The Shining (1980) Review

The Shining, along with The Exorcist, is amongst the most revered of all horror films. And while the latter may have lost just a sliver of its original impact over the past three decades, The Shining remains as powerful as ever.

Released in 1980 and directed by the late, great Stanley Kubrick, The Shining stands as testament to what the horror genre is capable of. Originally an adaption of a Steven King novel, Kubrick twisted and manipulated The Shining to the extent that King wanted nothing to do with production, denouncing the film on its release. Jack Nicholson plays Jack Torrance, who has assumed the role of caretaker at the Overlook hotel over the winter months. Torrance is accompanied by his wife Wendy (Shelley Duvall) and son Danny (Daniel Lloyd). Unbeknownst to his parents, Danny harbours psychic abilities. Upon arrival at the hotel, Torrance is informed that the previous caretaker developed cabin fever and in a fit of rage massacred his family. As the family become increasingly isolated from the outside world, Danny senses something strange happening to his father…

Nobody does insanity like Jack Nicholson. His portrayal of MacMurphy in One Flew over the Cuckoo’s Nest is infused with maniacal qualities, but in The Shining Nicholson turns the dial up to eleven. Boasting the most expressive eyebrows in Hollywood history, Nicholsons slow mental decay is unbearable to behold.  From the outset it’s clear that something isn’t quite right about Torrance - a history of alcohol and child abuse is hinted at but never clarified - yet it isn’t until much later that our suspicions are confirmed. Oozing menace, Nicholsons transformation from makeshift father to murderous lunatic is utterly terrifying. Duvall and Lloyd are impressive in their respective roles, but this is undoubtedly Nicholsons film. This is exactly the brand of “over acting” that the maverick performer has become synonymous with throughout his career, and makes for tremendous viewing.

The Shining is an incredibly difficult film to define. Haunted house horror? Ghost story? Psychological thriller? Slasher? All of these at once, Kubrick’s oddity transcends the horror genre. Immediately recognisable as a Kubrickian endeavour, The Shining is meticulously constructed; each frame loaded with significance. Kubrick’s compositions have never been so eerily balanced, his colour palette never more pronounced, and his use of the tracking shot never more effective. This is clearly a master at work.

In a film boasting so many incredible scenes, it would be unfair to pick one out. But where The Shining really excels, is in the build-up. Indeed, nothing much happens for the first half of the film, yet the sense of fear is omnipresent. Partly the wonderfully sinister sound effects, partly the eerie setting, partly the look in Nicholsons eye – we know something is going to happen. We don’t know what, we don’t know when, but we know; in every frame, the terror is palpable.

The Shining is deliberately left open to interpretation. It could almost be argued that The Shining is the perfect bookend to 2001: a Space Odyssey – the ambiguities of both films are endless. While it is painfully clear that The Shining is a somewhat intellectual endeavour, it also represents Kubrick at his most accessible for a mainstream audience.

The Shining is a deeply disturbing, enthralling masterpiece. A chilling study in madness, Stanley Kubrick’s sole journey into the horror genre is essential viewing. Probably the best horror film ever made, bar none.

A Closer Look at Alien (1979)

Few films have achieved the iconic status of Ridley Scott’s first fateful venture into space. To this day, Alien stands as a shining example of what the sci-fi genre is capable of. Scott’s masterwork remains one of the most revered films of the past forty years.

Despite the shower of awards bestowed on Gladiator, Scott’s best work can undoubtedly be found in his early futuristic visions. Both Alien and Bladerunner rightfully rank among the best sci-fi movies ever made. Whereas the complex ambiguities of the latter film can divide audiences, the technical mastery of Alien garners universal acclaim.

Released in 1979, Alien is set in the distant future and follows the crew of commercial mining vehicle the Nostromo as they return to earth. When the ship intercepts a distress beacon from an uninhabited planet, the crew decide to investigate. What they discover will endanger everyone on board…

Alien boasts an impressive cast. Sigourney Weaver stars as the now iconic Ellen Ripley, the resilient security officer of the Nostromo. The ships doomed captain is expertly played by the ever reliable Tom Skerritt, and Ian Holm portrays the enigmatic science officer Ash. Alien was one of the first mainstream films to feature a heroic female equal to the men she shares a screen with. Scott would pursue this idea of a strong female protagonist throughout his career, in films like Thelma and Louise, G.I. Jane or Prometheus.

Unlike many horror films, Alien holds back on the scares for a significant chunk of the film. Scott masterfully orchestrates this prolonged build up until the tension reaches fever pitch. When we finally arrive at Kane’s iconic death scene, Alien goes for the jugular and doesn't let up until the credits roll. The claustrophobic interior of the Nostromo only serves to intensify the fear of the alien threat; best exemplified in a thrilling scene where Dallas hunts the creature through the ships ventilation system.

Few films can compete with Alien when it comes to atmosphere. Scott’s technical mastery is astounding; his camera floats through meticulously constructed corridors, gracefully capturing the smallest details of life in outer space. Even now, over three decades later, Alien remains a film of staggering beauty. The set design is flawless, and Scott instills an epic sense of scale that still impresses today. A colossal sense of discovery permeates the first half of the film; watch in amazement as Dallas and his crew enter the alien vessel for the first time. This is clearly film-making on an unprecedented scale.

Alien is a film steeped in sexual symbolism. Indeed, as the film both starts and ends with characters sleeping, Scott’s odyssey of horror can be interpreted as a twisted Freudian nightmare. The alien itself - designed by creative genius H.R. Giger - is a majestic creation of sheer terror. An invader from the boundaries of the subconscious, the alien is a creature of nightmares. 

The various forms of the alien are all undoubtedly iconographically male. The impregnating “facehugger”, the neo-natal snake and the fully grown monster complete with elongated head and retractable jaws all reinforce the hidden subtext of the film; rape.

In contrast, the bio-organic alien vessel pregnant with eggs is clearly symbolic of the female body. The damp, dark tunnels of the Nostromo, controlled by the manipulative “mother” are also an example of this feminist symbolism. These female representations are violated continually throughout the film by the masculinity of the alien. The creature itself can be interpreted as the missing phallus of the “mother”, due to its phallic nature and its origin in the womb of the alien vessel. Indeed, many of Alien's terrors are grounded in archetypal fears of woman’s otherness, her alien body and its natural functions.

A blueprint for the horror genre as we know it, Alien stands as one of the most influential films of the past fifty years. Never again has sci-fi been this scary. Never again has horror been this clever. Never again has Ridley Scott been this good!