Kubrick’s Rooms of Fear: The Forgotten Shining Location

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Stanley Kubrick’s “The Shining” holds a unique place in cinema. To describe it simply, it may be the most intriguing horror movie ever made that isn’t necessarily scary. In contrast, the most compelling horror movie that is frightening would be “Psycho.” It’s worth noting that “The Shining” is widely regarded as a terrifying film. Yet, having seen it numerous times since its release on May 23, 1980, its mystique has only grown, making it an irresistibly seductive piece of art.

The movie presents an enormous metaphysical puzzle from the darker realms— a ghost story set in the Overlook Hotel that intertwines with Jack Torrance’s spiraling madness. Jack, played by Jack Nicholson, is an aspiring novelist undone by various factors forming a psycho-mystical conspiracy: writer’s block, rage, alcohol, and the ghosts of the Overlook. The caretaker’s specter attempts to influence Jack, leading him to embody the caretaker and end up as a figure in an old 1920s photograph. The film thematically explores the timelessness of murder in a deeply unsettling manner.

However, when Jack’s violent tendencies are unleashed, the brutality is anything but ambiguous. The image of Nicholson wielding an axe like a maniac, attempting to murder his family, is one of the most direct depictions of homicidal rage captured on film. This coincided with the rise of the slasher genre during the 1980s. Although I find some slasher films scarier than “The Shining,” the banality of Nicholson’s homicidal frenzy detracts from the film’s climax despite its exceptional craftsmanship.

“Shine On,” a 25-minute documentary made in collaboration with the Kubrick estate, dives into the physical production of “The Shining.” Available on YouTube, it’s a contrast to in-depth explorations like Rodney Ascher’s “Room 237.” Written and directed by Paul King and narrated by Michael Sheen, it focuses on the film’s sets, many of which still exist in their industrial room forms. “Shine On” thus becomes a film about the external shell of “The Shining.”

The documentary emphasizes how the movie, primarily shot at Elstree Studios in Hertfordshire, England, significantly impacted my subconscious. Realizing that the Overlook Hotel, with its maze-like carpets and grand interiors, was a mere set built by Kubrick added a new layer of intrigue. The movie’s sets were so meticulously designed they seemed more real than actual locations. “The Shining” utilizes space, especially ceilings, in ways reminiscent of “Citizen Kane,” adding to its vast, eerie ambiance.

Further revelations from “Shine On” include that the sets occupied all of Elstree Studios, covering nearly half a dozen airplane hangars’ worth of space. The grand scale of the sets, even beyond real kitchens filled with actual utensils and food, contributes to the film’s unmatched atmosphere. The documentary features insights from executive producer Jan Harlan, art director Leslie Tomkins, and Kubrick’s eldest daughter, Katharina, who recount their experiences on set.

One astonishing piece of archival footage featured in “Shine On” shows Kubrick lying on his back against a door, framing Nicholson’s face for an iconic shot. This moment wasn’t pre-planned but improvised on the spot, showcasing Kubrick’s impromptu genius. Memorable scenes, like Shelley Duvall’s meltdown in the kitchen, are rare glimpses into the intense emotional environment during filming.

“Shine On,” despite its brief runtime, adds to the array of documentaries that provide insight into Kubrick’s world, joining entries like “Kubrick by Kubrick” and “Stanley Kubrick’s Boxes.” Kubrick meticulously constructed his films, akin to building massive ships in a bottle. In “The Shining,” the haunted house narrative transcends into the film itself becoming a haunted structure. The elaborate, tangible sets imply a mystery as grand as divinity, everywhere but unseen.

That interplay between scale and concreteness might be the coolest idea in a horror film. If “The Shining” matched its coolness with equivalent scariness, it would truly be a masterpiece rather than merely an elevated horror curiosity.

Source: Variety