‘Shine On — The Forgotten Shining Location’: A Documentary Meditation on Stanley Kubrick’s Rooms of Fear

As a film enthusiast who has spent countless hours immersed in the darkened confines of movie theaters, I have always held Stanley Kubrick in high regard. Growing up, I was captivated by the grandeur and intricacy of his films – from the haunting “2001: A Space Odyssey” to the gritty realism of “Full Metal Jacket”. Yet, it wasn’t until I watched “The Shining” that my admiration for Kubrick truly soared.

1. “Stanley Kubrick’s ‘The Shining,’ although a horror film, occupies a distinct realm all its own, making it arguably the most captivating unscary horror movie ever produced. In contrast, ‘Psycho,’ directed by Alfred Hitchcock, is the most terrifying horror film, as it offers an unparalleled experience of watching oneself watch. It’s important to note that many people consider ‘The Shining’ a truly terrifying movie. However, I watched it on its opening night – May 23, 1980 – and have revisited it numerous times since. Although the film’s atmosphere and enigmas have grown more intriguing for me over time, to the point that I find it a mesmerizing cinematic experience, I have consistently encountered the same issue with it since my initial viewing.”

In “The Shining,” I witness an intricate metaphysical enigma unfold from a haunting perspective. This chilling tale brings ghosts to life from the Overlook Hotel, which intertwine with Jack Torrance’s madness. As the aspiring novelist portrayed by Jack Nicholson, Jack is driven to the brink of insanity by a complex web of factors: his writer’s block, his simmering anger, and the alcohol that fuels it. The hotel’s spectral inhabitants, led by the enigmatic caretaker, manipulate Jack, ultimately causing him to lose control and transform into their own twisted image. That’s why we see Jack in the final scene, an eerie relic from the 1920s. The film explores the enduring nature of violence, a concept that remains as unsettlingly elusive as a ghost in the night.

When Jack Torrance’s dark side is unleashed, it’s not hidden or subtle. On the contrary, it presents itself in a stark and gruesomely clear manner: Jack Nicholson, in all his maniacal glory, wielding an ax as he tries to harm his wife and child. At the time of “The Shining”‘s release, we were deep into the slasher-film craze. While I may not share the enthusiasm for this genre that many others do, I believe some slasher films are more terrifying than “The Shining.” The image of Nicholson brandishing an ax like a crazed woodsman leaves little room for ambiguity. In my opinion, while “The Shining” is exceptionally well-crafted in numerous ways, its climax contains a disturbingly ordinary evil.

As a movie enthusiast, I’d say “Shine On” resonates with me like a compact version of Stanley Kubrick’s masterpiece, “The Shining.” Unlike the intricate puzzle that is Rodney Ascher’s “Room 237,” this 25-minute gem was created under the careful watch of the Kubrick estate. You can find it effortlessly on YouTube. It doesn’t delve deep into the mysteries of the “The Shining” universe, but instead focuses on the film’s physical creation – aka its sets. Remarkably, some of these sets, which doubled as movie locations, are still standing today. Therefore, “Shine On” is a tribute to the outer layer of “The Shining.”

But that shell is really the most unnerving thing about “The Shining.” I realized how deeply the experience of the movie had touched my subconscious when the documentary stated that “The Shining” was shot almost entirely at Elstree Studios in Hertfordshire, England, and my reptile-brained reaction was, “What? It wasn’t shot in the Stanley Hotel in the Rocky Mountains?!” (That’s the hotel that was the model for the Overlook.) Sure, I knew Kubrick hadn’t left England in decades; I knew that he specialized in creating elaborate sets that became worlds of their own (the spaceship in “2001: A Space Odyssey,” the bombed-out city of Hué in “Full Metal Jacket,” which Kubrick built out of a demolished gasworks outside London). Yet my sense-memory told me that the Overlook — the psychedelic maze carpets, the creamy walls and ceilings, the cavernous lobby with its chandeliers and staircase — was too solid and imposing to be a mere set. I had to do a double take to take in, all over again, that Kubrick had built it all.

1. “The Shining” likely employs ceilings more dramatically than any movie since “Citizen Kane.” (They’re crucial elements that effectively conceal a set’s artificiality.) Moreover, the immense scale of the Overlook Hotel is one of Stanley Kubrick’s ingenious illusions. Considering there are only three main characters and the story revolves around them, the grandeur of the location consistently implies: It would be irrational to construct such an expansive set for this small cast and spooky narrative. The madness of Kubrick’s excessive scaling adds another layer to the film’s overall sense of insanity.

According to “Shine On,” the entirety of Elstree Studios was utilized for the sets during the shooting of “The Shining,” equivalent to multiple airplane hangars’ space. Given that it took Kubrick nearly a year to film “The Shining,” this indicates a significant amount of space. However, it wasn’t enough. Many of the original sets no longer exist, but several areas at Elstree Studios were transformed into sets, such as the vast kitchen and larder of the Overlook Hotel. Notably, a bland office was converted into these sets by Kubrick, who filled it with actual kitchen equipment, utensils, food products, and canned goods. The core of “Shine On” features three individuals who worked on “The Shining” set – executive producer Jan Harlan, art director Leslie Tomkins, and Katharina Kubrick, Kubrick’s eldest daughter whom he invited to work on the set at age 25. They walk through this former kitchen and compare it with the film, creating a spooky effect as if everything in “The Shining” appears like a ghostly apparition.

One captivating clip exists, showcasing an astonishing moment from behind the scenes: Stanley Kubrick lying on his back against a larder door, holding a lens, and meticulously framing Jack Nicholson’s face from a low angle while uttering, “That’s not bad.” This spontaneous creation during filming of one of the most iconic movie images from the past fifty years is a testament to Kubrick’s innovative genius, as he felt compelled to improvise. Additionally, there’s an intriguing clip of Shelley Duvall experiencing a meltdown in the kitchen, which is an extremely rare find since it was the authentic take featured in the film. In “Shine On,” there’s substantial proof and witness statements that the overall atmosphere on the set of “The Shining” was friendly. Nonetheless, it’s feasible to believe that Duvall at times came perilously close to experiencing a nervous breakdown.

As a film enthusiast with a deep appreciation for the intricacies and complexities of Stanley Kubrick’s work, I find “Shine On” to be an invaluable addition to the body of documentaries exploring the enigmatic director’s life and artistic process. With its succinct yet impactful narrative, “Shine On” fits seamlessly alongside other captivating works such as “Kubrick by Kubrick,” “Stanley Kubrick’s Boxes,” and the thought-provoking “Filmworker.”

2024-07-30 09:46

‘Shine On — The Forgotten Shining Location’: A Documentary Meditation on Stanley Kubrick’s Rooms of Fear

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