The Overlook - Place Like None Other

Nicholson's unhinged theatrics might often be sited as a serious contender for why this film remains part of the horror lexicon, or Duvall's breakdown, or the blood from the elevator, or the way the music reaches us and never leaves us (punching the ticket depending on whatever Kubrick wants us to feel), or Danny pedaling his cycle throughout the floors, or the Grand Hedge Maze. You have plenty of options, including Kubrick's camera always active and busy investigating. But the Overlook, the setting, it's very prolonging stretch, room to room, floor to floor, the expanse, the size and scope, and seemingly limitless depth and length is as much a part of the film's power as the spirits that surface to "shine".  Watching "The Shining" yet again, commenting one last time on the blog, the architectural dynamo continued to remind me of why I remain so dazzled.

Does Jack Torrance seem to fall prey to the corrupting influence of what exists within the Overlook quite quickly? Well the film does cut between Hallorann's talk with Danny and the three family unit now alone in the Overlook a month later, with obvious long days where Jack is left alone with his "thoughts". Music, the camera, and Danny inside the Overlook sells the film...around every corner, including a room like 237, could be a "resident"...or as Hallorann said, "residue".

The Shining (1980)