Christmas at the Overlook Hotel

Room 237 (2012)

Room 237 (2012): written and directed by Rodney Ascher; featuring theories about Stanley Kubrick's The Shining (1980) from Bill Blakemore, Geoffrey Cocks, Juli Kearns, John Fell Ryan, and Jay Weidner: To paraphrase a Jack Kirby cover blurb, "Don't ask -- just watch it!" 

Rodney Ascher unpacks and illustrates nine, count them, nine 'fan' theories about the secret meaning of Stanley Kubrick's movie of Stephen King's The Shining. Oh, brother. The loopiest is that The Shining is Kubrick's coded confession that he faked the Apollo 11 Moon landing. The most wide-ranging is that The Shining is about ALL OF HUMAN HISTORY. 

If you want to understand the Ourobouros of the theory, of becoming transfixed by an idea that seems objectively insane... well, this movie is for you. Asture observations occasionally surface, only to be drowned in the red flood of hermetic hermeneutics. Learn the mystery of the Impossible Window! Marvel at carefully detailed, viewer-generated maps of the floor plan of the Overlook Hotel! Realize that somewhere, Stanley Kubrick is busting a gut! An absolutely fascinating work of documentary, non-judgmental about the validity of the theories described herein.

The most astonishing moment probably comes when, prompted by one theorist's statement that The Shining must be viewed backwards and forwards to truly be understood,  a film theatre screens The Shining played backwards and forwards, projected on the same screen at the same time. I've got to guess that a lot of headache medication was taken during and after that adventure. Highly recommended.

Doctor Sleep by Stephen King (2013)

Doctor Sleep by Stephen King (2013): King's 36-years-later sequel to The Shining finds psychically gifted Danny Torrance (call him 'Dan', now, please) all grown up and working at a seniors' hospice in New England. His mother Wendy Torrance died of lung cancer several years ago. And Dan has survived a decades-long battle with alcohol.

Nine years sober when the main narrative of the novel begins, he uses the psychic gifts of the Shining to help calm and comfort people who are about to die, all with the help of a cat, Azreel, who somehow knows when people are going to die. It sounds like the set-up for the weirdest children's book ever.

Meanwhile, roaming around the country in a malign fleet of RVs are the members of the True Knot. Long-lived psychic vampires, they feed on mass death and, when at all possible, the physic residue created when they torture and murder someone with the Shining.

As the power of the Shining tends to peak when a child is 10 or 11, they've spent millennia torturing and murdering children to increase their own lifespans. Their protective colouration (other than their own prodigious range of psychic powers) is that they look like a normal band of mobile-home enthusiasts of all ages. Truly of all ages, as that psychic residue -- which they've dubbed 'steam' -- can age them backwards when imbibed in enough quantity.

Now, through a series of truly unfortunate events, the True Knot has become aware of the most powerful psychic they've ever detected -- a pre-adolescent girl named Abra (no fooling) who lives a dozen miles or so from Dan Torrance. They're going to come and get her and eat her, and while she's more powerful than Dan ever was, she's going to need his help to survive, and to perhaps destroy the True Knot once and for all time.

Billed as King's return to horror, Doctor Sleep really isn't, at least entirely. Much of it is of a piece with his other 'Wild Talent' novels -- Carrie, Firestarter, and The Dead Zone --- which would have been classified as science fiction had they been released in the 1950's. The True Knot's members are horrifying, especially leader Rose the Hat, but King devotes a lot of space to making them understandable by depicting their group dynamic and their genuine concern for one another. They're monsters, but as a knowledgeable ghost tells Dan at one point, "they're sick, and they don't know it."

Moreover, the True Knot's travelling ways and their quasi-carnival slang (normal human beings are "rubes", for instance) put them firmly in the tradition of Cooger and Dark's Pandemonium Shadow Show in Ray Bradbury's Something Wicked This Way Comes, a dark carnival King has riffed on a number of times in his work, most notably in It and Needful Things.

It's with Dan that the novel must succeed or fail. I think it succeeds. Torrance, plagued by memories of his alcoholic father and the demonic Overlook Hotel, certainly has his reasons to escape into the bottle. But he's also finally forced to find his reasons for getting out again -- and, with Abra, to play the role that the Overlook's benign cook with the Shining, Dick Hallorran, did for Danny. Because beyond the threat of the True Knot, there is the threat posed by Abra herself, poised closer to the edge of becoming Carrie than anyone initially realizes.

Doctor Sleep isn't one of King's scarier novels, though it has its moments. As a character study, though, of Dan Torrance and of the horrible, pitiful members of the True Knot, it succeeds. It's a novel about forgiveness more than anything else. Some ghosts must now go, quietly or not. Recommended.

Shine On, You Crazy Caretaker

The Shining: written by Stanley Kubrick and Diane Johnson, based on the novel by Stephen King; directed by Stanley Kubrick; starring Jack Nicholson (Jack Torrance), Shelley Duvall (Wendy Torrance), Danny Lloyd (Danny Torrance), Scatman Crothers (Dick Halloran), Joe Turkel (Lloyd the bartender) and Philip Stone (Delbert Grady) (1980): So much has been said and written about Kubrick's version of Stephen King's novel that there's not a lot left to say.

It's fortunate that Kubrick's original ending got cut from subsequent releases, as it rendered the rest of the movie nonsensical in a way that anticipated M. Night Shlamayan's descent into climactic shock for shock's sake. Go look it up. It's also fortunate that Kubrick's addition of a supernatural element absent from King's original (reincarnation) is also muted in the film, though still there. As with a lot of great artists, Kubrick often seems dumber than his work.

If you're watching The Shining for the umpteenth time, note how much heavy lifting sound and music do in the movie. Take away the audio and half the scares evaporate. Also note the astonishing number of symmetrical shots in the film, most but not all of them in the Overlook Hotel (I count a few in Dick Halloran's Miami apartment, but all of those occur while Danny is telepathically contacting him, and once the contact is over, Halloran's apartment becomes scrupulously asymmetrical and dominated by diagonal lines).

The symmetry comes from two elements -- the position of the characters and the mise-en-scene, which is to say the layout of the set and the props in the shot. I'll leave you to theorize what it all means, what all the mirror shots mean ('Redrum' is, of course, the movie's big 'mirror reveal'), what the static shots of Nicholson's face at various points mean, what all the Native American elements mean, and so on, and so forth.

As with 2001: A Space Odyssey, Kubrick herein also plays with a sort of metapsychology playing out inside a gigantic metaphor for the human mind. In 2001, it's the brain-and-spinal-cord spaceship Discovery, carrying an emotionless and sterile technohumanity to its ultimate rebirth and rejuvenation. In The Shining, it's the haunted mind of the Overlook Hotel, carrying Jack Torrance metaphorically backwards in time to the early moments of 2001, leaving him without language and howling, running around with a weapon he will ultimately be unable to use (or triumphantly throw into the air).

It's a fascinating film that rewards multiple viewings, if only to admire the bizarre, seemingly meaningful colour choices Kubrick makes with the various rooms in the set. Dig that red-and-white washroom! Highly recommended.