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Production took place almost exclusively at EMI Elstree Studios with sets strongly based on real locations. Kubrick often worked with a small crew which allowed him to do many takes, sometimes to the exhaustion of the actors and staff.
The new Steadicam was used in several scenes giving it an innovative and immersive look and feel. Because of inconsistencies, ambiguities, symbolism, and differences from the book, there has been much speculation into the meanings and actions in the movie.
There were several versions for theatrical releases, each being shorter than the prior, with about 27 minutes cut. Although contemporary responses from critics were mixed, assessment became more favorable in following decades, and it is now widely regarded as one of the greatest horror films ever made.
American director Martin Scorsese ranked it one of the 11 scariest horror movies of all time. Critics, scholars, and crew members such as Kubrick's producer Jan Harlan have discussed the film's enormous influence on popular culture.
Jack Torrance arrives at the mountain-isolated Overlook Hotel, which is twenty-five miles from the closest town, to be interviewed for the position of winter caretaker.
Once hired, Jack plans to use the hotel's solitude to write. The hotel, built on the site of a Native American burial ground, becomes snowed-in during the winter; it is closed from October to May.
Manager Stuart Ullman warns Jack that a previous caretaker, Charles Grady, developed cabin fever and killed his family and himself.
In Boulder, Jack's son, Danny Torrance, has a terrifying premonition about the hotel, viewing a cascade of blood emerging from an elevator door, and then falls into a trance.
Jack's wife, Wendy, tells a doctor that Danny has an imaginary friend named Tony, and that Jack has given up drinking because he dislocated Danny's shoulder following a binge.
The family arrives at the hotel on closing day and is given a tour. The chef, Dick Hallorann, surprises Danny by telepathically offering him ice cream.
Dick explains to Danny that he and his grandmother shared this telepathic ability, which he calls "shining". Danny asks if there is anything to be afraid of in the hotel, particularly room Hallorann tells Danny that the hotel has a "shine" to it along with many memories, not all of which are good.
He also tells Danny to stay away from room A month passes; while Jack's writing goes nowhere, Danny and Wendy explore the hotel's hedge maze, and Hallorann goes to Florida.
Wendy learns that the phone lines are out due to the heavy snowfall, and Danny has frightening visions. Jack, increasingly frustrated, starts behaving strangely and becomes prone to violent outbursts.
Danny's curiosity about room overcomes him when he sees the room's door open. Later, Wendy finds Jack screaming during a nightmare while asleep at his typewriter.
After she awakens him, Jack says he dreamed that he killed her and Danny. Danny arrives and is visibly traumatized with a bruise on his neck, causing Wendy to accuse Jack of abusing him.
That's what I thought, so what did you expect? To say nothing of the rest of the cast. According to him, Kubrick didn't understand the horror genre.
Well, I think Kubrick did. I think he understood it only too well. He knew that it was a genre full of conventions, cheap tricks and tired cliches.
Therefore Kubrick decided to throw all that nonsense out of the window and make a film based on atmosphere rather than predictable thrills. You don't get people here jumping out of the dark time after time.
You don't get worthless shocks. Kubrick's version of The Shining is an insidious film. It gets under your skin. In other words, it isn't for Pavlovian dogs that have spent a lifetime being conditioned by cretinous nonsense.
What runs deepest through The Shining is a frustration with family. Well, can you blame him? The poor man is married to a bug-eyed, bucktoothed Olive Oil look-a-like.
Then there's Jack's quiet frustration with his son Danny. As he's driving to the hotel, he's bothered by requests for food.
And then his son makes out that he's knowledgeable because he saw a programme on TV. Already he's slightly irked - he's got to spend months alone with these people; one who resembles Popeye's missus and one who talks to his finger.
So really the hotel brings out nothing that isn't already there. It's kind of like he's testing his family. Are they strong enough as a unit to survive being cooped up together?
One of the underlying themes in the film seems to be television. What happens in The Shining is what happens when someone stops watching the idiot box.
With it, a person can find solace in mindless programming and retreat from the strictures of family life. Without it they're faced with all their problems and all the failings of their loved ones.
Even the strongest family can be brought to its knees when there's no escape from each other's company. Therefore it's quite telling, when Jack loses the plot completely, that he spouts lines from TV: But it's also the pain of writing that contributes to Jack's insanity.
There's nothing quite as harrowing as an empty page. Plus there's nothing more annoying than being interrupted mid-flow. One of the best scenes in the film is when Jack tells his wife to get lost when she interrupts him.
It's extremely violent in how cold Jack is towards Wendy. And because it's grounded in a reality, it's all the more effective.
Also rather unsettling is the scene where Jack talks to his son. He makes Danny sit on his lap and he proceeds to tell him how much he loves him and how he'd never hurt him.
It works so well because it's so cold and because there's such an obvious lack of affection. The words are just empty platitudes.
They mean absolutely nothing. Jack's true feelings are only revealed when he gets to talk to Lloyd. And it's also in this scene that you realise as if you hadn't noticed earlier that Jack is absolutely crackers.
He's talking to ghosts. But they could also be figments of his imagination, for there are mirrors behind most of the ghosts he talks to.
Effectively he's talking to himself. And I love this matter of fact way of dealing with the supernatural. There are no fancy tricks.
Everything just seems unnaturally natural. In fact, everything to do with the ghosts is superbly handled.
The twins are spooky, Lloyd is amiable and Grady is out of his mind. And it's Grady who's probably the most chilling presence in the film. He starts off as a bumbling waiter but then quickly becomes a stone cold killer.
Just the way he says 'corrected' conveys more terror than a million slasher films. And Philip Stone's performance is a million times more subtle than Nicholson's.
I mean, as much as I like Jack in the film, he does chew the scenery. But Kubrick likes his over the top performances, so that's the way he wanted it.
And undoubtedly it's Kubrick's movie. He's the real star. And I love everything he brings to the film.
I love his use of music. I love the way that he leaves lots of unanswered questions. I love the shots of the blood coming out of the lift.
I love the helicopter shots at the start. I love the way that pages and pages of typed words are the most frightening visual in the film.
I love the maze.