Category Archives: Shining, The

(continued from)

http://www.davidicke.com/forum/showthread.php?s=78daac6d57aff3e1f7c4ad1ee0553efc&t=205856&page=45

Mata’s key 1 here is basically the same as what I explained in the “New Tree” post below.

I’ll quote from his thoughts on key 2 now:

The second key is composed of three parts, two of which relate to a “prop”, a prop which represents the reason the Torrence family is at the Overlook Hotel in the first place. Jack Torrence’s typewriter. We know from his interview with hotel manager, Stuart Ullman, that he wants the job of Winter Caretaker in order to ‘outline a new writing project’ in a secluded environment. To this end, Jack Torrence sets himself up in the Colorado Lounge and begins his project on a White ‘Adler’ typewriter. When we see him next, later that evening, he is still in the Colorado Lounge however something has changed. His White Adler typewriter has become a Grey one!

Between Jack Torrence’s writing session with the White Adler – and his evening writing session with the (now) Grey Adler, Stephen King had sent Jack Torrence down to the Hotel’s Boiler Room. During this trip, in the book, Jack Torrence had discovered the Hotel Scrapbook. This is the large open book that we see on the table next to Jack Torrence’s Grey Adler. Stanley Kubrick famously wrote Jack Torrence’s trip to the Boiler Room out of the film script entirely, despite the lengthy protestations of his co-writer, Diane Johnson – who identified the trip to the Boiler Room as the story’s most critical ‘point of characterization’ in regards to Jack Torrence, because his discovery of the Hotel Scrapbook is what initiates his ‘insanity’, the very insanity that the film is supposed to be all about.

I propose that Stanley Kubrick wrote Jack Torrence’s trip to the Boiler Room out of the script – because he is using the ‘omission’ as a device. A device which shifts the ‘weight of importance’ that was previously assigned to the Hotel Scrapbook – to some other item which can be found in the Boiler Room later in Stanley Kubrick’s film. The changing colour of the typewriter, from White to Grey (during what would have been Jack Torrence’s ‘plot-critical’ trip to the Boiler Room) indicates that there is something very special about the word “Grey” – specifically in relation to the Boiler Room.

I knew from previous readings of Shining research about the typewriter changing colors, and that Adler was a German brand, used by the Nazis. What I didn’t know about was Kubrick’s omission of King’s boiler room scene where Jack discovers the Hotel Scrapbook, despite the fact that it appears to be famous. 🙂 I did know of the Hotel Scrapbook in the movie, and had written about a deleted scene involving it here (the “New Tree” post again), where the contents are explained in some detail. In the final film, the scrapbook is not even mentioned, although we see it open beside Jack several times while he’s writing with his white/gray/(blue?) typewriter.

Plainly speaking, mata is invoking an alien allusion here, and again we’re speaking of the Greys, the best known reptilian e.t.s. I’m deciding not to go down that road with mata, but I am interested here in the boiler room now, and why Kubrick chose to dissolve into it from Danny entering Room 237. Instead of continuing to saunter into that most definitely famous room, we find ourselves among the lowly boilers with Danny’s missing mom. She presses a button marked “danger high voltage”, and it seems to instead shock Jack, who begins to grunt and then scream before a rushing Wendy wakes him up and he falls to the floor.

And we’re also, of course, back in the scene where the 2 ChOking posters are found.

Another red spark is seen beside the DANGER HIGH VOLTAGE sign after Wendy seems to shock Jack (58:56).

Wendy’s hair clip begins to shine, and a shiny dot appears on the column above the refrigerator (59:01).

In the next frame, another similar dot on the refrigerator.

Turns out these 3 white glints form a seemingly perfect Giza style pyramid shape.

Chance, right?

… it ever ends, this research on The Shining. Deeper and deeper it goes, a true rabbit hole indeed! Story Room agrees.

Lots and lots here on the psychiatrist scene, discussed on the F&HE! blog in posts “strange? 01”, “strange? 02”, and “strange 04”, as well as “Strange Duck.”

http://www.zerozerotwo.org/KUBRICK/PILLBEAR/PILLOWBEAR.html

Just, “what the f?” is all I can think of for now.

“Wtf?”

I am reminded of MUnck again.

But to give the person behind Crypto-Kubricology all the credit in the world — and setting aside the subliminal bears for now — his graphics are simply amazing, his research mindbogglingly detailed, and his writing lucid.

The doctor’s bag moving around the bed is very interesting as well, and something I didn’t spot at all. I also find the overall symmetry of the shots here worth pondering, with the close-up of Wendy, as Crypto-K points out, at or near the very center of the scene. On the other side, this page mentions nothing about the flashes I review in the “strang?” post series, nor the fact that the blackboard changes positions when we get to the closeups of the psychiatrist beginning in shot 67, at the same time the topic of Tony is first broached. Up to this point, we seem to be talking about two very different animals (sorry).

(continued?)

I’m going to supply my own frame captures for Mata’s dialog here concerning his key 6. I’ll get to other of his keys soon, hopefully.

http://www.davidicke.com/forum/showthread.php?t=205856&page=46

Wendy locks Danny and herself in the Bathroom as her husband attacks the apartment door with an axe. We are now at the high point of the film in terms of horrific, frenetic action. As such, it is the perfect place to hide something that requires slow-motion to catch – a paused moment to be more precise! As Wendy & Danny turn from the bathroom door to make for the window, a Hook appears on the back of the bathroom door that was not on the door when they first entered.

Hook not there.

Couple of seconds later: hook there.

Continuing…

This Hook, visible in the edge of the frame for only a split second, is now visible in the Bathroom Mirror as Wendy frantically makes her way to the Bathroom Window with her son. The Hook’s presence is what alerted me to the fact that some pause-button action was called for. What comes next had me freaked out for quite some time. It has clarified other components in the film that Stanley Kubrick has revealed surreptitiously in the July 4th photo, about which i’ll go into further detail later in Key 7. Back to the scene at hand: freeze-framing across the shot of Wendy Torrence and Danny heading for the bathroom window, I discovered a blatant flash of co-ordinated yellow writing – which appears in the bathroom mirror above the reflection of the Hook. It appears only in that one frame. It says one word: ” I ” with two dashes before and two underscores after. Subsequent Remasters done by Warner Brothers have altered the yellow writing enough to distort the underscore immediately after the letter ” I ” – as well as the two dashes leading up to the ” I “. Overall the markings have become lighter in coloration. However, Warner Brothers did not remove it completely. I believe it’s simply a case of no one having picked up on it in the context I’m about to elaborate on. Here below I provide stills of the frame in question, from both the non-remastered 2000 release – as well as the remastered 2001 release.

This is as good a shot as I can get w/ my ordinary DVD of what mata is talking about… quite blurred, but obviously something going on here. Look in the mirror above the hook that has suddenly reappeared. I’m going to have to take mata’s word about the “–I__” present.

About this being partnered with the word REDRUM written on the same door — it kind of makes sense (!) “–I__” would be directly above the backwards “MURDER” on the other side (which, if we could see through the door at this point, would be the forwards version of this word). But “I __ saw murder”?

Well, let’s look at another anomaly about this door that mata didn’t mention — or I haven’t read yet. After the yellow lettering frame, Wendy successfully fits Danny through the bathroom window and he slides down a huge pyramid shaped snow bank to temporary safety outside. But Wendy herself is too large to fit through the same window, so she’s stuck to face the oncoming, maniacal, axe wielding Jack. Jack then chops through one panel of the “REDRUM” door with some effort, and while trying to unlock the door from the other side by reaching through, he’s cut with a knife by Wendy. Here’s the state of the door just before he pokes his head through it, uttering the famous line, “Here’s Johnny!”, in perhaps the most iconic shot of the whole film.

But then after receiving the cut, he hears Hallorann’s approach in the sno-cat and aborts his assault on Wendy. We have a brief shot from Halloran’s viewpoint of the approaching hotel through his windshield. When we return to Jack, here’s what we see: *both* panels are suddenly missing, the one to the left that Jack *couldn’t* have possibly hacked through, given the time frame, being the *much cleaner* cut.

There’s something obviously very queer going on with this door (!) These cut panels appear between the backwards MURDER message below and the “–I__” message above (again taking mata’s word that this is what the obviously present yellow scrawl reads). It seems the door represents a kind of dimensional portal, both forwards and backwards at once.

—–

Yeah, I can sort of see those “Kubrick eyes” mata references, in the shadows of various bathroom objects perhaps positioned *just* so on the shelf below the mirror. And Danny turns his head at this moment to look directly at the created effect. Hmmm…

And reading further: Aldebaran again.

http://black.greyfalcon.us/

(continued in)

http://kubrick42.tumblr.com/image/47338509640

The Rainbow Room II
Red photo, Peach walls, Yellow lamps, Green bed, Blue Hallorann

This is also the exact center of KDK12’s “The Shining: Forwards and Backwards” synchronicity.

See 6:30 in this video clip, once more.

http://vimeo.com/53766925

“Say, Lloyd. It seems I’m temporarily light.”