Go to Table of Contents of the analysis (which has also a statement on purpose and manner of analysis and a disclaimer as to caveat emptor and my knowing anything authoritatively, which I do not, but I do try to not know earnestly, with some discretion, and considerable thought).
The most important thing which must be kept in mind with Kubrick's films is there is the surface or principle story and then the internal or sub-story. In many of his films, if we're really paying attention, set elements pretty much immediately destroy the surface naturalism. One may not notice this destruction the first, second or third time one watches the film. Through constructive disorientation and disconnectedness, and sleight of hand as to where our eye focuses, Kubrick, the magician, intentionally obfuscates these elements that destroy the overt and naturalistic story line. The surface story lines are the principle ones, and this is maintained and supported by the intentional obfuscation of the deconstructive elements which keep them sub rosa. At the same time, these deconstructive elements are plainly there, alongside his tremendous effort to make things look real and believable, and once we bypass the disorientation and his purposeful refocusing they become a puzzle, annihilating the sense of reality. This destruction of the film's naturalistic story line is difficult enough to conceive of and accept that most people stop at this point and decide these puzzling aspects of Kubrick's films are errors when they are not. They are part of the art of a director cleverly designing the overt story line to be unimpeded by an internal story that tears it apart. Indeed, the sub rosa elements of the internal story may be discreet but they are enough in evidence to complicate the surface story with an aura of attractive, indefinable mystery, which is one of the reasons viewers return to Kubrick again and again. To work with the "reason" and "why of the internal story line is to try to settle into Kubrick's sensibility, examining how these internal stories form a dialogue in his oeuvre with repeating themes and ideas, elaborated upon from film to film. The internal stories haven't a "plot"; they aren't that kind of story. Instead, you have to be willing to deal with comprehending the themes and ideas represented in them as instead ultimately forming a different terrain for the setting of the surface story, guiding and interacting with the overt story and giving it a new form.
SUBHEADERS FOR THIS SECTION:
JACK RELEASED FROM THE STORY ROOM - THE DOUBLE LOCK AND THE BLENDING OF C1 and C2
DICK IN THE SNOWCAT- THE GREEN MAN
JACK ATTACKS - KUBRICK COMMENTS ON JACK's BLOOD MARKING THE DOOR WITH PENDERECK's PASSOVER CANON - IMPLICATIONS OF RESURRECTION CONFERRED BY THE MUSIC
DICK REACHES THE HOTEL - SNOWCAT BEFORE THE PYRAMID OF SNOW - THE CABINET IN WHICH DANNY HIDES - CHANGE OF ORIENTATAION OF THE KITCHEN TO THE HOTEL'S LAYOUT - THE MURDER OF DICK - THE PROBLEM OF THE PILLAR
THE BEAST AND A PRIME REASON WHY IT IS SO DISTURBING
JACK PURSUES DANNY INTO THE MAZE, THE ENTRANCE OF WHICH HAS SHIFTED
GREAT PARTY, ISN'T IT - THE CONTINENTAL DIVIDE AS THE GREAT DIVIDE AS THE GREAT PARTY
DICK DISAPPEARS AMIDST SKELETONS AND COBWEBS
DANNNY, IN THE HEART OF THE MAZE, COVERS HIS TRACKS
THE RED HALL AND THE BLOODY ELEVATOR
THE REVERSED ELEVATOR DOORS
JACK IN THE HEART OF THE MAZE
WENDY AND DANNY, REUNITED, FLEE THE HOTEL
JACK'S CLENCHED FIST AND THE PARTY PHOTO
508 Title card 4 pm (1:54:19)
509 LS exterior Overlook (1:54:22)
The exterior of the lodge again, immersed in darkness. We are deep in the watery blue gloom of winter. The image is the same as opened the Wednesday section, only further removed. The same four lights shine in the left and right wings of the lodge as in the opening, establishing shot on Wednesday. Indeed, there is almost nothing to tell the difference between the two but that this one is slightly further removed and has a slight vignette around the periphery.
510 MS Jack zooming out (1:54:27)
Cut to the storeroom in which Jack is asleep on bags of Holly Salt. The red leaf design of the Holly salt is paired with a blue leaf design on a box to the right. A jar of peanut putter is open beside him, peanuts, Oreos. A box of Rice Krispies lies nearby that had fallen when he'd earlier limped to the door to talk to Wendy. We hear the howling wind.
The dominant tones are red and green.
There are four knocks on the storeroom door. After a few moments, Jack stirs. There are four more knocks. He sits up, hand on his hurting head.
VOICE OUTSIDE DOOR: It's Grady, Mr. Torrance. Delbert Grady.
Jack feels his injured ankle then pulls himself up and struggles limping to the door.
To the right of the door we see "No Smoking" on the wall. The Calumet tins of baking powder aren't in sight in this shot.
JACK: Ah, Grady. Grady, I, uh...hello, Grady.
GRADY: Mr. Torrance, I see you can hardly have taken care of the...
511 MCU Jack from right(1:54:27) Cut to Jack from the side, the right, bracing himself on the door.
GRADY: ...business we discussed.
JACK: No need to rub it in Mr. Grady. I'll deal with that situation as soon as I get out of here.
As Jack stands back from the door, the camera following, we see canisters of the Calumet baking powder behind him.
As I explained in the "Closing Day" section, my belief is that the Calumet powder has to do with Jacob's ladder.
GRADY: Will you indeed, Mr. Torrance. I wonder. I have my doubts. I, and others, have come to believe that your heart is not in this. That you haven't the belly for it.
JACK (laughs): Just give me one more chance to prove it, Mr. Grady. It's all I ask.
GRADY: Your wife appears to be stronger than we imagined, Mr. Torrance. Somewhat more...resourceful. She seems to have got the better of you.
JACK: For the moment, Mr. Grady. Only for the moment.
GRADY: I fear you will have to deal with the matter in the harshest possible way, Mr. Torrance. I fear...that is the only thing to do.
JACK: There's nothing I look forward to with greater pleasure, Mr. Grady.
GRADY: You give your word on that, do you, Mr. Torrance?
JACK: I give you my word.
There is a long moment of silence, the wind howling, then we hear the locks being undone without. Jack smiles.
The camera shows behind Jack the area where the door to the C2 storage room should lead kitty-corner the C1 door, one of those right angle mysterious turns that occurs with a disappearance, such as the C2 room not being around. It may not be there, but due the existence of the C2 door we have, in essence, two rooms suggested as being here, which may have something to do with the two locks on the C1 door whereas the other locker doors have only one each and a padlock.
Much is made of how Jack gets out of the "story" room, C1, as if it can be shown that Wendy didn't properly lock the door then this would be sufficient to explain away the Overlook. As if the impossible window is any less problematic. As if all the impossibilities (and there are many, as the whole place is an impossibility) would be less problematic. The hotel is a hotbed of anomalies that demonstrate that there can be no expectation of absolutely rational answers in the film, not when the Torrances arrived with a comical amount of luggage that in no way would have fit into their small VW. But the way that Kubrick focuses in on the double locks, as Wendy first opens the C1 door, then closes Jack in, gives, I think, the impetus for people to look for a rational reason for Jack escaping, such as maybe she didn't properly bolt the locks shut when she was having so much problem opening them. For me, what stands out most are, again, that there are two locks.
The problem of the unlocked door returns us also to the problem of how the door to Room 237 came to be unlocked.
Kubrick not infrequently has had in the film three perspectives given of an event, however minor in differences those three perspectives might be. It's not unreasonable that we could assume there's a perspective that we've not seen of this situation as we're inside the locker with Jack. But that's not a very satisfying resolution, is it? Concerning the emphasis on anamnesis and the choices of music used in this section having to do with Passover and Christ's Death and Resurrection, I think we need to pay attention to those and consider that the door opened mysteriously, just as in the Easter rolling the stone away from the crypt story.
But before looking at that, I'd like to spend a little time looking at this scene in respect of Jacob's ladder. When one considers the already established relationship with the story of Jacob's ladder, one should perhaps consider Jack's limp. Jacob was also lamed at the end of his wrestling with an "angel" (more appropriately Esau's angel or what might be called Jacob's "evil inclination"). The laming that caused Jacob to limp comes from the word TsLH, meaning one-sided, as in the curve of a rib. Because of the laming there came a ban on eating the sciatic nerve, cutting away the veins and fat. The sciatic nerve, which isn't kosher, is called "gid hanasheh" meaning "to forget", and is symbolic for Jacob's dark side, humanity's darker side, that not ruled by reason, which was the point at which Jacob was weak and so he was struck in this place. NShH (of hanasheh) is to neglect as in the sense of failure, and is also a word for debt, to lend or borrow with interest, oblivion. The ban against eating the sciatic nerve is given by some as standing to the day that the struggle with Esau comes to an end, with the arrival of the Moshiach (Messiah).
I go into this not only because of Kubrick's tying in the story with Jacob and Esau, but because of Jack being observed lying on bags of "Holly salt" as this scene opens, which could possibly be intended to bring to mind holy salt. Kosher salt. In the "8 am" scene where we first observed Jack standing in the "story" room and catching his ankle and falling against some boxes, showing he'd been injured, in the foreground was prominently placed a bottle of Kosher Dill Pickles.
Kosher salt is used in porging, draining the meat of blood, in order to make it kosher.
If I pursue some of these angles it's because of the choice of musical compositions and some other elements that fit with them through the course of the movie, or seem to fit to me, so allow me to run with it.
I've already gone into the connection between 42 and "All work and no play makes Jack a dull boy". But the English word, dull, seems much like the Hebrew, DLL, which has already been discussed in the Tuesday section, and which serves for weakness, poverty, languishing, even something dangling (such as a hair).
Kubrick has used many, many well known commercial items in the storeroom, but doing a search of the internet I can find nothing for Holly Salt. Even if it was a commercial product that was eventually discontinued, the internet is pretty good about having histories and old ads for such items, and there is nothing for a brand, Holly Salt. Yet there are at least 6 very large bags of Holly Salt which Jack has made for his bed and he's surrounded by a wealth of known commercial products--and there are 3 more bags that appear to be Holly Salt on a low pallet beside him. We saw these bags also when Wendy was being shown the storage room by Dick, but they were placed in such a way where we couldn't observe what they were, no product or commercial name shown, and there weren't the 3 extra bags on the low pallet.
On "Closing Day", Dick, facing the area of the Holly Salt, had pointed out numerous boxes of dried peaches to the side.
Music referring to the Passover is also used in the film, and I shall come to that again in a moment and link back again with the storerooms.
Passover, pasach, means to limp, to jump over, to be lame. There is some relationship to be drawn between this and the laming of Jacob, though he was described as lamed as in TsLH.
And now back to how Jack got out of the "story" locker. In Eyes Wide Shut Bill's mask mysteriously disappears from his Rainbow bag and then finds its way onto his pillow at the end of the film. I have written about this in my analysis on the film and shown how in the context of the visual sensibility of the film Bill had himself placed the mask on his pillow. When he puts it in the credenza, Kubrick crossfades to the bedroom and we see, in effect, Bill putting the mask on his bed. It could be that we have something down the same line going on here.
When, on Closing Day, the group goes to the boiler room, we have the following crossfade from the kitchen to the hall behind the office. Note to the right how the door to the "story" room, the C-1 locker, briefly fits right over a metal storage unit before which a worker is laboring.
The crossfade finishes and we see the worker more clearly. In later shots of the hall, except for when Danny takes refuge in it, one of the doors of the storage unit before which the man is standing is open. This storage unit is a duplicate of another storage unit further down in which Danny hides, its door open in that section rather than the one of this storage unit.
This storage unit is directly opposite a time clock. On Closing Day, Jack shows Wendy into the C-4 locker, then we have a skip where instead he is showing her into the C-3 meat locker and we see beyond it the timeclock for the kitchen employees. One, I think should look at that timeclock as commenting on both and scenes and the "flip" which happens so that Dick shows Wendy an opposing locker.
Continuing on, when the Torrances and Bill and Ullman are going down the hall behind the office on "Closing Day", that employee who was standing before the locker in the crossfade turns and crosses the hall and enters Ullman's office door. Kubrick makes a point of showing Ullman turning to look at him as he enters that office door. An entirely innocent crossing (and I write of it again concerning another scene below) but I think it somewhat speaks to Jack's ability to exit the "story" room door. And it concerns the crossfade which links the storage room to that storage unit in the other hall, the one from which the employee turned to open the office door, the one which is later shown with one of its doors open.
To understand what I'm getting at you'd probably need to read the post on The Internal Logic for the Discovery of the Mask on the Pillow (in Eyes Wide Shut). I have even wondered if the manner in which Kubrick used the cupboard, the mask entering it then appearing on the pillow, and how this is based on a visual logic in the film, wasn't partly an exposition on the metal cupboards in The Shining and how Jack got out of the "story" room.
512 LS Snowcat (1:57:43)
Cut to Dick driving the Snowcat toward the lodge in a curiously peaceful view in which we see no snow falling. A red light blinks alternatively on the left and right side of it. As the Snowcat nears, it could be said to have an animal-like face.
The scene is so pristine, and the way the layout is, one has the feeling of the Snowcat itself making its way through a maze.
I managed to pinpoint the location of the shot and its on the West Leg Road far below the Timberline, part of an alternate Timberline highway that becomes a ski path (part of a veritable ski maze) in the winter. So it seems.
513 MCU Dick inside Snowcat (1:58:06 begin crossfade to Dick, 1:58:09 end crossfade.)
A crossfade from the Snowcat to Dick shows Dick as an anthropomorphized tree, a kind of Green Man.
When Jack was playing ball, his moves had echoed the shapes of the wood centerpieces on the tables but there had been no overlaying. The most notable instance of this was the anthropomorphized plant in the Wednesday sequence in which we had a crossfade of Jack fleeing Room 237 blending him with a plant in Dick's Miami home.
Perhaps Kubrick wanted to have a balance to Jack polymorphing into a plant in Miami, so we now have Dick as the Green Man.
514 Path through woods from behind Dick (1:58:24 begin crossfade, 1:58:26 end crossfade.)
A fairly quick crossfade to the path through the forest seen from behind Dick, Dick appearing as a silhouette.
515 MCU Danny in Suite 3 bedroom (1:58:39)
Cut to Danny in the Suite 3 bedroom, seen beside the vanity, a picture of a snowbound landscape behind him. He is dressed in a sweater and plaid shirt in brown and rust tones. He advances forward. We clearly see behind him the television and the window, its drapes shut, which is also an impossible window, this being an interior apartment.
DANNY: Redrum. Redrum. Redrum. Redrum. Redrum. Redrum.
He pauses beside the bed, looking down on his mother, who is sleeping, and picks up from the nightstand the knife she had gotten from the kitchen.
We see the lamp on the bedside table now has a wood base, matching a lamp with the wood base that was on the vanity. Beside it we see a toy green army tank.
DANNY (having picked up the knife): Redrum. Redrum. (He tests the blade.) Redrum. Redrum. Redrum. (He turns to go to the vanity.) Redrum. Redrum. Redrum. Redrum. Redrum. Redrum. (He picks up a bright red lipstick from off the vanity.) Redrum. Redrum. Redrum. Redrum. Redrum. Redrum.
516 MS Danny from side. (2:00:13)
Cut to Danny standing before the bathroom door, Wendy seen beyond him sleeping. He begins to write with the lipstick.
DANNY (as he writes the R): Redrum. Redrum. (As he writes the E.) Redrum. Redrum. (As he writes the backwards D.) Redrum. (He writes the backward R. First he makes a small D and then adds its legs, forming an R.) Redrum. (As he writes the U.) Redrum. (As he writes the M.) Redrum. (A pause.) Redrum. Redrum. (He turns to Wendy and his voice rises.) Redrum. Redrum. Redrum.
Note that Danny writes the R first as a D, then adds the legs, making it an R. These two letters are backward. I'm reminded of Wendy's yellow jacket in the Saturday section with the two cactus on the front pockets which looked like 4's, and I had wondered if these could represent D's (daleth, door). Then when she turned we saw a cactus on the back of her jacket that was then reversed...and had a person taking a siesta against it. In the next section Wendy was wearing the same jacket and was lying down. Here, Wendy is sleeping. These are the only times we see her resting/sleeping.
Wendy starts up.
517 MS Wendy seen from the rear of Danny. (2:00:49)
Danny begins saying "redrum" now in his normal voice, coming out of his Tony trance, Wendy shocked to see him facing her with the knife in hand.
DANNY: Redrum! Redrum!
WENDY: Danny! (She grabs the knife from him.)
WENDY: Danny, stop it!
DANNY: Redrum! Redrum!
At 2:00:57 the camera does a quick zoom in on Wendy screaming as she looks at it.
518 MS The bathroom door in the vanity mirror. (2:00:58)
A shot of REDRUM on the bathroom door in the vanity mirror. This is what Wendy had seen and reads it as MURDER. The camera does a quick zoom in on the word MURDER.
The reflection of the door in the mirror is slightly different than when the door is seen not in the mirror. There's something on the middle panel above the word murder.
It's interesting that in Danny's vision, less precognitive than one he made manifest, as he saw the word then later writes it, the door was shot from below at an extreme angle such as with the 2001 monolith, and that this same angle was then used for Wendy when looking at Jack's papers, then with Jack in the story room at its locked door.
Wendy and Jack had been arguing about taking Danny away from the hotel, the vision occurring as Wendy said that, whatever the explanation for his injuries, they had to get Danny out of there.
We then had the shots from below when Wendy was finally seeing what it had been Jack was writing.
Then while Wendy and Jack argue, Jack saying he thinks they need to talk about Danny, we saw again the REDRUM door.
The next and last extreme low angle shot is that of Jack after he's been injured and is locked in the storage room.
519 MS Wendy and Danny. (2:01:02)
BOOM! Wendy, Danny in her arms, looks to her right (our left) as we hear Jack attack the apartment door.
520 MS Jack axing the door. (2:01:04)
Cut to Jack heaving an axe into the door. Once. Twice.
521 MS Wendy and Danny. (2:01:08)
Wendy lifts Danny in her arms and glances in a panic around the room.
522 MS Jack axing the door. (2:01:11)
Jack slams the axe into the door again. And again.
523 MS Wendy and Danny. (2:01:13)
Wendy glances to the bathroom door and back at the hall. We hear the axe fall again. And again. She goes to open the bathroom door. Again we hear the axe fall as she enters the bathroom with Danny.
524 MS Wendy and Danny inside the bathroom. (2:01:21)
Wendy has put Danny down and he clings to her as she bolts the bathroom door and locks it. We hear the axe again.
525 MS Jack axing the door. (2:23:37)
Jack slices open the door with the axe.
526 MS Wendy and Danny inside the bathroom. (2:01:27)
We see the bathroom door in the vanity mirror in the bathroom, Wendy tossing the knife into the sink. We hear the axe again as she rushes to the toilet and pushes off of it all the cleaning supplies and toiletries. We hear the axe as she opens the bathroom window.
527 MS Wendy from outside the window. (2:01:32)
We hear the axe again as we see, from outside, Wendy forcing up the windowpane.
528 MCU Danny. (2:01:35)
Cut to Danny facing the door in terror, clinging to his mother, as he hears again the axe.
529 MS Jack axing the door. (2:01:37)
Cut to Jack again axing the door.
530 MS The bathroom window, exterior. (2:01:38)
Cut to Wendy struggling to get out the bathroom window. We hear the axe.
531 LS The bathroom window, exterior. (2:01:41)
Cut to a long shot of the bathroom window which shows us for the first time the relationship of Suite 3 to the lodge and how, with the exception of the bathroom window, the rest of its windows are impossible. Wendy tries to get out the window but she is too large. She pulls back in.
532 MS Jack axing the door. (2:01:44)
Jack again heaves the axe.
533 MS The door from inside the apartment. (2:01:46)
We see the axe successfully take out a chunk of door. Jack peers through the hole.
534 MCU Jack through the door. (2:01:51)
JACK: Wendy, I'm home!
He reaches in and turns the green key.
535 MS Wendy and Danny. (2:01:57)
Wendy lifts Danny to the window.
536 LS Bathroom window exterior. (2:02:00)
His feet pushed through first, we watch as Danny successfully emerges and slides down the pyramid of snow. One can see in Figure 13 how the bathroom window facing south makes all the other windows of the apartment impossible as they are interior windows and would be on the west. This is the first time we are given an orientation of the apartment relative to the rest of the building, and thus the first time we have any idea that only the bathroom window is legitimate. But then Kubrick has also downplayed the other windows in the apartment. When we see them introcuing light we don't see the windows themselves. We have only seen the other windows when they are draped.
537 MS Bathroom window exterior. (2:02:11)
Wendy again struggles to get through but is unable. We see in the left hand corner the bathroom curtain billowing wildly, as if a great deal of wind is entering the room through the window.
538 MS Jack mounting stairs. (2:02:16)
Cut to Jack, having entered, mounting the apartment's inner stairs.
539 MS Bathroom window exterior. (2:02:23)
Wendy still struggles to get out the window. Giving up, she retreats back into the bathroom.
540 MS Danny outside lodge. (2:02:27)
Freezing in the wind, Danny watches the bathroom window, waiting for his mother.
541 MS Jack from rear. (2:02:29)
Cut to shot of Jack from the rear as he advances toward the bedroom.
JACK: Come out, come out, wherever you are.
From this perspective we don't see the flowers that should be on the vanity, which we saw when Danny took the lipstick from the vanity, which we saw when Wendy viewed the word MURDER in the vanity mirror. They were also unobserved from this perspective (Danny's) in the Monday section when he entered and saw his dad awake. The flowers were there in the Wednesday scenes that took place in this room.
542 MS Wendy. (2:02:35)
Again Wendy struggles with pushing up the window pane, the camera's angle now from inside the bathtub, watching from beyond the shower curtain. Again, she tries to climb out.
543 MS Bathroom window exterior. (2:02:39)
Cut to Wendy unsuccessfully trying to get out the window.
544 MCU Jack at bathroom door. (2:02:42)
Cut to Jack approaching the bathroom door, a picture of a snowy house or barn beyond him on the wall. He tries the door and finds it locked. Smiling, he knocks.
545 MS Bathroom window exterior. (2:02:56)
Wendy is still only halfway out the window.
WENDY: Danny, I can't get out!
546 LS Danny before the lodge. (2:03:00)
Cut to Danny standing at the foot of the pyramid of snow looking up at his mother.
WENDY: Run! Run and hide! Run! Quick!
Danny turns and runs away from the window, as if toward the unseen maze.
547 MCU Jack before door. (2:03:09)
JACK: Little pigs, little pigs, let me come in.
548 MCU Wendy in the bathroom. (2:03:15) Wendy grabs the knife from the sink. We've a brief view of the bathtub as she goes to stand to the inner right of the door, terrified.
549 MCU Jack before door. (2:03:20)
JACK: Not by the hair on your chinny-chin-chin? Then I'll huff, and I'll puff, and I'll...
550 MS Jack before door from rear. (2:03:30) Cut to Jack wielding the axe.
JACK: ...blow your house in!
551 MS Jack from the right. (2:03:31)
Cut to Jack slamming the axe in the door.
WENDY: No! AHH!
Jack slams the axe in the door again.
552 MS Wendy. (2:03:39)
Cut to a view from inside the bathroom of the axe striking through, Wendy screaming. Again, the axe strikes. Again, Wendy screaming each time.
WENDY: Jack! Please!
The axe strikes.
WENDY: Don't! Oh! AHHH!
The axe comes all the way through the door and Jack must ply it around to get it out.
Again the axe strikes.
The axe comes whole through the door again.
553 MS Jack through the split bathroom door. (2:04:03)
Cut to Jack through the bathroom door as the splits the hole in the bathroom door wider.
554 MS Jack from the side. (2:04:10)
Cut to Jack outside the bathroom door, axing it one last time. He leans against it, peering through.
555 CU Jack through the split bathroom door. (2:04:16)
JACK: Here's Johnny!
556 MCU Wendy. (2:04:18)
Cut to Wendy screaming in the corner.
557 CU Jack through the split bathroom door. (2:04:20)
Jack draws back and reaches in through the door with his left hand to unlock it.
558 CU Jack's hand.
559 MS Wendy. (2:04:24) Cut to Wendy raising her knife then slashing it down.
560 MS Jack's hand. (2:04:25)
Cut to a shot of Jack's hand, the knife slashing from left to right off it, splashing blood on the door, the cut hand withdrawing through the door.
561 MCU Jack through door. (2:04:25) Jack screams and turns from the door.
As Jack axed the door, Penderecki's "Kanon Paschy" played, which is concerned with the entombment and resurrection of Christ and is the Passover Canon, Christ serving as the Passover lamb whose blood marked on doors prevented the Destroyer from entering those homes consecrated with the blood, the Destroyer going on to take the lives of the firstborn of the Egyptians and any with unmarked doors.
Jack's blood marks the bathroom door. On the other side of the door, in this area, is where Danny had written "redrum" in red lipstick. If we had x-ray vision and could see through this door, we'd see the word "murder". And this seems very important to me, that Kubrick has chosen to have Jack's blood splashed on the opposite side of the door from Danny's vision of the word REDRUM, which he himself would later write upon the door.
When Dick had taken Wendy and Danny into freezer C4, he had listed off all the meat contained therein then had asked Danny if he liked lamb, whereupon they exited out of freezer C3 in one of the film's more overt displays of doubling, overlaying. If one wonders about this, Jack's mysterious release from the virtual prison of the "story" room and then his axing through a door while the Passover Canon plays, then it might do well to consider the idea of entombment and resurrection as signified by the music, and whether the place of entombment is the same as the place of resurrection.
I had already noted that when Jack wakes up in the storage room, he is lying on bags of Holly Salt, which I believed perhaps referred to holy salt, kosher salt, used in draining meat of blood in order to make it acceptable.
Passover, as earlier noted, is from pasach and means limping, lame, to jump over. Jack's laming can be compared to that of Jacob's but also to the Passover.
The Passover marking of the door was given on the lintel and the two doorposts. Which draws us now to think about the blood red doors of the elevators. We have also seen smaller versions of these which look for all the world to again be elevators, but it is only after the marking of this door, when Wendy is fleeing in a later scene, that she finally uses one of those smaller versions and we find the red panels are not elevators at all but are as large decorative door posts (really, mock doors) to a central brown door.
Struck with the knife, Jack has withdrawn his hand howling, wounded. Though it's a relatively minor wound, Wendy is saved, for Dick now arrives on the scene.
In Dick's apartment we had seen a ram's head on the wall. I had mentioned there a possible connection with the Abraham/Isaac story, also connected to this film through Dies Irae and Rosh Hashanah, and the idea of a substitution.
562 MCU View from Snowcat. (2:04:28)
Cut to the view from the Snowcat from behind Dick, it snowing heavily again now. We see old timbers without limbs or foliage that mimic Jack's chopping of the door, the parallel effectively bringing the entire forest around the Overlook into the maze. A light rises above the horizon. Another two lights to the right of that. We see to the left the tall central pyramidal roof tower of the Overlook, the Snowcat quickly closing in on it.
563 MCU Wendy. (2:04:46)
Wendy stands, gasping, by the door. Hearing the Snowcat, she looks toward the window.
564 MCU Jack from rear. (2:04:53)
Cut to Jack outside the bathroom door, also hearing the Snowcat. He stands back from the door.
565 LS Snowcat, lodge exterior. (2:05:03)
Cut to the Snowcat descending the hill beside the pipes and driving past the garage.
566 MCU Jack from rear. (2:05:13)
Listening to the Snowcat, Jack faces the bathroom door again.
567 MCU Wendy. (2:05:20)
Wendy glances from the bathroom window to the door.
568 LS Snowcat, lodge exterior. (2:05:24)
The Snowcat rolls to a stop at the base of the pyramid of snow outside the lit bathroom window. The engine cuts off.
I remember the first time I saw The Shining and saw in the snowbank, down which Danny slides, a pyramid, and in the Snowcat the sphinx.
569 LS Danny running down service hall. (2:05:30)
Cut to Danny running through the lobby area beside the bathrooms, into the green service hall behind the offices. We hear the wind howling. He passes the clock which appears to read about 5:20. He looks back as he reaches the door to Ullman's office. He looks to his right (our left) at the doors that would lead to the hall behind Ullman's office, then scrambles into a waiting partially open cabinet.
I have previously discussed how we have a doubling of the two cabinets in this hall. On Closing Day we don't see this cabinet door open but a door open in the corresponding cabinet of a doubled pair down the hall.
We also see the same door open of the doubled pair in the Saturday section as Danny cycles past on his way to his encounter with the girls.
The corresponding cabinet door of that doubled pair, further down the hall, is closed in this scene. Instead we have this one open. The other cabinet couldn't have been used by Danny to hide in as it had a shelf in it while this one does not. Another benefit of this cabinet being open is that Danny will have more time to escape from Jack.
This cabinet, of the second pair of cabinets, doubles the other one so exactly that there even seems to be the same kind of damage on the wall to the left of the cabinet. Or is there damage on the wall? As you can see in Figure 8 the wall has the appearance of being bashed in in 3 places. If you look at Figure 9, at the corresponding cabinet in the first set, there are these marks in the same exact spot. However, they are similitudes, for if you look at the area close up you see these aren't bash marks in the wall but some kind of apparatus hidden to the side of the cabinet. This may also be the same case with the other cabinet, but if it is, the apparatus is more carefully concealed so that instead we appear to have the bash marks on the wall.
This is much like the exact doubling of the silhouette of Dick in his Matador car, and the silhouette of Jack as he stepped out from behind the wall/pillar, surprising Wendy.
This also, again, makes perhaps rather important the Closing Day scene in this hall, when a man with brown-blond hair who was standing at the first set of cabinets putting up dishes (which I've previously discussed)--in specific the cabinet with the open door and the fake bash marks on the wall beside it--then crossed over to Stuart's office door and entered it after the group had passed, Ullman glancing back at him.
What Ullman had said on Closing Day, as he glanced back at the man who was going to his room, was, "Well, the last days are very hectic (glance back). Everybody always wants to be on their way as early as possible. By 5 o'clock tonight, you'll never know anybody was ever here."
There's a kind of odd choreography going on here that links the Closing Day scene in the hall with this one, through Ullman glancing back at the man who enters his office, just as he passes the 2nd set of cabinets in which Danny will later hide, and Danny running down the same hall, seeing "the door" (as Kubrick says in the documentary) and glancing over to the cabinet, seeing its open, and deciding to hide in it. The door he sees is not the one into Ullman's office but the one that goes into the hall behind Ullman's office. And yet, through these glances, the events seem to have some correspondance.
570 MCU Danny inside the cabinet. (2:05:43)
Cut to Danny inside the cabinet.
571 MS Cabinet exterior. (2:05:46)
Danny tries to slam the door shut but it only partially closes.
572 LS Jack in kitchen. (2:05:47)
Cut to Jack limping through the kitchen past the open door to C1. He appears to have come down the hall leading past the other storage rooms, but this doesn't make much sense as he should have turned at the corner and passed directly outside the C1 door, instead of passing behind the table. Especially as he is injured he would economize movement. It almost seems as though he was walking and then materialized in the middle if the kitchen as he was walking. The wind howls.
573 MCU Wendy. (2:05:58)
Weeping in the corner by the bathroom door, Wendy comes to the realization that Jack has left the apartment. She tries the bathroom door and finds the lock jammed. She strikes it with her knife.
574 MS Dick exterior lodge. (2:06:22)
Cut to Dick outside the lodge. He passes two lit windows on the ground floor as he approaches the door Wendy had earlier exited to go check out the Snowcat. The door is still partially open. He enters.
575 MS Jack enters a hall adjoining the lobby. (2:06:41)
Jack enters a hall adjoining the lobby, which gives the impression the kitchen must be somewhere off in this direction. On Closing Day, it was instead suggested the kitchen was in proximity of the Gold Room, at least on the other side of the lobby. In the A Month Later section, Wendy comes from the lobby's Gold Room hall on her way from the kitchen to the Suite, and passes through the lobby headed in the direction of the elevators. Now, we have just been shown Jack in the kitchen, and next he is exiting a hall that is on the opposite side of the lobby from the lobby's Gold Room hall.
He passes the 7-Up hall, and then the parallel hall to it that runs behind the office. He glances down it. Painfully limping past, he begins to ascend the stairs at the rear of the lobby.
DICK (from off-screen): Hello! Anybody here?
Coming around a column, Jack looks down over the lobby and its dark maze. Again, we hear Dick.
DICK: Hello! Anybody here?
We see an ashcan behind the pillar in the place of which Jack will hide.
576 LS Dick in Gold Hall outside lobby. (2:07:26)
Cut to Dick entering the Gold Room lobby hall, the one up which Wendy came in the "A Month Later" section on the way to wheeling breakfast to Jack, supposedly from the kitchen.
DICK: Hello! Anybody here?
When Wendy was seen coming down first thing in the "A Month Later" section, the camera cut short before letting us see the place where the July 4th photo will be observed at the end of the film. This time, the camera cuts a little later and we're able to see where the July 4th photo will be placed and that it isn't currently there (all the images except perhaps one seem the same the day that we saw Wendy going down the hall).
Slowly, Dick advances into the lobby, calling, "Hello!" We see the green fluorescent light of the service hall behind the offices through an open door on the left, the tone of green light that we've come to associate with the eerie. He progresses toward the Cashier's area, calling, "Hello! Anybody here?" He passes over the circle on which had rested Danny's Big Wheel with his Bugs Bunny in the "A Month Later" section when Jack had slammed his yellow ball against the diamond wall hanging and it had bounced off to the right.
Scatman's legs are bowed and this is effectively camouflaged in earlier scenes, but here that bowing almost seems exaggerated by both his boots and the camera angle. His heavy jacket makes his upper body seem overbearing in comparison to his legs. If one compares this shot of him to the earlier poster showing the supposed "skier" as minotaur a curious resemblance can be seen between that silhouette of the minotaur, with its bowed bull legs and the overbearing weight of the upper body, and Scatman's form here. Is Jack, who slowly becomes a minotaur throughout the film, who faces off with Danny in the maze, here slaying his own vision of the minotaur, a kind of double, conceived of also as a kind of substitute ram--but as a substitute for whom?
Dick (Scatman) is certainly a protective presence in the film and so doesn't seem to fulfill the threatening minotaur archetype, but it does seem that he is here being represented as the creature as well.
We see the ashcan behind the last pillar has been moved 90 degrees. I found this when I realized the waiter had disappeared perhaps behind a pillar at the other end of the lobby when Jack arrived for his interview and after he made a 90 degree turn to the receptionist desk. I came back to look at this pillar as well, saw the ash can there, and considered Jack couldn't possibly hide behind the pillar with the ash can there. When he looks down from the stairway behind it is still there. With his limp, he shouldn't have had time to move the heavy ash can, but as we can see it has been moved 90 degrees.
Dick reaches the point between the columns outside the office where, on "The Interview" day, Jack had glanced up to see the woman descending the rear steps, the man entering the lobby from the direction where the yellow ball would disappear, and we had heard the first "sha" sound when Jack had tread upon this spot on his way to the office on the day of the interview.
Dick is the Minotaur at this point. The chandelier over this spot is lit unnaturally bright in comparison with the other chandeliers. If one compares Dick's positioning, just before being struck by Jack, to the poster of the Monarch minotaur, which had the sun blazing over its right shoulder, had we viewed Dick from the front rather than the rear, one could compare this exaggerated illumination of the chandelier to that sun, and would also be seen over his right shoulder.
That is also why this poster...
Which I showed was this, an optical illusion, a trick of perspective, whether one would see it facing one or reversed.
This is why, when Danny was throwing darts at the dart board (with the 732, which was 237 reversed), the girls entered in the games room, then turned and left. They were ennacting the poster, the reversal, and that if we could see Dick from Jack's perspective, we would see something comparable to the Monarch poster.
Speaking of this bright light that would be over Dick's shoulder if we were viewing him from the front, as Jack is, we have it also in the film when Wendy is hugging Danny to her chest, having begged him to wake up, a 3rd light source appearing in the hall behind her, outside the bedroom, which shines over her shoulder.
And what had Kubrick crossfaded this shot to? Jack approaching the Cashier area in the lobby and then the place where he will kill Dick, the golden clock above.
Jack leaps out with a yell and slams the axe into Dick's chest.
577 MCU Jack. (2:08:33)
Brief shot of Jack as he plunges the axe in Dick's chest.
578 CU Axe in Dick's chest. (2:08:33)
Brief shot of the axe in Dick's chest. Dick yelling.
579 CU Danny. (2:08:34)
Brief shot of Danny screaming.
580 MCU Jack. (2:08:34)
Cut immediately to Jack with blood streaming down his cut hand, the axe in Dick's chest, forcing it deeper.
581 MCU Dick. (2:08:35)
Cut to Dick screaming.
582 CU Danny. (2:08:35)
Danny continues to scream.
583 MCU Jack. (2:08:36)
Jack continues forcing the axe into Dick's chest.
584 CU Dick. (2:08:38)
Screaming, Dick turns and falls back and down.
585 CU Danny. (2:08:39)
Danny continues screaming and we see that this is the image of himself Tony had shown him in on the day of The Interview when he'd had his vision in the mirror.
586 LS hall by elevators. (2:08:39)
Cut to the empty hall that passes by the elevators. We see the diamond rug against which Jack had bounced the ball in the "A Month Later"section. Danny's scream continues. As it stops, Jack rises into the frame, smiling. The music begins.
587 LS Dick dead in the circle. (2:08:50)
We see Dick lying dead in the circle before the cashier's are, Jack rising, pulling back from the body. He quickly limps around the reception area to the service hall.
It's difficult to tell here--indeed it's staged so we can't tell it here--but the ashcan that had been moved 90 degrees is already back in its place behind the pillar.
Thus we see that a "missing" something can be a matter of a 90 degree turn having removed the object from view.
JACK: Danny! Danny boy!
He reaches the bathroom doors to gaze down the service hall.
588 LS Service hall. (2:09:05)
A long shot down the empty service hall from behind Jack. Danny emerges from the cabinet door on the left and runs across the hall. Jack, calling, "Danny!" pursues him. The clock reads 5:25.
589 MS Wendy climbing staff stairs. (2:09:13)
Wendy ascends the staff stairs. If these are the same stairs as are shown outside Suite 3--they are on the second floor--she would have to already be up a level and ascending to a 4th floor. We see one lit lamp and two unlit bare bulbs in the ceiling. Furniture is stacked against the walls. She passes a door which is a double digit ending in 5 (perhaps 05).
Calling, "Danny", she continues round the stairwell past a staff door and pictures of American Indian children looking on.
Climbing the stairs she looks around in horror as she hears what many will take for chanting as in something like a Black Mass, but the music that is being played as she subsequently witnesses the lodge's ghosts coming to life is actually part of the "Kanon Paschy/Utrenja", by Krysztof Penderecki, meaning "Morning Prayer", based on the entombment and resurrection of Christ. Music from this was also playing when Jack axed the bathroom door and Wendy sliced his hand with her knife.
The expression on Wendy's face is one of confusion as she continues up the stairs, past a moonlit painting of a pied cow, past a painting of a large house against purple mountains in a snowy landscape, to the next floor where again we see a lit lamp and then one that is unlit and lacking its shade.
The painting of the pied cow, shown above, at one point shows the reflection of the stair rail. This painting is by the same artist who did the painting of the horse racing down the railroad tracks toward a train, seen in the apartment subsequent Danny's vision, the realization of which we are now experiencing. I write on these paintings at length in this post, Stankley Kubrick, Anamnesis, and His Use of Railroad Imagery. The subject is too involved to get into here, for which reason it has its own post, but the reflection of the bannister in this particular painting recalls the railroad track of the painting and would be a replay of it, though flipped horizontally. In the other painting the horse had been charging down the track toward the train, and Kubrick in A Clockwork Orange and Eyes Wide Shut made elaborate but hidden use of railroad imagery to express anamnesis, a meeting of past and present through events recurring though with slight differences.
590 LS view of beast. (2:09:44)
We see a room numbered 105 (one can only see 05 on my screen grabs but it is 105).
Past this room we see a door open on a room in which someone, perhaps a man, in a peculiar costume, is bent over a man in a tux on a bed. Their positioning is such that one the impression is intended to be given that the one in costume is performing fellatio on the other.
Becoming aware of Wendy's presence, they sit up and look at her.
The costume has a drop seat and is perhaps that of a bear with snaggly, overextended, sharp teeth and eerie glowing eyes. What makes the image so terrifying is the nature of the costume which really resembles no creature at all, and its curly plush hide seeming to stand at odds with its plastic face when revealed. There is no way, of course, an act of fellatio could be performed by this costumed "beast" with its large fangs. The creature's mouth is shaped in such a way that it is a combination of two expressions, both a smile and a frown. There are no eyeholes for a person inside to look though. Instead the mask has large eyes with large black pupils illuminated with bright white points, the kind of bright illumination on the pupils we've seen with episodes of shining. It's an image that really makes no sense and so is frightening, particularly due the shining eyes and the mouth being dual, having both a smile and a grimace.
Which is a reason why I think the creature is so disturbing. Our brains are taking in the seeming sexual context and the costume and the teeth and we don't dig immediately down to what is rawly registering in the unconscious whose business it is to measure and comprehend facial expressions without our conscious input. It sees the face is actually split into a smile and frown, showing both in an incomprehensible way as the shape of the mouth is thus not an oval but an X. It takes a longer time for the conscious mind to catch up and really figure out what is wrong with the face beyond the teeth and the peculiar eyes.
The costume could possibly link back to the large bear pillow on which Danny was resting following his shining in Boulder, when being interviewed by the doctor. As I've noted elsewhere, the drop seat possibly corresponds with a crossfade image of room 237 to Wendy in the boiler room, in which her rear is briefly obscured by a dark square, and another correspondence had with the seeming (if decorative) red handprint on the back of the woman's dress during the party scene in the Gold Room, the individual who had caused the domino effect of Grady bumping into Jack.
This vision seems to complement Jack's vision of the woman in Room 237. In Stephen King's book, Danny encounters a man in a dog costume on all fours, and though it's a man his eyes are tiny and red. From the end protruded what rather sounds like a poodle's tail. The man's mouth and chin were covered in blood and he confronted Danny threateningly, saying he wouldn't let Danny by, "Not by the hair of my chinny-chin-chin", and that he would eat him up, beginning with his cock. Danny flees, and he continues to hear the drunken dogman yelling at Harry Derwent to get it up, and that he'll huff and puff until Harry Derwent's all blown down. Harry Derwent was a millionaire (somewhat like a Howard Hughes figure) who purchased the Overlook in 1936 and though he made everything else he touched turn into gold, not so with the Overlook. The dogman was a sometimes lover.
In the book, Jack also had a vision of the dogman during a costume ball in which he also confronts Grady, tells him he recognizes him, but Grady says Jack has always been the caretaker.
Back when Wendy was in the boiler room, as she heard distressing yells, she went into the laundry room. I wrote that I heard one of the yells as a dog. That would be because of this beast. We did hear a dog-like bark mixed in with Jack's nightmare.
Again, the beast-dog has incorporated into its face the idea of opposites. One reason its mouth is so peculiar is because it is cut to have both a frown and a grin, exemplifying in one form the oppositions, such as with the two girls, when one had a slight grin and the other had a slight frown.
We have Wendy climbing up a spiral staircase into what I think Kubrick is expressing here as the pyramidal tower of the lodge where she confronts what is for many one of the most disturbing and mysterious images of the film. If you look at the Wednesday Part 2 section (and elsewhere) as to what I've written on Kubrick's vanishing points (his triangles/pyramids surmounted by a 0 or light), we could have here an expression again of the 0 point (1-0-1), this notion reinforced by Wendy climbing a couple of floors and yet the numbers on the doors would seem to indicate she is on the first floor, so on this floor is going to be located room 101.
Kubrick has also these triangulations/pyramids, crowned with light, sprinkled throughout A Clockwork Orange, one instance being in the home of the cat woman whom he kills.
How is the cat woman murdered? A sculptural penis crashed into her mouth, which we see as the mouth of a painting on her wall.
Again, it is one of the more disturbing images of the film. After this, Alex rushes outside where he is blinded on the stoop between a pair of sphinxes. In this film, Jack is the one who is soon essentially blinded to Danny when Danny disappears in the maze.
591 MS Wendy. (2:09:56)
Horrified, Wendy backs up down the hallway and flees in the opposite direction to the left. The camera focuses long enough on a door number at the end of the hall that we're able to see it could be either 107 or 101.
592 LS Jack. (2:10:04)
Cut to Jack exiting the hall with the red diamond wall hanging, the same style as was observed through the door when Jack entered the men's room area with Grady. (View image.) It's the same hall Wendy had used when exiting to look at the Snowcat. Coming down this hall with the rug observed in the background, Jack passes on (our) left one of the red elevators. He turns through the door on the right into foyer.
The Lodge had only unfolded to the point of our being aware of this area in the "8 am" section when it was used by Wendy to go check the Snowcat.
We see on the left wall in the foyer area a print that was also in the secretarial area, which was only viewed when Bill had entered Ullman's office.
593 LS exterior, Snowcat. (2:10:17)
Looking out the open door, Jack sees Durkin's Snowcat in which Dick arrived.
The camera pans to the right and we realize that the entrance of the maze has shifted so it is now facing north, the hotel, rather than west. I write about this in the "A Month Later" section.
594 MS Jack, interior. (2:10:28)
Jack cuts on the lights, brightly illumining the maze.
Both of the doors are now open, and open wide. Wendy had trouble forcing one door open a little against the snow, and Dick had been able to open that door only about an inch wider. The only person to pass out these doors since then was Danny, and it isn't possible that he would be able to force these doors open wide, and he wouldn't have needed to do so, all he would have needed to do was slip through. Instead, it's as though the lodge has opened them for Jack.
595 MS Danny, exterior (2:10:39)
Cut to Danny peeking out from behind the Snowcat.
596 MS Jack, interior (2:10:43)
597 MS Danny, exterior (2:10:48)
Danny steps several feet out from the Snowcat.
598 MS Jack, exterior (2:10:53)
Jack limps into the snow.
599 MS Danny, exterior (2:10:55)
Danny flees to screen right, his eyes on Jack.
600 MS Jack from behind, lodge beyond (2:10:56)
Jack pursues him. We view the lodge beyond him and the Snowcat.
601 LS Danny, exterior maze. (2:11:01)
Cut to Danny climbing a hill to the entrance of the maze and disappearing within it.
602 MS Jack. (2:11:05) Jack limps his way toward the maze, the Snowcat and the main entrance to the hotel in the background.
I discuss in The Clenched Fist of Jack Torrance how from now on he will pursue Danny with his right hand clenched shut, appearing to hold shut his jacket, only carrying the axe in his left hand. Before now, both hands had been on the axe. As soon as Danny entered the maze this changed.
603 LS Danny in maze (2:11:08)
Cut to Danny running through the maze, the camera following behind. His first turn, after a number of feet, is a left, then an immediate right. He runs a number of feet and takes a left, cutting immediately back around with another left in a hairpin turn. He falls.
After running a few feet he next takes a right and then an immediate left and another immediate left, then a right.
604 MCU Jack in maze (2:11:33)
Jack in the maze now we view him from the front as he follows Danny's footsteps.
JACK: Danny! I'm coming! I'm coming, Dan!
605 MCU footsteps in snow (2:11:50)
We view the footsteps Danny has left in the snow.
606 MCU Danny's feet. (2:11:57)
Cut to Danny's feet as he races through the snow. He takes a right and runs down a long lane of the maze, snow flying into the camera.
607 LS Wendy in 7-Up hall. (2:12:03)
Cut to Wendy coming down the 7-Up hall.
Turning to look up the stairs. She stumbles on carafes and other items Jack had earlier knocked on the floor and picks her way through them.
Exiting the hall she makes a hairpin turn into the hall parallel it, the one that runs behind Ullman's office.
She reaches the intersecting elevator hallway and looking down it sees Dick lying in the lobby.
608 MCU Wendy. (2:12:28)
Reaction shot of Wendy. The driftwood centerpiece has disappeared.
Figure 35 - The driftwood has disappeared.
609 LS Dick's body. (2:12:30)
Cut to Dick's body, the camera then doing a quick zoom.
We can now observe the ashcan is back in place. We observed it in place in Figure 13 when Jack is looking over the lobby, preparing to hide. Then in Figure 16 we see the ash can is to the right side of the pillar rather than behind it as Dick approaches it. It has moved 90 degrees. In Figure 17, Jack leaps out from behind this pillar, he only having been able to hide behind it because of the ash can having been moved. He doesn't replace it after killing Dick, but here it has been returned to its proper place, a 90 degree shift around the pillar. We should have something which has disappeared, as these 90 degree turns accompany disappearing things.
610 MCU Wendy. (2:12:35)
Return to Wendy. Bewildered, she looks about, takes a couple of steps further down the hall. She then screams and turns to face the direction from which she came, the camera quickly panning to show a man in a tux standing at the end of the hall, blood running from a deep gash in the center of his head.
611 MCU Wendy. (2:12:46)
Reaction shot of Wendy, terrified, showing the red doors behind her.
612 MCU Party man. (2:12:47)
Cut to the man and we see that the drink he holds is red with blood.
PARTY MAN (raising his glass): Great party, isn't it?
This refers to Wendy, in the Gold Ball Room on "Closing Day" talking about what a party they could have there, and Ullman saying they won't do too well unless they brought their own supplies.
I'm of the belief this man could be the one who came around the corner on Interview Day when Jack stepped on the spot where he would later murder Dick and we heard the first "sha" sound.
613 MCU Wendy. (2:12:51)
Wendy backs up then runs toward the red doors which resemble the red elevators, only this pair of red doors turn out not to be doors. It is only now in the movie that these doors which have the appearance of the elevators have ever been used, so it's only now we learn that the brown panel in the middle is a door between red decorative doorposts of a sort (refer to my earlier relation of this to the Passover, when Jack's hand is slashed by Wendy).
And it's rather interesting that it is now that the man with the gashed in head appears, for his head is gashed right down the middle. If one considers the construct of a labrys, a double axe, what you have is possibly a representation of the brain and its two hemispheres--this having all to do with dualities, as in the "second thoughts" mentioned at the beginning which individuals would have upon learning of the axe-wielding Grady.
The word "party" comes from partire, meaning to divide.
I have held that because the opening trip up the Going-to-the Sun road crossfaded east of the Continental Divide (the VW traveling east to west), and because on Closing Day it crossfaded out to the lodge west of the Continental Divide (the VW traveling west to east), that Kubrick was showing the Overlook positioned psychically on the Continental Divide, as in a place of a meeting of opposites.
What is the Continental Divide also called? The Great Divide.
Our partier with the head split down the middle confirms my suspicion, but is also describing the Overlook as a labyrinth.
In some versions of the myth of the birth of Athena, Prometheus (or Hephaestus or Hermes) cleaved Zeus' head with the labrys in order for Athena to be released. How Athena came to be in Zeus was Zeus had swallowed Metis, the goddess of crafty thought, as it had been foretold she would bear a child by him more powerful than himself. Within Zeus, Metis began crafting a helmet for Athena, and the pain of the hammering was such that Zeus caused his head to be split in order to ease it. So did Athena spring from his cleaved head fully grown, a patron of both wisdom and battle who made use of strategy rather than brute passion.
It's sensible that the dual blades of the labrys used to cleave Zeus' head might represent dual natures via the two hemispheres of the brain, just as people still tend to think of the brain as having left and right natures. And it makes sense to me that the man with the cloven head would appear as Danny leads Jack into the maze.
For really, it's not that Jack has chased Danny into the maze. Instead, Danny has perhaps very sensibly and calculatedly led Jack into the maze, running into it knowing that Jack will follow and that he will be able to lose him there.
614 LS Danny in the maze. (2:12:56)
In the maze we see Danny running, the chanting continuing over. After going down a long lane he takes a left, then a right, we hearing Jack call, "Danny!" He passes down another lane and takes a right followed by an immediate right then an immediate left. We see a bench and realize he's reached the maze's center.
615 MCU Jack. (2:13:11)
Cut to Jack seen from the front, yelling.
JACK: Danny, I'm coming! You can't get away! I'm right behind ya!
616 LS Wendy Gold Room hall off lobby (2:13:33)
Wendy now is shown running down the hall outside the lobby that supposedly leads to the Gold Room Hall. As with when Dick passed down the hall earlier, this time we're allowed to see to the point where the July 4th photo will be on the right wall. The photos that we can see appear to be the same as when Dick passed down, but the place of the photo where Jack will later be seen is this time obscured by shadow.
The mirror that has always been on the far end of the corridor is no longer there. It was hanging on the wall when Dick earlier entered (see Figure 15).
The hall is cast in greenish-blue light. The camera turns with Wendy as she reaches the lobby doors to see all the lights off and it cast in a deep blue light, spiderwebs covering everything. Dick no longer lies on the floor. Though the drapes were earlier closed, light from the outside maze pours in. Skeletal forms are seated and standing about. Wendy screams.
617 MCU Wendy. (2:13:29)
A reaction shot of Wendy's terror.
618 MS skeletons. (2:13:32)
Cut to a group of skeletons seated where Jack had lunch on "Closing Day". They wear tuxes and white tie, and long dresses that are of a generation before the flapper party we'd seen earlier. A champagne bottle and glasses rest on a table.
Out of all the scenes in the movie, exempting the blueish exterior scenes, these are the ones showing the interior of the hotel in which there is no "color". They are bloodless.
619 MS skeletons by phone booths. (2:13:34)
Cut to the seating area before the phone booths with their modern phones. We see skeletal men in the booths. A skeletal man and two women are seated before the booths. On the table before them are two bottles of champagne and more glasses. Cobwebs are everywhere and the table is thick with dust.
620 MS skeleton and waiter. (2:13:37)
A group of 6 skeletons, including a balding waiter with hair on the sides of his head. Could this be Delbert Grady? But the hair appears longer than his. He looks a little like Bozo the clown. As with the other skeletons, they ll seem to be facing Wendy, looking at her. Again, they are in white tie tuxes and dresses earlier than flapper garb.
621 LS Jack from behind. (2:13:40)
In the maze, Jack continues to follow Danny's tracks but already he is appearing to become confused. He takes a left for a couple of steps then backtracks and continues on.
622 MS Danny. (2:13:50)
Having reached the heart of the maze, we now see Danny carefully backtracking in his footsteps...one, two steps.
623 MCU Jack. (2:14:09) Alternately laughing, grimacing, gasping, Jack continues through the maze.
624 MS Danny. (2:14:16) Danny continues retracing his steps, carefully placing his feet in the footprints he'd made in the snow. One more step as we hear Jack yell.
Danny leaps to the side and begins covering any trace of that leap and his backing into another path in the maze.
Danny has now himself performed here what has been occurring all along. I have discussed several times already how this is a pattern that appears frequently in the movie, and is based upon Danny's action in hiding himself here. We have had numerous instances of an oppositions/reversal accompanied by a 90 degree turn and the disappearance of something due an obscuring of the point of convergence. This is Danny retracing his steps (opposition) then taking a 90 degree turn into the hedge and covering his tracks.
Thus does Danny disappear from Jack. It is the penultimate disappearing act in the film.
625 LS Wendy in the red hall. (2:14:25)
Cut to Wendy running down the shocking red hallway with its green tables and stacked chairs. Danny having himself knowingly ennacted the opposition/reversal accompanied by the 90 degree turn and thus disappearing, covering his tracks, Wendy finally will come upon the revelation of the bloody elevator.
Astonished, confused, disbelieving, she looks screen left (her right) into the hall of Danny's bloody elevator vision. We note on the left wall a photo of trees that is the same photo that had been hanging on the right wall of another hall as she fled the bloodied "party" man, but it is not that hall.
I'll implant here my post on the relationship of the red hall and the service hall behind Ullman's office.
The green hall behind Stuart Ullman's office appears to have no direct relationship to the red hall, the appearance of both is distinctly different, but a kind of sympathetic relationship is had.
Figure 49 - Closing Day, on the way to the basement.
Below we see Wendy at a point in the red hall near where she is with the group in Figure 49.
Figure 49a - Before seeing the bloody elevator.
As far as set goes, I would bet that the red hall is the set of the green hall reworked either before or after all shots concerning the green hall were completed. As I've read that Kubrick's plan was to film according to the timeline of the script rather than out of order, this may have been shot toward the end, but I have also read of scenes filmed out of sequence.
And that single appearance of the red hall is shocking, because Kubrick has trained us to view the back service halls of the hotel in greens, but then suddenly at film's end, the hotel immersed in the icy blues of a blizzard, we're granted a view of this red hall that is made doubly alarming in that it is painted in glossy, highly reflective paint.
Comparing the red hall with the green hall that runs behind the complex of offices in the lobby, we can see the same two narrow recesses in the far back right, the ventilation duct on the right in the ceiling, the same square recesses in the ceiling in both, those ceiling recesses used for lighting in the green hall. We see far in the background cream colored walls with dark paneling. The green tables and stacked chairs that line the walls suggest the red hall is in proximity of the Gold Room, and there is a sympathetic relationship there with the bold red bathroom. But it should also be noted that we know from several scenes that this green hall is interrupted by the portion of the lobby where the red bathroom doors are located. The cream colored walls appear more coral in color beyond the green hall, but this would have to do with the lighting.
Figure 49b - Closing Day, Stuart's office.
Figure 49c - Saturday, before Danny happens on the girls in the flowered hall.
Figure 49d - Before the bloody elevator
Continuing down the green hall, we see on the left the rear door to Stuart's office, while on the right is a double door exit.
Our first acquaintance with the green hall is with Jack and Wendy leaving Danny in the kitchen with Dick, Stuart taking them to see the basement. The atmosphere is light-hearted, Wendy eventually comparing the hotel to a ghost ship.
Our second viewing of the green hall is with Danny on his big wheel, just before he runs into the twins in the bloody flowered hallway. The shot of Danny cycling down the green service hall begins just after the thickened sections of wall that separate the rear of Stuart's office from the hall which its impossible window should overlook. That hall outside the impossible window is one we know exists from observation in the lobby, but Kubrick won't show it to us until the scene in which Jack limps toward the lobby stairs, readying himself for his attack on Dick. We do, however, see access doors from that hall to the green service hall on Closing Day (figure 49c).
Having mentioned where the camera begins its pursuit of Danny down the green service hall, before his encountering the twins, when Wendy is fleeing down the red hall she stops in the same location, just before the thickened walls...which aren't there in this red version of the hall. Instead there is an unexpected door.
Figure 49e - Closing Day.
Figure 4f - Danny hides.
Figure 49g - Wendy approaching the door.
Figure 49h - Approaching the 7 Up hall on Closing Day.
We can see above how the hall in which Wendy views the bloodied man who announced it's a "great party" exits onto this green hall directly behind Ullman's office, but in the red version of the service hall Wendy instead turns short of it into the hall with the bloody elevator.
Perhaps what may be overlooked, as Wendy approaches that hall, long before she can see down it to the elevator, the blood as yet unleashed, is the fact her expression is one of utter astonishment, as if she is surprised by this hall. Running down the red hall, it's as she passes what would be, in the green hall, Stuart's office door, that Wendy slows, well in advance of being able to see down the hall to the elevator. From her viewpoint, she can't possibly see what is in that adjoining hall, and yet she is dumbfound by it, and as her astonishment and anxiety have nothing to do with an as yet unseen bloody elevator, it must be this hall, its very existence. I think for most audience members, as we soon see the bloody elevator, Wendy's surprise at the hall is compressed instead into her horror at the blood flowing subsequently from the elevators, and they forget that Wendy, advancing toward the hall, had no idea what she would see. She only knew something was different.
Figure 49i - Closing Day detail.
Figure 49j - 4 p.m. hall detail.
Looking at figures 49i and 49j we see that, however different the two halls seem to be, another green hall remnant and identifier is the plaque on Stuart's office door appearing to be the same as the plaque on the door in the red hall, and I'd be curious what that plaque in the red hall reads. So much has been altered, and yet there remains perhaps the same plaque? Why should that be if not to provide a linkage.
My thought is that Wendy is as surprised as she is because this adjoining hall is out of place, it's not supposed to be there, just as in the green service hall these doors don't exist, instead there is the thickening of wall here followed by the doors to the "Great party!" hall. Especially when viewed on the big screen, the audience is surprised, alarmed, horrified by this red hall, its walls saturated with the supernatural, the hotel--and not just its ghosts--seeming to come to life, threatening to swallow Wendy whole.
But as Kubrick maintains ambiguity through the film on the nature of what is happening at the Overlook, whether its nature is purely psychological or has a supernatural element, and because Kubrick also has painstakingly unfolded the hotel for us so slowly, meting the halls and rooms out sometimes in mere inches, it's sensible to say that the red hall could be just another area of the hotel we've not yet viewed, especially considering that it's populated with the Gold Room chairs and tables. Nor does Wendy look alarmed by this red hall proper. We take her, at this point, as fleeing from other horrors she's witnessed, pellmell wandering like a ball in a pinball machine bounced around by frightening situations, looking for a way out as much as she is for Danny. She was obviously terrified by the transformation of the lobby with its blue party skeletons, so why not of the red hall itself if it is indeed the green hall?
What's more important is the audience's reaction. In fact, I think Kubrick understood if we had Wendy reacting in horror to the red hall, leaping in surprise at it, looking all about her as if, "Where did the green hall go?" the audience's horror would be diffused by Wendy's. Vivian Kubrick shot 28 hours of footage for her documentary on the film but only a brief 25 minutes was kept. In that 25 minutes was footage of Kubrick coaching Shelley Duvall not to leap in response to every aggressive or threatening aspect of Jack's performance, that after a while it began to look fake. The same could be said of the hotel. If she expressed overt alarm over every sinister or changing aspect of the hotel, there would have been no room for the audience to feel their own horror and react to their own sense of astonishment, they would have been instead examining Wendy and responding to her.
In the meanwhile, Danny, out in the maze, has just prior this scene successfully concealed himself by covering his footprints, and here Wendy is very near where would be the cupboard in the green hall in which Danny had been hiding when he shined the murder of Dick and we saw his expression of horror as he shined it in his Denver bathroom on the day of Jack's interview. Do I imagine there is a relationship between Danny screaming in the cupboard, his face showing the same horror as it had on Closing Day when he saw the bloody elevator, and that here, in not exactly what would be the same location in the green hall, but near it, Wendy is about to see the vision of the same bloody elevator? Yes, I do. It's as if, in the same psychic location of it, his mother enters the territory of that scream and now will see the same bloody elevator which has threatened Danny from the film's beginning, which is the only certain shared shining in the film with the exception of when Dick shines to Danny if he would like some ice cream, a query which had directly preceded the only time in the film we observe Wendy traversing the green service hall behind the office. If the "ice cream" incident is morphed so that it contains within it the seeds of "i scream" or "eye scream" then the relationship of it to Wendy's walking the green hall on the way to the basement, on Closing Day, and passing by the cabinet in which Danny would later hide, perhaps strengthens the plausibility here of this being the green hall and Wendy, as I noted, now entering the psychic territory of Danny's horrified scream in the cupboard.
Figure 49k - Day of the Interview.
The sections of white ceiling in the red hall have always been curious to me, seeming to stand out in the kind of idiosyncratic way that demands examination of correspondences. To my eye they echo the square florescent lights in Stuart's office. But there's more to it than that. I've long questioned those high shelves in Stuart's office which serve only as holders for plants despite the difficulty that would be had in watering those plants. If we compare those high shelves with the green and red halls, we see that they recall the dropped sections of ceiling in those halls that run parallel the walls. Further, the way the light of the impossible window plays on the ceiling, there is more than a passing resemblance with the fluorescent lights in the green service hall. It seems to me that the white boxes in the red hall's ceiling are intended to bring to mind the office where we first saw the impossible window via a similarity to the boxed fluorescent lights.
We know the preposterous window in the office shouldn't be there, that directly behind is the hall in which Wendy sees the "great party" man. And there is an interesting connection with that "great party" hall and the one down which she views the bloody elevator. That connection is in the form of a landscape painting or photo.
Figure 49l - Wendy flees the party man.
Figure 49m - The painting.
Figure 49n - The painting.
Figure 49l shows Wendy in the hall behind the office after her discovering Dick's body, and that terror compounded by the apparition of the "great party" man. As she flees that apparition, we see behind her the doors that go to the green hall. On the right we there is either a landscape painting or photo of trees, similar to those around the lodge, standing against what may be either an early morning or late evening sky.
In figures 49m and 49n we see this same landscape painting or photo in the bloody elevator hall.
One of the first stand-out intimations we have that something is wrong with the Overlook, that all is not as it seems, is the impossible window in Stuart's office, viewed near the beginning of the film. Here, at the end, if this is the green hall, Kubrick returns us to that same impossible window, positioning us to look directly behind it, even between it and the formerly observed "great party" hall, where slips in the shined hall that leads to the bloody elevators. Whatever is the significance of this picture of the trees, I'm not confident, but a reason it stands out is not only for its doubling, being both in the "great party" hall and the bloody elevator hall, but also for reason of its being, aside from the painting of the landscape above the bed in Suite 3, and the four seasons photos of the Overlook and its environment just outside the office door in the reception area, the only other image in the Overlook that appears to portray the surrounding landscape. My inclination has been to associate the landscape with the impossible window in Stuart's office, reminding us of its impossible view via this pictorial landscape, rather as if the view from Ullman's impossible window, beyond the obvious foliage, could be this picture.
My gut emotional feeling as regards the red hall is that this pictorial landscape, because it appears in the same position in both in this and the "great party" hall, intends to suggest that the red hall is--regardless whether it is in fact the green hall or not--one of the maze's variations of the green service hall behind the offices, at the very least the skeleton of a pattern repeating but adorned variously. The tables and chairs from the Gold Room give the impression of a stage now disassembled, yet their presence is also curiously consistent with Wendy's frantic wanderings of the service quarters where the halls were also lined with a clutter of old tables and chairs. These tables and chairs now seem to proliferate and have overtaken the Overlook, when before we were more aware of seeing shiny repetitive carts and cupboards holding dining china and coffee urns which alluded to the kitchen being possibly just beyond any one or even all of the doors in the service halls. If the kitchen was felt to be everywhere in the hotel, just back of any of those doors, by extension one could say chef Dick Hallorann was also present in this manner, referenced continually as being near globally (as regards the hotel) beyond every cup and plate, behind the scenes. The Gold Room chairs and tables replacing the dining paraphernalia, considering the majority of Jack's shinings having occurred in the Gold Room, as if there in the Gold Room is the essence and stage of his spiritual domain and relationship to the hotel, with Dick's death we are perhaps observing a change in the hotel reflective of a shift of dominance from Dick to Jack.
626 MS Red elevators. (2:14:40)
The blood pours forth, filling the hall, as if the blood of how many Passovers, the Passover being an observance to be repeated in perpetuity, forever.
627 MCU Wendy. (2:14:48)
Cut to Wendy gazing on in horror.
628 MS Bloody elevators (2:14:51)
The blood continues to fill the hall.
The elevator doors are actually reversed in Danny's vision and Wendy's. This is not something that is at all immediately obvious.
This is how the elevator doors appear when Wendy first sees them.
Now a close-up look at them.
This is how they appear to Wendy as the blood flows from them.
Here's a still from when Danny was viewing the elevators.
And this is how they would appear if the elevator doors were appropriately oriented.
As you can see, Kubrick did not simply take the hall and reverse it while editing. Compare the wall hangings to when Wendy is viewing the elevators, before they are reversed and the blood flows out. The rug wall hangings with the unreversed elevators are in the same position on the "left" wall as they are in the vision when the elevators are reversed and the blood flows from them. Kubrick has once again tricked us so that we aren't seeing what we believe we are seeing.
629 MS Danny in the maze. (2:14:57)
Cut to Danny, in the maze, hidden to the side. The camera pans left and we see Jack, exhausted, enter the screen. He stumbles on, always gripping his jacket with that right hand. He will not release it.
630 MS Danny's footprints (2:15:12)
Cut to a POV shot of Jack following Danny's footprints.
The footsteps suddenly disappear. No more breadcrumbs to follow. The POV shot moves up to the white light at the end of the path.
Danny will be passed over by his father who follows Danny's tracks to where they suddenly stop, as if he has simply disappeared.
Thus again does the Overlook recall the Passover.
I have read that pesach (passover) is also as a combination of pe, "mouth", and such being something like "converse", this combination meaning that the right to self expression and rule over one's destiny is restored, the individual released from the cage of pre-ordained fate. And it does fit as what we have here has become at least in part an Oedipal coming of age story, the son vanquishing the father, though in the myth of Oedipus he is caught in the tyranny of his destiny. We will see that Jack's ability to converse reasonably has left him, he becoming little more than a beast.
631 CU Jack. (2:15:37)
Bewildered, enraged, Jack turns about.
632 MCU Danny. (2:15:44)
Cut to Danny listening.
633 MCU Jack. (2:15:47)
Jack, smiling, seeming to have gotten an idea, goes to the right (screen left).
634 LS Jack.
He plunges on past the point of Danny's inexplicable disappearance into the frozen maze. He proceeds where there are no footsteps to follow.
635 MS Danny emerging. (2:16:00)
His father having passed, Danny emerges from behind a bank of snow.
636 LS Footprints through the maze. (2:16:09)
Danny's POV of his father's footprints in the snow.
637 MS Danny (2:16:11)
Assured his father is past, Danny emerges from behind the snowbank to run in the opposite direction. He will follow the footprints back out.
638 MS Footprints (2:16:18)
Just as Danny is about to turn right, cut to his POV of the tracks in the snow as he follows them. He turns right.
639 LS back of Jack (2:16:26)
Cut to Jack trudging deeper into the maze over fresh snow. He stops at an intersection and turns about, puzzling whether to go right or left. He continues forward.
640 MCU Jack. (2:16:35)
Cut to Jack from the front, stumbling on.
641 LS light. (2:16:40) POV shot of Jack as he heads toward the light at the end of that untrodden path. Before reaching it, he turns right, into another light.
642 MS Danny. (2:16:44)
Cut to front of Danny as he runs through the maze. He takes a left.
643 LS Jack. (2:16:49)
Cut to a shot of Jack from the rear, stopping at another light, stepping right, looking back to the left. He decides to go left but seeing nothing he turns back and continues right, exhausted. Jack staggers on, becoming slower and slower, hampered by his limp and the cold. It doesn't occur to him to follow his tracks back out of the maze.
644 MS Wendy outside hotel. (2:17:03)
Cut to Wendy running toward the Snowcat.
645 MS Danny. (2:17:11)
Danny still running through the maze. He turns left, left again. He falls.
646 MS Wendy. (2:17:18)
Danny has fallen at the entrance to the maze for we now see Wendy screaming as she sees him.
She throws down the knife and runs forward, the bathroom window of Suite 3 still illumined in the dark beyond the Snowcat.
647 LS Danny outside the maze's entrance. (2:17:20) Danny lies at the entrance to the maze.
Figure 54 - Danny lying at the entrance to the maze.
Or has Danny fallen at the maze's entrance? I don't think so. Where he lies in figure 53 is very different from where he lies in figure 54. Just as we have often had three perspectives, and we've already seen (when examining the mazes) we had three versions of the labyrinth, we have a shift in perspective between when Danny falls and Wendy sees him so that the place where he falls isn't the same as the exterior of the maze.
His mother calling to him, he rises and yells for her, running toward her.
The camera pans to Wendy and Danny reaching each other and hugging. Wendy kisses his cheek.
648 MS Jack. (2:17:30)
Cut to Jack still stumbling through the maze. He attempts to yell, "Danny!", but his words are choked, becoming more and more unintelligible. He may yell, "Wait!"
649 LS Wendy and Danny. (2:17:36)
Wendy and Danny run over the snow to the Snowcat, Wendy falling once to her knees. She opens the passenger door and lifts Danny in.
650 LS Jack from rear. (2:17:48)
Jack struggles through the maze. Finally he falls. We hear the Snowcat starting. Jack rises.
I note the following in my page on The Clenched Fist of Jack Torrance.
As if to point out how Jack is determined not to unclench that right fist, towards the end of this scene, Danny escaping with his mother in the Snowcat, Kubrick has Jack fall on his right side. He takes a full out tumble on his right side and he never removes his hand from his jacket, never unclenching his fist.
When you fall, you are automatically going to reach out in order to try to brace yourself. The automatic, natural thing for Jack to have done, as he began to fall to his right, would have been to release his coat and reach out with his right hand and attempt to thwart the fall by grabbing the hedge, or brace himself with his hand as he fell into the snowbank. But Jack doesn't do that. The actor, Jack, doesn't do that, which means he has been instructed to keep that right hand always closed and holding his jacket. He had to fight the natural impulse to use that hand to protect himself from falling.
Even as Jack struggles to stand after the fall, he doesn't release his jacket. The natural thing to do would have been for him to use his right hand to help push himself back upright. But, no, the actor, Jack Nicholson, had to have been instructed to not unclench that fist, to keep a hold on the jacket.
Kubrick even showed us earlier the natural way for Jack to fall. It's how Danny fell in figures 32 and 33. Kubrick had Danny also fall on his right side, and he put out his right arm to catch himself and pushed himself up with his right arm.
651 LS Snowcat (2:18:08)
Cut to the Snowcat turning in front of the hotel, Jack yelling unintelligibly from inside the maze.
652 MS Jack (2:18:17)
Hearing the Snowcat drive away, Jack in the maze continues yelling incoherently, grotesquely, as if the bull-headed minotaur, human overwhelmed by animal nature.
653 LS Snowcat (2:18:24)
Having turned around, the Snowcat makes it way past the lodge.
654 MS Jack (2:18:30)
Jack yells inside the maze.
655 LS Snowcat (2:18:38)
The Snowcat drives past the pipes, up the hill and away, enveloped by cloud, the cloud removing it from us so it disappears. We hear Jack yelling in the maze.
656 MS Jack (2:18:50)
Jack stumbles along, cuts right then a hairpin right again as he yells. He cuts left.
657 LS Jack from behind. (2:19:06)
We watch from behind as Jack stumbles along, much like the Creature from a Frankenstein film. He waves his axe. Finally, he sinks down onto a snowbank, leaning against the hedge.
He still clenches his jacket.
658 MCU Jack frozen. (2:19:24)
Daylight. Jack is seen from the front, frozen, engulfed in snow, his eyes rolled partly back in his head, his mouth partly open showing his bottom teeth. His expression is the same as when he took his first drink of Jack Daniels in the Gold Ballroom. The wind howls.
This below shot of Jack from "The Overlook Hotel Tumblr" reveals what is going on with Jack's right hand. It rests atop the snow, clenched tight. His left hand is instead relaxed open upon the snow. The holding the jacket shut has been, in a way, an excuse for Jack keeping that right hand closed fast. The holding the jacket shut against the cold was not the important thing. It was not why Jack's hand was clenched shut. Had he continued to hold his axe with that right hand as well as with his left, we would not have noted eventually that something had changed, seemingly in connection with Danny having entered the maze. Seeing Jack here in the snow, frozen, no longer holding his jacket shut, but that right hand still clenched tight, seals that Jack's clenched fist hadn't anything to do with having to hold shut his jacket shut. It's just that as long as he was holding his jacket shut with that clenched fist our attention was not immediately drawn to that clenched fist as peculiar, we thought his fist clenched over the jacket, holding it shut, was in response to the cold. Not so.
659 LS to CU through the lobby to the Gold Room hall. (2:19:33)
The camera moves through the lobby toward the Gold Room hall. The lights are off. The seating is all covered with sheets. As if we are at the beginning to Lolita, Humbert entering Quilty's mansion, and any moment one of the sheets will become animated and Quilty will rise, calling out is it Spartacus, come to free the slaves? The Gold Room sign is on the right again, as it was in The Interview sequence.
There are some very noticeable differences between how the lobby and hall are outfitted in this scene and in other scenes. One that I've discussed previously is how in the opening shot of Jack arriving for his interview we clearly see heating vents for forced air behind the radiant heaters.
There are no forced air vents behind the radiant heaters in this section.
The camera continues closing in on the photos in the adjoining Gold Room hall. We notice there is no red sofa below these photos.
A kind of curious thing happens as far as the "center" of the image.
Or, at least, it's curious to me. True center seems to be where we think it is, zeroing right in on Jack in the middle of the photograph that is about to be revealed. And it rather lines up with the center of the wall sconce right above. But it doesn't with the designs in the wainscotting below the photo, nor with the design of the carpet, nor with where we've a "center point" in the design of the lobby floor before the door. One will think I'm picking at details and I don't believe I am. Kubrick's symmetries are not absolutely perfect symmetries, they're not mirror images, nor should they be, but it has struck me that we have at least one other "center" here, which is the light of the sconce just screen right of center, and that we really kind of need to pay attention to the shadow sconce. The one that isn't there. Yet is. The phantom sconce. Also note that Kubrick has it so that the shadow of the left sconce falls perfectly under the "center" one. We have, after all, been dealing throughout with vanishing points, things disappearing and reappearing, and the film opened, did it not, with an image that could be taken as expressing "as above, so below", the mountain with its reflection in the lake, and the island as well.
We really do need to pay attention to this idea of the "mirrored" sconce reorienting our idea of true center somewhat, for we are, after all, about to have revealed to us the hidden Jack.
I think you can see, with the very opening image set above this closing image, how the island's alignment with the mountain has a certain relationship with the wall sconce and its shadow. And even as we zoom in on the image that shows Jack we will have yet more hidden information divulged, will we not? It's like something keeps opening up and revealing more to us of what has been hidden.
There is a red and black diamond rug now, instead of a mirror, to the left of the photos, all of which seem, every one of them, to be different from any we've observed earlier on this wall. The rug is the same as was seen in the entry to the red bathroom off the Gold Room and in a hall off the only entry/exit we ever see anyone physically use.
And we have now revealed to us a photo with Jack in a tux, at the head of a party of people perhaps in the old ballroom.
Jack is waving at the camera, at us, a piece of paper tucked in the palm of his hand. A caption on the photo reads July 4th Ball, 1921.
660 Crossfade to CU of photo. (2:20:31 begin crossfade, ending 2:20:34.)
Crossfade to a closer view of the photo.
661 Crossfade to extreme CU of photo. (2:20:41 begin crossfade, ending 2:20:45.)
Crossfade to a close-up of the photo clearly showing Jack's face, if there was any question about it. The camera pans down to show Overlook Hotel, July 4th Ball, 1921.
Why was Jack so adamantly holding his fist clenched to his chest? Because he was holding something in that hand, represented by the paper he has now tucked against his palm, held there by his thumb, displayed for the camera to see.
Figure 67 - Detail.
Figure 68 - Detail.
Fade out and begin credits at 2:21:20.
"...surrender all my life to you..." can be heard on the soundtrack.
We wonder how does the man in the photo have Jack's face? Is the current caretaker Jack a sort of double of this person, reborn in some way, pulled back to the Overlook? Has he been pulled into the photo through actions that have taken place in the film, perhaps replacing someone else? Just as the 1970s Charles Grady became the ethereal 1920s Delbert Grady has he assumed a new name and identity through the lodge? What is the piece of paper he holds which makes us feel if we could reach out and take it we might know the answer, it may have a message? Why does the man behind him stand with his hand on Jack's upraised arm? Who is the woman with half closed eyes, in the laurel leaf crown, the heart-shaped pin on her breast, a bow decorating, a feather extending from it?
If the movie begins with "Dies Irae", music for the Day of Wrath and the judgment of souls, might the feather and heart refer to the judgment of souls through the weighing of the heart of the deceased against a feather, symbol of Maat. Is the single man viewed blowing on a party decoration intended to recall the horn of judgment? Why the year 1921? Has this any connection to the World, the 21st card of the Tarot, the woman in a circle of laurel leaves, immediately following the the 20th card, the Judgment card? Is Jack's upraised right hand and lowered left hand intended to recall the fifteenth card, that of the "devil" whose arms are positioned like this as well, and who is said to represent self-bondage, but also represents the adversary by which one is strengthened through struggle. Must dualities be forever wildly opposed in their extremes, demanding entire subjugation or elimination of the "other", or is there a balance to be had, such as seen with Maat's feather and the heart in balance?
July 4th. Summer stands at an opposite pole from winter. But with this date we're asked to look again at the issues of a kind of bondage and freedom from it that have been expressed throughout.
What of the paper which Jack holds, which would answer the question as to why must Jack keep his fist clenched shut as he pursues Danny through the maze? The little slip of paper he is revealed to be holding in his right hand in the ball room photo at the end of the film is the reason. He has it. This paper. He has not released it. That is what he had his hand clenched fast about, perhaps not literally, but symbolically at least. This paper was in that fist and he now displays it for us, what he had been holding as he chased Danny through the maze. The paper hasn't manifested out of nowhere at film's end, Jack had the paper in hand from the moment Danny entered the maze.
If one thinks back to the one previous entering of the maze in the film, when Danny was playing with his mother, involved was a race. Wendy had encouraged Danny with the threat that whoever lost would have to keep America clean. Danny made it to the maze first. A clear foreshadowing of Danny racing his father to the maze is had in that scene. Jack's hand clenching (at least symbolically) that paper from the moment Danny enters the maze, is Jack having to keep America clean as the caretaker, holding some bit of litter in his hand for the photo to see at film's end? Seems a rather lame punch line for the mystery of Jack and the revelation of the palmed piece of paper. And though I do think the two events tie together, it's not so simple. If we look to other films of Kubrick we find parallels. The little slip of paper Jack holds here links with the white handkerchief Bill takes out of his dresser when he is looking for his wallet at the beginning of Eyes Wide Shut. That handkerchief helps set up for the audience his later meeting with the two models, one of whom reminds Bill that he had come to her aid during a photo shoot in which she had gotten half of Fifth Avenue in her eye. He had loaned her his handkerchief, and as to that she makes the odd remark that she recollects the handkerchief was "clean". For this, being a person who works too hard and misses much (just as all work and no play makes Jack a dull boy), Bill is invited to the "end of the rainbow". That handkerchief again finds a parallel in the white napkin upon which Nick later writes the password "fidelio".
Kubrick's use of the myth of Sphinx, of Oedipus and the question of independence versus predetermination, the time of Egyptian bondage of the children of Jacob (whose second name was Israel) and the Passover (which again brings in the question of independence versus predetermination), the story of Jacob and Esau, the Minotaur and the labyrinth, and Apollonian and Dionysian themes have all been explored in some depth earlier, so I'll revisit them only briefly here with a few other notations.
One of my reasons for writing this was to suggest cues and clues for the validity of exploring the film as one in which Kubrick deliberately employed certain myths in combination, one of the purposes of myth being to relate and unravel truths on the fundamental nature of humanity and the archetypes that work upon us and which we look for in patterns, seeking our way through the cosmic labyrinth, the perceived realities, and what belongs to that which can only be indirectly known--not necessarily supernatural but perhaps the supernal, as in the saying, "as above, so below".
Kubrick tended to revisit certain myths and their imagery in his film, such as this story of Jacob and Esau. Esau's selling of his birthright was mentioned in Kubrick's "Clockwork Orange" to the prisoners, Alex having been jail for his murder of a "Cat Woman" outside of whose home stood two sculptures of the Sphinx. Bringing in further Egyptian imagery, on the prison yard's wall can be viewed the image of a pyramid during the scene in which an inmate is being chosen for the Ludovico cure. So we have both in "Clockwork Orange" and "The Shining" the use of the sphinx, through direct imagery in Clockwork and with the Cat Woman, while in "The Shining" we have the two Snowcats and not only Danny's strangulation (the Sphinx being a strangler, sphincter) but the several appearances of the CH O KING posters, two of these appearing coincidentally with Danny's stated strangling in Room 237. The scenes concerning the CH O KING posters had along with them an emphasis on pin-up pictures of nude women, just as in "Clockwork Orange" the Cat Woman had several peculiar paintings in her home that were overtly sexual in ways that tie in with "The Shining", one of which at least was a doubling of a crime Alex had committed the night previous his murdering the Cat Woman. In "Clockwork Orange", Alex had, being unable to enter the Cat Woman's house through the front door, climbed through a partially open second floor window, and in "The Shining" we have Danny escaping the lodge through a partially open bathroom window and Dick's second Snowcat arriving soon thereafter. These windows may not seem related, but they form, as with the pin-up pictures, a Kubrickian vocabulary that circulates around certain ideas. Examples exist through Kubrick's film that link from film to film in this manner.
Jacob and Essau struggled even in the womb, and when they were born, Essau was born first, then came Jacob grasping his heel, thus Jacob's name. Jacob lived in the tents while Essau was a hunter. The story of Jacob is peculiar as he is given as the gentler one yet he deceitfully usurped Essau of his birthright, camouflaging himself as Essau when their father had called Essau to him to receive his blessing, for reason of which Jacob, fearful of Essau and what he would do to him, living in exile for a time in the house of Laban (Laban means "white"). Laban was also known as the deceiver, and not only did he change Jacob's wages multiple times; though having promised Jacob his youngest daughter, Rachel, after seven years, he did a switch-out and gave Jacob his eldest daughter, Leah, which fits in with the bathroom scene, Jack embracing the young woman only to discover she is the decaying corpse of an older woman (ironically enough, the actress playing the young woman is named Lei). After seven more years, Jacob is able to wed Rachel, then he labors yet seven more years. He first makes Laban quite wealthy, then amasses himself great wealth through his manipulation of Laban's flock, taking the better part and garnering some resentment in the process. So, Laban angry with him, Jacob finally leaves and begins his journey home, fearful of Essau and planning how to appease him. But before all this, in a story associated with a ladder upon which Jacob saw angels coming and going, at a place between Beersheba and Haran, as he traveled to Laban, Jacob's Lord granted him the land on which he was lying, for him and all his descendants which would become as the dust of the earth, spreading west and east and north and south. In a sense this was achieved through the displacement of Essau (the "Red Man", who is given as selling his birthright for a bowl of Jacob's soup, Jacob being a good cook and Essau at the point of starving) which becomes in "The Shining" an analogy for the story of America's colonialism, American Indians often in the past having been called Red Men, that story expressed in the lodge being built on an Indian burial ground. So, I think Kubrick's "Shining" can be taken as having in it a story of American Colonialism and also the story of Jacob and Essau, but not specifically either one literally, though Kubrick had, no doubt, real social and human concerns he wanted to present in the movie.
We're talking archetypes here, mysterious things, that labyrinth sculpted so skillfully by Daedalus (said to be the inventor of images) that even he was almost stranded within it. Of all others who entered within it's given that only Theseus was finally able to escape with the assistance of Ariadne and her thread. To delve too deeply into the nature of the labyrinth will only leave lesser individuals confounded and trapped, and I'm certainly a lesser individual.
Kubrick mixes up the Greek sphinx of Oedipus with the story of the Passover and the release of Jacob's descendants from their Egyptian bondage (this referenced not only in the titles of music chosen, the Passover Canon, but in the reference to "the white man's burden") and the Egyptian sphinx. Both Herodotus and Spago gave accounts of an elaborate, imposing Egyptian labyrinth. Outside the labyrinth was a pyramid. Kubrick brings into the mix that labyrinth and pyramid association here, incorporating also the sphinx, a hybrid creature like the minotaur, polymorphs, and utilizes even music titled "Polymorphia" in the scene in which he tells Wendy to check the Snowcat in the garage. As an excuse Dick's taking the second Snowcat up to the lodge, recollect that Dick tells the garage that the family up at the lodge are assholes and he must travel up there to see if they need to be replaced. The word "assholes" has a jarring effect as it is so emphasized and comes off as a peculiar description, a weird insertion. The cacophony, I think, is intentional on Kubrick's part, a clue to what the Snowcat is intended to represent here. We've already been introduced to the strangler with Danny's mysterious confrontation with her in room 237. And though Danny perhaps bears her bruises, he possesses the knowledge essential for escaping her or reorienting her. Peculiarly, we end up with the first Snowcat having been disabled and a second Snowcat arriving which will be of great help, the sphinx after all being also a sort of protector, just as it was a protector of graves at Giza.
One way of viewing the lodge is a giant mortuary temple covered with hieroglyphs, the pictures on the walls, the graphic designs throughout which recall the designs in the labyrinth, as does the, well, labyrinth nature of its halls and rooms.
The symbols associated with Jacob used most prominently by Kubrick are the wrestling of Jacob and his laming, and the ladders placed in the movie that overlay triangular shapes of the house as if also linking them to pyramid imagery.
In the movie, with the labyrinth, it is as if Jack, who said it was if he knew what was around every corner in the lodge, who held there a sense of welcoming deja vu.
To address the title, "The Shining", I think we need to consider the possibility of a Hebrew correspondence due to the nature of the doubling and mirroring in the film, those being a primary theme, and the notion that these "shinings" are likened to sleep and introduced with a vision of twins. Not only do we see doubling with symmetrical designs, furnishings and shots, we have the doubling had with mirrors and are even indicated (as we'll see) in the prominent appearance of folded mattresses at certain points in the film, for instance there being a folded mattress at the end of the hall of Room 237 and two folded mattresses draped over the stairway outside of the Torrance's suite.
Once we reach the portion of the film where the names of days are given as designating sections, it is every other day, and finally we have the last two sections, 8 and 4, with 4 being half of 8.
The Hebrew word "shanah" means to fold, duplicate, double, disguise, while "shnah" means to sleep--and I think this is what the "shining" is referring to, and that we see this linkage in visual forms, such as with the folded, doubled over mattresses (for sleep).
The word for twins is ta'owm, but there is also the word "sheniy" which means crimson or scarlet thread, and is used in relationship to twins in a biblical passage to do with the birth of Pharez and Zarah. The first put his hand out and the midwife wrapped a scarlet thread (sheniy) about it, acknowledging that he was the firstborn, but then that one drew back his hand, turned back, and so his brother was born first, and this was called a break, a breach, so his name was Pharez (meaning breach), while the one wearing the scarlet thread was called Zarah meaning the "rising of light". The word Zarah is related to zerach, again the rising of light, and is mentioned also in context of Jacob and Esau. After Jacob wrestled with the angel and received his new name, "as he passed over Penuel the sun rose upon him and he halted upon his thigh. Therefore the children of Israel eat not of the sinew which shrank..." for to eat of the sinew which shrank was to partake of forgetfulness (as presented earlier), the less reasoned, more passionate part of Jacob which was his weakness. The sun rising is the same zerach and it's not as if it is used that many times in the bible, this given as its only occurrence in Genesis.
Jack was able to stand over the labyrinth in the lobby and view the progress of Danny and Wendy to its heart, once immersed, loses his memory (one could say even his thread of thought) overcome by passion. Not to mention destiny. For if you know what is around every corner, if there can be no divergence from the rote "All work and no play makes Jack a dull boy", then certainly you're subject only to fate, are impoverished through no freedom of will, of selection, election, and perish in the face of unrelenting oracle.
"(For the children being not yet born, neither having done any good or evil, that the purpose of God according to election might stand, not of works, but of him that calleth;) It was said unto her, The elder shall serve the younger. As it is written, Jacob have I loved, but Esau have I hated." Rom 9:11-13 (KJV)
Recall what I've written as to the Hebrew word shanah (shaniy), second, doubling etc., that I think is the "shining". Another saniy is "hated" and is used once, from what I see, in Deuteronomy. "If a man have two (shnayim) wives, one beloved, and another hated (saniy), and they have born him children (both ) the beloved and the hated; and (if) the firstborn son be hers that was hated then it shall be, when he maketh his sons to inherit (that) which he hath, (that) he may not make the son the beloved firstborn before the son of the hated, (which is indeed) the firstborn, but he shall acknowledge the son of the hated for the firstborn by giving him a double (shnayim) portion of all that he hath: for he is the beginning of his strength; the right of the firstborn is his."
The above Roman quote is often given as an argument for predestination, it being god's right to do and feel as he will, everything being of his creation. There are subtler phrasings but that's what it comes down to in the argument of salvation being nothing to do with works but predestined election.
But then we have the earlier described meaning of passover, in which one escapes the slavish chains of predestination and attains the right to self expression. For those who conceive of god as a being or power representing the penultimate self determination, this attaining self expression means a partaking, to a degree, in that quality.
So, what of Danny? What is the strategic Danny's clue? The inspiration to double back as he does then effectively erase his presence in the labyrinth, at least in such a way that the Minotaur passes him by? What about Danny who explored so fearlessly the labyrinth of the hotel, zooming around on his Big Wheel, playing while Jack worked? Who was fortunate enough as well to escape the woman in the bath who attempted to strangle him, reminding us of Oedipus' encounter with the sphinx who strangled her victims? The sphinx is less a personality than a guardian and effect. She is the presentation of the riddle, the awareness of the riddle, and what happens when one is unable to divine the riddle.
In the bathroom of the Boulder apartment, in the scene before the shower curtain, later fully realized in room 237, Danny was wearing a shirt decorated with the number 42. Then, snowbound at the lodge, Danny watched "The Summer of 42" with his mother, which as already mentioned is rather Oedipal fare, the story of the young teen's brief affair with an older woman, which Danny didn't completely watch as he decided he must have his fire truck. 42 happens to be 21 doubled. Danny is linked here with the number 42, whereas Jack is linked with 21, the summer of 21 through the July 4th reference. 42 happens to the the number of "Ehyeh Asher Ehyeh or "I am that I am", the "I am" doubled, as revealed to Moses at the Burning Bush, "I am that I am...thus you shall say to the Sons of Israel, I am has sent me to you". And it seems to be related here to the double axe, the labrys, which Danny must possess as he comprehends the labyrinth whereas Jack does not.
In a kabbalistic view, this particular name denotes Kether, the crown, the first creative impulse in which was contained all, including all that is "future", ehyeh being in the future tense.
But the exclamation point on the film happens to be July 4th, 1921 (also absent from the book), so lets hone in on that--and because the film ended on that note, let's take it as where Kubrick wanted emphasis placed at the last. Which has everything to do with the ideas just posed in the paragraph above.
July 4th. Independence Day (often a feast of blind patriotism). Jack Torrance stands at the foreground of a party celebrating the birth of the American nation, described by Delbert Grady as the caretaker in perpetuity, again recalling the numerous flags shown in the movie, which hang on the walls of the lodge, the miniature flag in the office of Ullman who was dressed in red, white and blue, the child waving the flags in the newscast preceding Dick's vision of the trouble at the lodge. Jack, who bemoaned yet pressed the dire responsibilities of the White Man's Burden, who felt so at home at the lodge, so ready to sacrifice his family to the demands of the "lodge", is revealed as an Everyman who supports the tyranny of Might to Right, of the class system, who submerges his person and life in it, is given a sense of place, and ego expanded by the remote contact high with those he serves. Or perhaps not so much even those he serves as those ideals he's been sold and accepted of absolute sublimation of self, sacrifice of self through duty, so he may be rewarded with a feeling that the lodge and its rooms are his as well though he is relegated to the servant's quarters--and wouldn't he be denied even those servant's quarters if not for his acceptance of the system? Yet, though there are many rooms and we know presidents and all the "best" have stayed there, only one time does he visit one of those rooms to find, rather than the object of his desires, a putrefying corpse, which he subsequently denies having witnessed, "there was nothing there".
Quite a party!
One really doesn't need much more of a horror story than that, Jack's deranged devotion to the lodge and his determination to live up to its complete confidence, even if it means the deaths of his wife and son. And himself. The minotaur of the labyrinth here is a zealot, a literalist fanatic, who through that single-minded literalism has lost all capacity for language, for self-expression, and one can take that to mean anything outside the rote, Jack's tirade on the stairway exemplary, his essential inability to comprehend, throughout, anything either Wendy or Danny say to him as he can only interpret their actions through the filter of his corrupted sense of loyalty.
Or...we could look upon Jack as free. That this is a positive end. That the July 4th party, appearing only now, really does represent a liberation. Which has been my take on it for a while. But, I think it's going to be a matter of perspective, just as with the poster on the door in the switchboard room which presents the optical illusion of a figure that can be seen as either facing forward or backward. One could go either way with it.
For more on Jack's freezing to death and a possible relationship to Thomas Mann's "The Magic Mountain" see this post.
In my analysis on A Clockwork Orange I write on the note paper observed on a parcel in Alex's bedroom, which would be the same note paper he takes out of his pocket at the record store and, unfolding it, hands it to the clerk, at which point the clerk leaves to check on Alex's order and Alex picks up the two women. When they return to his room, that note paper is gone, which is why I think it is the same paper. We are never shown what was written on it.
In Eyes Wide Shut we have two very important pieces of writing. One is the password "fidelio" on the napkin. The other is the warning that is handed Bill that tells him that it will be fruitless for him to pursue his inquiries, this despite my showing that he was specifically invited and what follows is a part of the process of what he is undergoing, which I take as a spiritual one relative to the maze.
So, what is written on Jack's note, which he brandishes as if a message to someone--perhaps Wendy, perhaps Danny--that would be understood if they were to come upon this photo. Or perhaps even himself? The Jack of the future? And the audience.
I will not end this with a standard wrap-up. There is no compressing into a couple of paragraphs all the ideas set forth in the analysis. So I suppose what I'd like to do is reiterate Kubrick has crafted films that communicate to the audience such an intense realism, one in which they feel firmly immersed, that the audience is going to be reluctant to accept that The Shining is a unique Kubrickian blend of expressionism and realism in which the stage and story is not as one initially supposes. Kubrick "sells" the audience-ready story in large, medium and small type, but if one digs down into the fine print then the story shifts and the audience becomes "it" rather than the characters. A good comparison would be lucid dreaming. An "Alice in Wonderland" style story sets up the viewer for an alternate (or more in-depth) reading of reality with the surpassing of the looking glass, but at the same time the audience is effectively dissociated from what takes place beyond the mirror as they stay on the other side looking in. Kubrick absolutely extinguishes that boundary and so, as in dreams, the audience doesn't question the "reality" of what is taking place on screen. He grafts in numerous instances, however, where the audience member has the opportunity to go lucid in Kubrick's world, to wake up and examine the artificial surroundings and to begin to sort out the reality they do represent on a deeper level.
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