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Movie Critic review: The Shining (1980) Part Three

Kubricks Made Easy
On seeing The Shining first time, it is hard to seat it snugly in your memory as a horror movie. It's different. There is no obvious horror movie technique. No pop ups. No mutilations, No beheadings. Ghosts are not transparent. Rather they are flesh-and-blood human beings in a ghostly stage of their lives. An idea which is scarier upon rethinking. Even the most popular scare tactic of resolving an almost unavoidable harm in the last second and having everyone go: ah...with relief, but out of nowhere a hand suddenly shoots up to grab someone. Not even this. Actually kubrick treats differently scenes thatare potentially fraught with suspense in a way that makes sure you are aware of all angles and therefore have no reason to get startled. Maybe later, when you sit to watch it the second time! ( I bet you cannot do that alone with no empty Coke bottle by your side to save you the awkward trip to the bathroom!). Kubrick does not seem concerned about attainable momentary scare or, let me call it, cheap scare!

Some viewers might run such a dialogue:
 - Did you see The Shining?
 - It is not scary!
 - You were not watching attentively.. or you need to see it again.
 - I can't pay twice for the one scare that I will likely miss!

This is what you get from watching The Shining. Lots of unanswered questions. As a result of the unconventional way of cinematically handling the novel, Kubrick created a lot of fuss by his adaptation. Hundreds of newspaper columns, websites, interest groups and forums are trying to understand the meaning of Kubrick's cinematic version (actually it is a disversion) of Stephen King's novel, The Shining.
Some think of it as tackling the theme of family disintegration as obvious an explanation as may be. Others see it as pointing to racism in America because the black cook Halloran was the only person in the movie who gets brutally killed!
I would love to have someone elaborate on the role of the child Danny and the Chef Halloran in conveying the concept of "Shining".
Some see the abundance of bits and pieces of native American culture scattered all over most frames as a reference to how America was built. On floods of blood. The recurrent motif of the blood-flooded elevator and the fact that the hotel itself was build on an Indian burial site, on human resistance aborted when it was being built. Also look at the hotel name: The Overlook! Not just because it was build on the heights!
(Please read the excellent essay: 'The Family Of Man' By Bill Blakemore.
Yet, the American pop culture to which the few brilliant works of Kubrick were deservedly added, has other explanations to Kubrick's ways that are much fun and bizarre than the rantings of intellectuals or movie critics.
OK. Prepare for this!
Stanley Kubrick was associated with the Free Masons or with some would-be powers of the future and for a certain breach of his agreement with these unknown powers of the future he was sent a secret weapon that killed him in his sleep. Well, yeah. In fact Stan died in his sleep in 1999. Good for him!

This is one bizarre story but apparently a subsidiary of the much-perfected and bewildering story that goes: (I am telling it my own way) Kubrick had aligned himself with some government agency that had him shoot somewhere in the States the 'fake' landing of American astronauts on the moon- Apollo 11, 1969. They probably liked the way he did his avantgarde movie '2001: Space Odyssey' which he made in 1969!
The reasons? It was the Cold War era and the USA had to prove to the  Soviets that they were so technologically advanced that they could beat the Russians in the War if it were to turn hot. Kubrick was told to shut his mouth, which was probably an unnecessary instruction because he was already... a recluse!


For some reason (being a creative mind is one) Kubrick made The Shining the way it is. An enigma. A plethora of codes sprinkled in almost every frame. Codes that we can, remotely, guess what they referred to but with no certainty. He made these codes because he had a popular message to convey to his viewers. To crack the codes and decipher his message you will be directed to where you can park your cart and have your credit card ready.
In exchange, you will receive a CD of the (alleged) message! Or you can pay me 50% of the charge and get these cool factoids:
-1- Americans did not walk on the moon. They had to say they did. Evidence? a scripted scene from the genius who made the Odyssy movie.
-2- The Russians believed the story. Which means they too did not have the tech advance to occupy second seat in the world scene.
-3- The astronauts became recluse not because of the spatial experience but because of working with Kubrick!
-4- Kubrick was in fact a double agent. Upon finding this out, the 'other' government decided to kill him by sending him some lethal rays that eternalized his dreams for that night!


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سؤال الضهبان

سؤال الضهبان
لا تظنن أنه سؤال هيّن! أو عليك أن تتأكد أن السائل لم يعد ضهبان. وحتى في هذه الحالة ربما لم يجد الجواب ولكنه فقط تحوّل من (الضهب) إلى حالة أحسن نسبياً ودون تفسير. أي سؤال هو ليس بالهيّن. وأي سؤال هو لم يُسأل عبثاً ولهوا. زي، يلاقيك زول ويسأل: كيف اصبحت؟ تجربة وجودية عديل كدا. طيب تعال شوف كمية التزوير في الجواب! طبعاً مافي زول بيجاوب على السؤال دا بالضبط كدا. كلنا تقريبين في السؤال دا وفي غيره من اسئلة كثيرة. الجواب هو المصطنع في أغلب الأحوال وليس السؤال! ياخي حتى السؤال الغبي، الواحد بيتمرمط أمامه. لذلك سؤال الضهبان دا هو موئل الغناء والشعر الكاذب والبطولات! ومن الناس من يحاول أن يغشك! إنهم أهل الاجابات الذين تتكوّر ذواتهم في نهايات الأسطر، مدلهّمة. نقطة سطر جديد! - هوي انت هه! يعني شايل ليك اجابة كدا وفرحان بيها، قايل السؤال مات!؟ دعني أقول لك: جميع الأسئلة التي سمعت والتي لم تسمع بها، جميعها تتمتع بخلود مطلق! السؤال فيهو حيوية والاجابة ديمة نايصة. السؤال بيخلع وجامد. الجواب هو ختة النَفَس، التقية من عصف المشاعر. السؤال، أي سؤال، فيهو قوة، فيهو شواظ وبيطقطق زي قندول عيش ريف معذّب. الاج…

جليد نساي، المقال كامللاً

جليد نسّاي
قراءة في رواية الرجل الخراب
تأليف عبد العزيز بركة ساكن بقلم مصطفى مدثر
الجزء الأول

أيها القارئ المرائي، يا شبيهي، يا أخي - بودلير، شاعر فرنسي الفكرة الرئيسة [عند إليوت] هي أننا، حتى ونحن ملزمون بأن نعي ماضوية الماضي..، لا نملك طريقة عادلة لحجر الماضي عن الحاضر. إن الماضي والحاضر متفاعمان، كلٌ يشي بالآخر ويوحي به، وبالمعنى المثالي كلياً الذي ينتويه إليوت ، فإن كلاً منهما يتعايش مع الآخر. ما يقترحه ت س  إليوت بإيجاز هو رؤيا للتراث الأدبي لا يوجهها كلياً التعاقب الزمني، رغم أنها تحترم هذا التعاقب. لا الماضي ولا الحاضر، ولا أي شاعر أو فنان، يملك معنىً كاملاً منفرداً- إدوارد سعيد، أستاذ الأدب الإنجليزي الطريق إلى الحقيقة يمر بأرض الوساوس - شانون برودي، عاملة صيدلية.

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MovieGlobe: Japan's Version of Romeo and Juliet

Romeo and Juliet (2007) JapanOriginal Article by: Fateh Mirghani-Japan

I have just finished watching the masterpiece of Shakespeare” Romeo and Juliet “in its Japanese version.
The quality of the movie is great and the soundtrack, injected with a little Japanese folklore music, has given it a sensational dimension and Eastern fascination!
Basically, the theme of the movie remains the same as the original play, and that has been a particular Japanese notion in dealing with other nations’ cultural products. Part of the reason may lay in Japan's sensitivity to other nations’cultural products- given the long standing historical disputes with its neighbours, and part of it may lay in a fierce sense of homogeneity that has come to characterize Japan as an island nation-state since time immemorial. Thus the Japanese, unlike the Americans, don’t seem to have the temerity to ‘Japanize’ others’ cultural stuff. The movie “Renaissance man”  can be cited as an example of American boldness. The …