking-?powder cans was clear to him but not everyone else, Blakemore said, “I grew up in Chicago, just north of the Calumet Harbor. I knew the word meant peace pipe, the symbol of an honest treaty, but so little of what happens in The Shining is on the level. Still, for me, the cans point a direction. With Kubrick, however long the journey takes, by whatever route you get there, you eventually come face-to-face with the truth. ” The mystery resided in the film’s central image, the repeated sequence of blood cascading from behind the hotel’s elevator doors, Blakemore continued over a plate of Fiorello’s hearty antipasto. “When the Overlook manager, Stuart Ullman, tells Nicholson and Shelley Duvall that the hotel is built on an Indian burial ground, that’s a dead giveaway, because the line isn’t in the Stephen King novel. That elevator shaft drives a stake into the body and soul of a murdered people. ” This was how Blakemore saw it. “For years I’ve covered these terrible events. War after war. Dispossession after dispossession. Murder after murder. Where do you think all that blood comes from? ” Neurophenomenological What a marvelous semiological scavenger hunt Room 237 was! To accept that Kubrick was a genius, an unerring god of a filmmaker, a man so meticulous and precise that nothing could possibly appear in his frames through unpremeditated accident, opened the floodgates of potential meaning. Geoffrey Cocks, interviewed in the documentary, was positive that the presence of a German-made typewriter and the number 42 on Danny’s sweatshirt signified, among other uses of the number, that the film was a commentary on the Holocaust, “42” referencing 1942. (Danny also says redrum 42 times. ) Juli Kearns, a devotee of the Cretan-labyrinth theory, knew instinctively that the window in Ullman’s office
LOVE YOU FREDDY :heart_eyes. Jig saw i cool.

The music. the cinematography. the atmosphere. all perfect and creepy, and then, out jump the blue letters from bad powerpoint presentation. Setareh derakhshesh boyfriend. What is unnerving about this scene is that we don't know whose POV this is. It feels like an intelligent observer watching and following- erratically- the Torrence family. That small yellow Volkswagen looks so vulnerable. And that dissonant music and those howl sounds, my God. Absolutely terrifying. And the movie hasn't even begun yet. That, my friends, is Stanley Kubrick.

Setare derakhshesh. Learn more More Like This Crime | Drama Sci-Fi 1 2 3 4 5 6 7 8 9 10 8. 3 / 10 X In the future, a sadistic gang leader is imprisoned and volunteers for a conduct-aversion experiment, but it doesn't go as planned. Director: Stanley Kubrick Stars: Malcolm McDowell, Patrick Magee, Michael Bates War A pragmatic U. S. Marine observes the dehumanizing effects the Vietnam War has on his fellow recruits from their brutal boot camp training to the bloody street fighting in Hue. Matthew Modine, R. Lee Ermey, Vincent D'Onofrio Thriller 8. 6 / 10 A young F. B. I. cadet must receive the help of an incarcerated and manipulative cannibal killer to help catch another serial killer, a madman who skins his victims. Jonathan Demme Jodie Foster, Anthony Hopkins, Lawrence A. Bonney Western 8. 4 / 10 With the help of a German bounty hunter, a freed slave sets out to rescue his wife from a brutal Mississippi plantation owner. Quentin Tarantino Jamie Foxx, Christoph Waltz, Leonardo DiCaprio Horror After a space merchant vessel receives an unknown transmission as a distress call, one of the crew is attacked by a mysterious life form and they soon realize that its life cycle has merely begun. Ridley Scott Sigourney Weaver, Tom Skerritt, John Hurt Mystery 8. 5 / 10 A Phoenix secretary embezzles forty thousand dollars from her employer's client, goes on the run, and checks into a remote motel run by a young man under the domination of his mother. Alfred Hitchcock Anthony Perkins, Janet Leigh, Vera Miles 8. 7 / 10 A criminal pleads insanity and is admitted to a mental institution, where he rebels against the oppressive nurse and rallies up the scared patients. Milos Forman Jack Nicholson, Louise Fletcher, Will Sampson Action Mathilda, a 12-year-old girl, is reluctantly taken in by Léon, a professional assassin, after her family is murdered. An unusual relationship forms as she becomes his protégée and learns the assassin's trade. Luc Besson Jean Reno, Gary Oldman, Natalie Portman Two detectives, a rookie and a veteran, hunt a serial killer who uses the seven deadly sins as his motives. David Fincher Morgan Freeman, Brad Pitt, Kevin Spacey When a simple jewelry heist goes horribly wrong, the surviving criminals begin to suspect that one of them is a police informant. Harvey Keitel, Tim Roth, Michael Madsen 8. 9 / 10 The lives of two mob hitmen, a boxer, a gangster and his wife, and a pair of diner bandits intertwine in four tales of violence and redemption. John Travolta, Uma Thurman, Samuel L. Jackson Adventure After discovering a mysterious artifact buried beneath the Lunar surface, mankind sets off on a quest to find its origins with help from intelligent supercomputer H. A. L. 9000. Keir Dullea, Gary Lockwood, William Sylvester Edit Storyline Signing a contract, Jack Torrance, a normal writer and former teacher agrees to take care of a hotel which has a long, violent past that puts everyone in the hotel in a nervous situation. While Jack slowly gets more violent and angry of his life, his son, Danny, tries to use a special talent, the "Shining", to inform the people outside about whatever that is going on in the hotel. Written by J. Golden Plot Summary Plot Synopsis Taglines: Stanley Kubrick's epic nightmare of horror See more ? Details Release Date: 13 June 1980 (USA) Also Known As: The Shining Box Office Budget: $19, 000, 000 (estimated) Opening Weekend USA: $622, 337, 26 May 1980 Cumulative Worldwide Gross: $46, 207, 205 See more on IMDbPro ? Company Credits Technical Specs Runtime: 144 min (cut) 119 min (European) 146 min (original) 142 min (US dvd release: B002VWNIDG) See full technical specs ? Did You Know? Goofs While Wendy and Danny are in the bathroom hiding from Jack, the interior shots show snow accumulated in the corner of the window pane. There is no snow on the exterior shots of the window as Danny escapes. This keeps alternating between snow and no snow as the scene alternates from interior to exterior shots of the window. See more ? Quotes [ first lines] Jack Torrance: Hi, I've got an appointment with Mr. Ullman. My name is Jack Torrance. Crazy Credits The party music plays over the closing credits. After it ends, we hear the Overlook Hotel ghosts applaud. They then talk amongst themselves until their voices fade away. See more ? Alternate Versions ABC edited 4 minutes from the film for its 1983 network television premiere. See more ? Frequently Asked Questions See more ?.
" Isolated for months on end Jack Torrance, an abusive alcoholic writer has been given the responsibility of caretaker of the famous "Overlook". With his beautiful and strong willed Wife- Wendy and misfit son Danny, the three will come to learn that they are not alone in the Hotel which they reside in. " ― " The Overlook is much more than a five-star resort. Discover the shocking scandals and gruesome truth, that haunts this Hotel so, Shining! " The Shining is the third book published by Stephen King; it is his third novel. The book was published by Doubleday in January 28, 1977. The book was followed in 2013 by the sequel Doctor Sleep. Background This classic novel is arguably King's most famous story and piece of literature. It deals with many of King's recurring themes, including alcoholism, domestic violence, misfit, yet gifted children and the insanity of authors. It has been made into an iconic horror movie of the same title, starring Jack Nicholson and Shelley Duvall and a miniseries that was aired on TV in the 90's. In 2016 the Minnesota Opera Company staged an opera based on both the novel and the 1980 movie.?The production?enjoyed strong reviews and sold out performances. Plot Jack Torrance, a loving father when sober, is a temperamental alcoholic and aspiring writer. He is trying to rebuild his life after previously breaking his son Danny's arm and assaulting a pupil at a Vermont prep school where he was a teacher. After being expelled from his teaching position and giving up drinking, Jack accepts a job as a winter caretaker at the large, isolated Overlook Hotel in Colorado to prove that he has recovered from alcoholism and is now a responsible person. Jack also plans to write a new play, believing the isolation will inspire him. Jack, his wife Wendy, and the clairvoyant Danny move into the Overlook. Jack's job was provided to him as a last chance by a close friend of his, Al Shockley, a fellow recovering alcoholic, who knows the hotel's board of trustees. The hotel's manager, the snobby Stuart Ullmann, interviews Jack and makes no attempt to hide his contempt for him due to his alcoholism and his recent termination. Jack also meets Watson, the hotel's seasonal caretaker, who shows Jack the heating and power systems of the hotel. Watson emphasizes that Jack must keep a close watch on the hotel's aging boiler, which could explode and destroy the hotel if the pressure isn't "dumped" on a regular basis each day. Danny's clairvoyance makes him sensitive to supernatural forces. A warning comes from Danny's imaginary friend, Tony, who tells him the hotel has an evil history and his family might be in danger. Shortly after the family's initial arrival at the hotel, Danny and the hotel's friendly chef, Dick Hallorann, talk privately to discuss Danny's talent and the hotel's sinister nature. Dick informs Danny that he shares Danny's abilities (though to a lesser degree), as did Dick's grandmother, who called it "shining". Dick warns Danny to avoid Room 217, and reassures him that the things he may see are merely pictures which cannot harm him. The conversation ends with Dick saying to Danny, "If there is give a shout. " When Halloran asks Danny to demonstrate his ability to talk to Dick through his mind, Dick experiences a huge and sharp burst of pain. He realizes that Danny may be the most powerful person possessed of the shining he's ever met. The hotel has a personality in its own right, and acts as a psychic lens: It manipulates the living and the dead for its own purposes, and magnifies the psychic powers of any living people who reside there to make them more sensitive to its urgings. Danny has premonitions of the hotel's danger to his family and begins seeing ghosts and frightening visions from the hotel's past, but puts up with them in the hope that they are not dangerous in the present. Although Danny is close to his father, he does not tell either of his parents about his visions because he senses that the caretaking job is important to his father and his family's future. However, Danny realizes that his presence in the hotel makes it more powerful, and enables it to make objects and situations dangerous that would normally not be dangerous, like topiary animals that come to life. While checking on the hotel's boiler, Jack finds an old scrapbook that contains clippings that provide a detailed history of the hotel. Presidents, dignitaries and famous celebrities had all been guests at the hotel. At one point, Jack discovers, the hotel was owned by Mafia interests and one of their number was murdered there. Believing that the hotel's history will make for a bestselling book, Jack first calls Stuart Ullmann, and grills him about the more nefarious events that took place there, mainly as revenge for Ullmann making his interview an uncomfortable experience. Ullmann is infuriated and places a call to Al Shockley, demanding that Jack be removed from his position. Shockley is able to convince Ullmann that Jack will not dredge up the hotel's history in any book, a condition that infuriates Jack. After Al reminds him that he'd saved Jack's career and reputation on several occasions, Jack grudgingly agrees to Al's terms and returns to writing his play and maintaining the hotel. Danny begins to experience frightening visions: a fire hose near Room 217 attacks him and the hedge animals of the hotel's topiary come alive and attack him while he plays out in the snow. The hotel has difficulty possessing Danny, so it begins to possess Jack, frustrating his need and desire to work on his play. Jack becomes increasingly unstable, and the sinister ghosts of the hotel gradually begin to possess him. Danny's curiosity gets the better of him and he steals the hotel's passkey and enters Room 217. There he finds the bloated body of a woman who was murdered in the bathtub. The woman, no more than a ghost but still a powerful entity of the hotel's design, tries to strangle Danny, leaving bruises on the boy's neck. Danny isn't killed but when his mother finds him and sees his injury, she immediately blames Jack. Frustrated and furious at Wendy's accusations, Jack goes to the bar of the hotel, previously empty of alcohol, and finds it fully stocked. He quickly gets drunk, which allows the hotel to possess him more fully. The hotel attempts to use Jack to kill Wendy and Danny in order to absorb Danny's psychic abilities. During a violent struggle with the iniebriated Jack in the hotel bar, Wendy manages to hit Jack with a straw-wrapped bottle, knocking him cold. Wendy and Danny drag into the kitchen, locking him into the walk-in pantry, but the ghost of Delbert Grady, a former caretaker who murdered his family and then committed suicide, releases him. Wendy discovers that they are completely isolated at the Overlook, since Jack has sabotaged the hotel's snowmobile, smashed the CB radio in the office and a hard winter storm has arrived, burying the only road to the hotel under several feet of snow. She and Jack battle. Jack strikes Wendy with one of the hotel's croquet mallets, breaking three ribs, a leg, and one vertebra in her back. Wendy stabs Jack in the small of his back with a large butcher knife, then crawls away to the caretaker's suite and locks herself in the bathroom, with the injured and bleeding Jack shambling close behind in pursuit. Hallorann, working at a winter resort in Florida, hears Danny's psychic call for help and rushes back to the Overlook. Hallorann's journey to Colorado is fraught with danger and obstacles, the chief being the intense snowstorm. Along the way, Hallorann nearly runs off the road. A friendly plow driver pulls Hallorann's car back onto the road. Hallorann discovers that the plow driver is also a person who "shines" and he loans the cook his pair of handmade mittens for the trip.?After several more hours of treacherous car and snowmobile travel through the Colorado Rockies, Dick finally arrives at the hotel and enters the main lobby. Jack leaves Wendy in the bathroom and ambushes Hallorann with the croquet mallet, shattering his jaw and giving him a concussion, before setting off after Danny. Danny distracts Jack by saying "You're not my daddy, " having realized that the Overlook had completely taken over Jack by playing on his alcoholism. Jack temporarily regains control of himself and tells Danny, "Run away. Quick. And remember how much I love you, " before the hotel forces Jack to strike himself in the face with the croquet mallet, mutilating Jack's face. Danny suddenly remembers that they are in further grave danger: the unstable boiler is about to explode, and the monster Jack has become rushes to the basement as Danny, Wendy, and Hallorann flee. Despite the Jack-thing opening the valve to relieve the pressure, the boiler still explodes, destroying the Overlook. The building's spirit makes one last desperate attempt to possess Hallorann and make him kill Danny and Wendy, but he shakes it off and brings them to safety. The novel ends with Danny and Wendy summering at a resort in Maine where Hallorann is?the head chef. Wendy is nearby recovering from her injuries but looks older and more haggard for the experience. Hallorann comforts?Danny over the loss of his father while teaching him to fish in the ocean. Danny's line gets a bite, which makes him and Dick happy. Characters Jack Torrance - The disturbed writer and winter caretaker of the Overlook hotel Wendy Torrance - Jack's wife Danny Torrance - Jack and Wendy's son, who has "the shining" on a very powerful level. Tony - Danny's imaginary friend who warns him not to go to the Overlook Dick Hallorann - The head chef at the Overlook who has "the shining" Delbert Grady - A previous caretaker who killed his family and himself, and whose ghost urges Jack to do the same Stuart Ullman - Present manager of the Overlook Horace M. Derwent - Past owner of the Overlook Notes Stephen King disliked Stanely Kubrick's adaption of the Shining, which
Derakhshesh alfred.