Gray (S)adler

208 MS Jack. (45:47)

Wendy exiting, as she reaches the end of the rainbow painting, cut back to Jack from the angle of where she had been standing. As we hear her footsteps continuing across the floor, Jack returns to work. The scrapbook shows different images and paper is already in the carriage. This shot of Jack appears out of joint with the others, his temperament and face dramatically different, no hint of rage there, but Kubrick has styled the shot so that Wendy’s departing footsteps heard over it tie the cuts together aurally.

The door beyond is now hidden by the lamp. Jack’s position conceals whether or not the table and chair, which were there then gone then returned, are there or not.


Juli contends this is the *real* (or realer) Jack typing the horror story based on the scrapbook he found in the Boiler Room (in King’s book; not shown in or edited out of Kubrick’s film, however, as discussed previously). The typewriter has changed colors from white to gray in the meantime.

Later on in her “Tuesday” section, Juli reveals her “base plan” starting with the above photo…

Jack’s expression is so different here, I really do feel like this is one of the few “real” shots in the film (there are a couple of others), and that the rest are only Kubrick allegory world and mental scenes from Jack working away on his novel. None of this really happens. It is a story. And that’s all right. After all, it’s only a story anyway. It’s fiction from beginning to end.

The film is full of impossibilities from beginning to end, and I have said repeatedly that one can’t approach this realistically. I really do think we have two stories, that of the writer who is at a lodge typing out his story, perhaps one a lot like Stephen King, an alcoholic with anger problems, and the story is inspired by this and a working out of it. And the story is also an allegory, a vehicle for the story Kubrick is intending to tell.

I’ve already discussed this idea of a story within a story (within a story) as well, most likely inspired by an earlier study of Kearns’ massive Shining document. Back to the Base Plan… Juli gives a list of some of the movie’s perceived “90 degree turns” and inexplicable, attached disappearances. She then states…

Fig. 48 – Pyramid and pyramidal trapezoid, monolith, vanishing point and single point perspective, all wrapped up in one, but the apex (and, hence, the vanishing point, the pyramid, the angle of convergence) is obscured.

An expresion for these 90 degree/right angle turns and the disappearances and appearances that seem to be associated with them I again find in the “vanishing point” (angle of convergence) of the trapezoid pyramid shape that is repeated throughout the film. Again, when one views this not as just a trapezoid but a rectangle viewed from an extreme perspective we find in it the disappearing angle of the vanishing point.

Kubrick consistently expresses the trapezoidal pyramid shape in the film with a circle above as if obscuring the angle of convergence. Take a look at the sconce on the wall above Jack’s head and how we have this expressed even in the shadow created by the light and the bottom of the sconce being what obscures the angle of convergence. This is an example of what I’m talking about. A simple expression of light and shadow and geometry.

We see the same later in the peculiar choking poster.


We see it implied in the Colorado flag.


She goes on to give several other examples of this vanishing point, including a corner of the hotel related scrapbook in one shot that appears to be altered by Kubrick to represent this. I personally think Kearns is on to something. She concludes her “Tuesday” section with the following, directly connected to the scrapbook’s sudden, unexplained appearance in the film…

Up to this point in The Shining, things had been going fairly well for Wendy and Danny and Jack at the Overlook, in as much as he hadn’t entered his crisis yet, that state of obsession in which he types over and over again the one phrase, “All work and no play make Jack a dull boy.” But that has now changed. The shift has been made.

Things could even said to be heading *south* from this point on.





Filed under Kentucky, MAPS, Qbrick, Stanley, Shining, The, Texas

2 responses to “Gray (S)adler

  1. Pingback: Gray (S)adler 03 | Frank & Herman, Einstein!

  2. Pingback: Gray (S)adler 02 | 6 Weeks of Shining

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