Stephen King famously dislikes Stanley Kubrick’s adaptation of his novel, The Shining, because he felt it sacrificed the narrative heart and soul of the book – a tragic tale of a father’s slow descent into madness driven by supernatural forces – for a visually stunning but ultimately soulless horror experience. King’s criticisms center on Kubrick’s portrayal of Jack Torrance as inherently disturbed from the outset, the underdevelopment of the supernatural elements, and a general lack of emotional depth and character sympathy.
The Core Disconnect: King’s Vision vs. Kubrick’s Interpretation
King envisioned The Shining as a cautionary tale about addiction, familial responsibility, and the insidious power of isolation, told through the lens of a man desperately trying to overcome his demons and protect his family. Jack Torrance, in the novel, is a flawed but ultimately sympathetic character, struggling with alcoholism and anger management issues, and desperately trying to provide for his wife and son. The Overlook Hotel, a malevolent entity, exploits his weaknesses and gradually drives him insane.
Kubrick, on the other hand, presented a Jack Torrance who, from the opening scene, already seems dangerously unstable. Jack Nicholson’s portrayal leans heavily into madness, suggesting a pre-existing condition that the Overlook merely exacerbates. This, according to King, fundamentally misunderstands the tragedy of Jack Torrance and transforms him into a one-dimensional villain rather than a complex and relatable character.
Furthermore, King felt Kubrick stripped away much of the book’s supernatural element. While the novel delves into the hotel’s history and the ghosts that inhabit it, the film largely relegates these aspects to visual spectacle without fully exploring their motivations or the impact they have on Jack’s psyche. Kubrick’s focus was on the psychological horror stemming from isolation and internal demons, rather than the external supernatural forces at play. This, in King’s view, diminished the power of the story and its ability to genuinely frighten the audience. He often noted that Kubrick focused on creating a visually striking and technically impressive film at the expense of emotional resonance and faithfulness to the source material.
Specific Points of Contention
King’s disapproval wasn’t just a vague feeling; he had several specific critiques:
The Portrayal of Wendy Torrance
King has consistently criticized Shelley Duvall’s portrayal of Wendy Torrance, arguing that she was depicted as a screaming, helpless victim rather than the resourceful and resilient woman he envisioned. In the novel, Wendy possesses a strength and determination that allows her to ultimately survive the ordeal. King felt Duvall’s performance, guided by Kubrick’s direction, reduced her character to a caricature of feminine weakness, further undermining the story’s emotional core.
The Underdevelopment of Danny Torrance’s “Shine”
The “shine,” Danny’s psychic ability, is a crucial element in the novel, acting as both a source of vulnerability and a means of survival. King felt that the film significantly downplayed the significance of the “shine” and its connection to the Overlook Hotel’s supernatural forces. The film provides visual glimpses of Danny’s powers but doesn’t fully explore its impact on him or its role in unraveling the mystery of the Overlook.
The Ending
The film’s ending deviates significantly from the novel’s. In the book, the Overlook is destroyed by a faulty boiler that Jack, in a moment of lucidity, sabotages to save his family. This provides a sense of closure and redemption for Jack. In Kubrick’s film, Jack freezes to death in the labyrinth, a stark and somewhat ambiguous ending that leaves the audience with a sense of unease but lacks the emotional catharsis of the novel.
The Legacy of Disagreement
Despite King’s dissatisfaction, The Shining remains a cinematic masterpiece, widely regarded as one of the greatest horror films ever made. However, King’s criticisms have sparked a long-standing debate about the merits of fidelity in film adaptations. He eventually wrote and produced a 1997 miniseries adaptation of The Shining, which he considered a more faithful representation of his original vision. This miniseries, while more aligned with King’s intentions, generally received less critical acclaim than Kubrick’s film. The controversy surrounding The Shining highlights the subjective nature of art and the challenges of translating a complex narrative from one medium to another. It shows how different interpretations, even by the author himself, can lead to vastly different artistic outcomes, both capable of provoking strong reactions and leaving a lasting impact.
Frequently Asked Questions (FAQs)
Q1: Did Stephen King ever personally confront Stanley Kubrick about his dislike of the film?
A1: While there’s no record of a direct confrontation, King has spoken extensively about his disappointment in interviews and essays. It’s unlikely they had a one-on-one conversation dedicated solely to this topic. King was offered the opportunity to write the screenplay, which he declined.
Q2: Does King dislike all adaptations of his work?
A2: No, King has expressed appreciation for certain adaptations, such as The Shawshank Redemption, Stand By Me, and The Green Mile. His criticism is often reserved for adaptations that he feels fundamentally misunderstand or misrepresent the spirit of his original work.
Q3: What specific scenes in the film did King find most objectionable?
A3: While King objects to the overall tone and characterizations, specific scenes he’s criticized include Wendy’s constant screaming and apparent helplessness, the lack of emphasis on Danny’s “shine,” and the ambiguous ending in the snow maze. He found the portrayal of Jack Nicholson from the onset deeply jarring.
Q4: Did King’s negative opinion of the film affect its commercial success?
A4: Not at all. The Shining was a commercial success upon its release and has since become a cult classic and a staple of horror cinema, regardless of King’s personal feelings. The film’s impact on pop culture is undeniable.
Q5: What aspects of the novel did Kubrick choose to omit or downplay in the film?
A5: Kubrick downplayed the supernatural elements, the history of the Overlook Hotel, and the complexities of Jack’s alcoholism. He also significantly altered the ending and the portrayal of Wendy Torrance. He focused more on the psychological breakdown of an inherently disturbed man.
Q6: How did Kubrick defend his interpretation of The Shining?
A6: Kubrick rarely directly addressed King’s criticisms. He believed that film adaptations should stand on their own merits and that fidelity to the source material wasn’t always necessary. He focused on creating a compelling cinematic experience that explored themes of isolation, madness, and the dark side of the human psyche.
Q7: Was Stephen King involved in the production of the 1997 miniseries adaptation of The Shining?
A7: Yes, King wrote the screenplay and served as an executive producer for the 1997 miniseries. This allowed him to create a more faithful adaptation of his novel, addressing his concerns about Kubrick’s film.
Q8: What are some common criticisms of the 1997 miniseries adaptation?
A8: While more faithful to the source material, the miniseries is often criticized for its lower production value, less compelling performances, and slower pacing compared to Kubrick’s film. It’s generally considered less visually striking and lacks the cinematic artistry of Kubrick’s version.
Q9: Is it common for authors to dislike film adaptations of their books?
A9: Yes, it’s quite common. Authors often have a strong vision for their characters and stories, and film adaptations can deviate significantly from that vision. Creative differences and the inherent challenges of translating a complex narrative to a different medium often lead to disagreements.
Q10: Why do some viewers prefer Kubrick’s film despite King’s dislike?
A10: Many viewers appreciate Kubrick’s film for its masterful direction, iconic imagery, Jack Nicholson’s unforgettable performance, and its exploration of psychological horror. They see it as a standalone work of art that transcends the source material. They admire its chilling atmosphere and unsettling ambiguity.
Q11: What does this disagreement teach us about the relationship between books and films?
A11: It highlights the inherent differences between literature and cinema as mediums. A direct, literal adaptation is often impossible, and filmmakers often prioritize creating a compelling cinematic experience over absolute fidelity. It also illustrates the subjective nature of art and the possibility for different interpretations to coexist.
Q12: Has Stephen King’s opinion of Kubrick’s The Shining changed over time?
A12: While King has occasionally softened his stance, he has consistently maintained his core criticisms of the film. He recognizes its artistic merit and impact on popular culture, but he still believes that it fundamentally misunderstands and misrepresents the heart of his novel. He still calls it a “big, beautiful car with no engine.”