The Shining, Part 4: The Gold Room

 

The Gold Room is entered three times during the movie, and each time it provides insight into the influence the Overlook exerts on Jack and his situation. In this room, we first meet Dick Halloran, a very important character who, like Danny, possesses "The Shining." In the end, he will be in contact with Danny using this very ability. Also, in the Gold Room, we first see Lloyd, a personification of the forces behind the hotel's ghostly presence. During the third scene in this part of the hotel, we see someone Jack takes for the previous caretaker, a man named Delbert Grady.

At this point, it's important to note that when Halloran makes his appearance, he shakes hands with Jack. As they do this, they mirror one another in their posture, and this happens at exactly 24:42 in the movie.

Additionally, it's worth mentioning something about the opening credits of the film. We see that the name of the actor playing Danny appears on the screen at the 42-second mark. Furthermore, Danny's first line in the movie is delivered at exactly 04:20, reinforcing the significance of the number 42 in his representation.

Jack Nicholson’s name appears at the 24-second mark, giving us that the number representing Jack is 24 and also that Jack is mirroring Danny.

The name of the actor interpreting Halloran appears in the middle of the screen at the second 48 that is the same second that we first hear a mention to Toni in the 04:48

As the movie progresses, these numbers and details will become more clearly explained. For now, it is important to recognize that these details play a significant role in unfolding a second layer of meaning, which, from the perspective of this book, is even more important than the main story line. 

As a curiosity and confirmation of the significance of these numbers in the movie’s timestamps, I will provide some key landmarks that demonstrate that coincidence is not a plausible explanation for their presence.

The shining episodes happened mostly during this seconds: 

1. Bloody elevator at 11:42.

2. First time apparition of twins at 21:42.

3. Danny in front of 237 door at 42:42.

4. Second time apparition of twins at 49:42.

In the case of Jack the number is 37:

1. Looking into the maze at 39:37.

2. First time Lloid apparition at 1:04:37

3. Lady in 237 appears to Jack at 1:12:37

4. Jack enters The Gold Room for a third time at 1:22:37

5. Jack emerges to kill Halloran at 2:08:37

The list obviously goes on with very important moments for the movie taking place at times related with these numbers, both for Jack and Danny.

During this first Gold Room scene Jack and Wendy are separated, Ullman takes Jack with him and Halloran takes Wendy and Danny to the kitchen. This is not the first time that Ullman tries to do tat, minutes before, he invites Jack to follow him, but Jack answer to him: 

First we better collect my family.

This is a proof that Jack really cares about his family when he first arrives at the hotel and that,  it is only after the ghostly forces start acting upon him, that he surrenders and loses control of himself.

The Shining, Part 3: The Overlook Hotel

Once at the Overlook Hotel, Ullman explains to them that in the past, it hosted some of the most important people in the world and has an illustrious history. This doesn't negate the idea that the hotel symbolizes the United States, which in the early 1980s was likely at the height of its power and influence globally. Kubrick's movies, including this one, often have multiple layers of meaning. Here, Ullman is referring to the actual hotel's history—an establishment that was once frequented by influential figures but has since been largely forgotten by them. But he is also referring to a second layer of meaning as we will see.

Ullman also mentions that the hotel is decorated with Indian motifs, primarily Navajo. The Navajo people were deeply spiritual, believing they were in contact with beings from other planes of existence or worlds known as The Diyin Diné or Holy People. They categorized people into two classes: Earth People and Holy People. According to Navajo belief, they passed through three previous worlds before arriving in the Fourth World, also known as the Glittering World.

In Navajo religion, the number four holds sacred significance: there were originally four clans of Diné, four colors and times of day representing the sacred mountains, and four different groups of Sacred People, each associated with one of the cardinal directions. Four main ritual songs are also central to Navajo ceremonies, emphasizing the profound spiritual and ceremonial importance placed on this number and its representations in their cosmology.

This detail is of utmost significance, because Ullman seconds later explains to them that the Overlook's illustrious past consisted of having four presidents being accommodated in the Hotel.

While all this happens, Danny is playing darts alone in the games room and at some point the two girls dressed in blue appear to him, marking the first instance of his psychic abilities manifesting in the hotel. While there are numerous details throughout the shots, I intend to focus on those most pertinent to the storyline and later comparisons with "Solaris."

In this scene for example, several significant details stand out: 

1. The chairs and the ashtray on the table move as if they were haunted, shifting between shots. 

2. There is a poster on the wall behind the girls that reads "Monarch" with a shining sun. In another shining episode later in the film, Halloran stops under a "no smoking" sign where the word "king" is positioned directly above his head just before the episode occurs. During the third shining episode, Danny has a box behind his head that says "golden rey," with "rey" being the Spanish word for king. 

3. A phone booth is located next to the girls in this second shining episode (previously, there was a phone call during the first shining episode). In the fourth shining episode, moments before Danny sees the girls again, his mother is using the radio because, as she says "the phone lines are down." 

4. At 21:42, Danny sees the girls and the camera zooms in on his face, pointing to the exact moment. This time stamp is notable because Danny is symbolically represented by the number 42 throughout the film, while the twins are a previous iteration of Danny himself, being their number 21 for each one of them (this will be explained later). 

5. Danny is dressed predominantly in blue (blue pants, shirt, and jacket), with the exception of a white T-shirt. This mirrors the colors worn by the apparition of the girls and also the flag behind him, which features two blue bands and a white one in the middle, along with a sun symbol representing the shining experience he is undergoing. 

These details highlight the intricate symbolism and connections woven throughout the scene foreshadowing events to come.  For obvious reasons, not all the details will be treated in depth in this book. Instead, I will focus on those that are relevant for comparing the two movies at hand. This approach allows for a more concentrated exploration of themes and parallels between the films.

The movie continues with Ullman showing the room where they are supposed to live while in the hotel, we see that in Danni's room on the wall, right above the bed there is a picture of two bears, further emphasizing the idea of Toni and Danny represented by this animal.

Ullman also shows the maze outside the hotel, and explains that it is one of the main attractions in the hotel. The maze has an obvious meaning related to the hotel, in fact, the maze can be seen from inside the hotel, as will be shown later when Jack takes a closer look at the scaled model of the maze inside the Hotel and sees his wife and son walking around inside of it. 

He himself will die lost inside the maze and another interesting detail is that Ullman says he wouldn't go into the maze unless he had at least one hour to find the way out. We see that as Jack meets Ullman for the first time, he says that it only took him three and a half hours, a strange comment to make and taking into consideration the symbolism of the hearse during the introduction we see that the maze indeed, might also have a symbolic meaning. Important to understand this otherwise unsettling movie.

Solaris, Part 4: The Commission, Reflection on The Past

Once the "rain subsides and after drying off", Chris goes to the living room to meet with Burton. Burton shares with Chris and his family a video recording of a commission meeting that investigated an incident involving Burton. The footage dates back many years, revealing a youthful Burton who had been a pilot on the Solaris mission. 

During the incident Burton seemed to have suffered some sort of strange hallucinations while flying over Solaris ocean before landing on the space station. 

Following Burton's testimony before the commission committee, it seems that his claims were not taken seriously. The effects of Solaris seem to be subjective and challenging to substantiate scientifically. Burton described hallucinations involving a giant human child, approximately four meters tall, emerging from the ocean. Although Burton recorded the episode on video, nothing substantial was captured, highlighting that the experience was purely psychological and lacked any physical evidence.

The commission questioned Burton about whether he had seen the child before. He responded that he had never seen the child previously. However, later revelations indicate that the child was actually the son of a member of the mission and that similar incidents had been reported over the years. 

In the end, the commission concluded that Burton's experiences were likely hallucinations caused by the unusual landscape or fatigue. The video footage clearly shows committee members placing a cart with bottles of alcohol behind Burton, seemingly to ridicule him over the entire incident. Burton himself recalls that from that point onward, he was no longer taken seriously. 

Later, Burton privately discusses this incident with Kris. He is convinced of the mission's immense value for humanity and strives to persuade Chris of its importance and the need to carry out the investigation with ethical integrity.  However, Chris, determined not to be swayed by anyone, reacts somewhat rudely towards Burton, who feels offended and abruptly leaves the house without further explanation.  

The moments spent at the home of Chris's father in this scene are pivotal for grasping the film's essence. Chris's fundamental struggle appears rooted in his inability to truly leave behind his childhood residence. Internally, somehow Chris remains a child dwelling within the confines of his youthful home.

This commission investigating past events involving hallucinations of a gigantic child seems to metaphorically reflect Burton's inability to move beyond his childhood, despite being an adult. This struggle is not unique to Burton; many other characters in the movie, Chris included, experience similar challenges. Solaris reveals the extent to which each character has managed to develop their inner child to adulthood.

In fact, Kris is the only character who, despite being unable to fully mature his inner child into a complete adult, has achieved some level of development. This partial growth allows him to maintain an adult relationship to a certain extent, setting him apart from the others.

Take Burton, as an example. He arrives at the house accompanied by a kid and when Burton abruptly leaves the house, Chris's father pointedly asks if he plans to take the kid with him or leave him behind, highlighting Burton's immature behavior. 

This will become a recurring symbol throughout the entire movie. There are five people in the movie who have been in contact with The Ocean in Solaris: three are accompanied by children, and one by a dwarf man. Only Kris is accompanied by a young woman. Additionally, the kid who accompanies Burton, is afraid of the horse kept in the stable—a fear that gains significance later in the film, as the horse becomes an important symbol once they are on Solaris. 

In these initial scenes, it's also worth noting the significance of various elements in the house, as they will be mirrored on Solaris. For example, the lake will transform into the ocean, and the trees into a piece of paper glued to the air duct to simulate the sound of leaves. Ultimately, this house represents the place Kris has never truly left—mentally, he still resides there. Solaris uses this mental setting to interact with Kris, reflecting his inability to move beyond his childhood home. 

Before leaving the house, Kris burns some of his old belongings, further reinforcing the idea expressed in the lines before. However, his father, who has remarried, assures him that the room will remain as it was, with the rest of his belongings intact.

Interestingly, Kris strives to progress towards personal liberation from his childhood. This is evident when he casts his old belongings into the fire. Yet, not everything meets the flames. Strangely enough, the photograph of his former lover is something that he does choose to burn.

As revealed later in the film, Kris's lover took her own life using poison that Kris himself had left in her apartment. This tragic event underscores the conflict Kris felt between his love for her and his immature, unresolved self, which remained attached to the past. This internal struggle sabotaged their relationship, creating an untenable situation from which Kris fled, ultimately leaving the poison behind for her to use. 

In some not fully conscious way, Kris knows this and overcoming it has become the main mission of his life. Once on the space station, Chris faces the critical decision of whether to abort the mission. His personal mission, therefore, is to determine whether the mission should be aborted, but is this a mission in the service of humanity or his own mission as an individual.

Solaris, Part 3: Nowhere Like Home

Kris, a psychologist preparing for a mission to the planet Solaris, returns to his father's house apparently after a long time. His visit serves as a farewell to his family and a meeting with Burton, a friend of his father's and a former pilot on the same mission. Burton holds crucial information he believes is essential for Kris before his departure to the space station. 

This will be a main theme throughout the entire film. Heraclitus, who was a Greek philosopher in the 5th century BCE, said that one cannot know nature and the nature of reality, because its natural state is everlasting change. Therefore, he said, one cannot observe the same thing twice. To illustrate this point to his contemporaries, Heraclitus pointed out the example of the flow of a river, into which one cannot step twice because the second time, it would be a water, entirely different from the one already past away. 

This idea is used extensively throughout the film (to the point that the planet Solaris itself is covered by water in movement), to show how the characters, especially Chris, experience the reality of their lives. In the last scene, Chris can be seen standing in front of the lake near his father's house, but this time the lake will be frozen.

This sets the stage for the initial part of the film, where we will immediately see the meticulous attention to detail where both spoken and unspoken words carry weight. The opening scene reveals a river flowing beside a lake near Chris's father's house, adorned with aquatic plants that vividly illustrate the water's movement. This imagery will become a central motif throughout the film. Heraclitus, the ancient Greek philosopher from the 5th century BCE, posited that nature and reality are inherently unknowable due to their perpetual state of flux. According to him, one cannot step into the same river twice, as each moment brings a new and distinct flow. 

This concept is woven into the narrative to portray how characters, particularly Chris, who at this point walks by the lake where he grew up, navigate the shifting realities of his life, where past, present and future seem to coexist in his mind. The film will culminate in a final scene where Chris stands in front of the lake, but then it will be frozen—a symbolic reflection of his interaction with Solaris.

Another recurring image in the film is that of a horse, which appears multiple times as Chris wanders around the house, likely triggering memories from his past. Unlike the clear symbolism of the river, the significance of the horse remains ambiguous throughout most of the movie, gradually unfolding its message and meaning as the story progresses toward its conclusion. 

Before the session where they review the commission's video recording, there's an intriguing scene where sudden heavy rain begins. Despite this, Chris appears entirely unaffected. He stands calmly in the downpour, and later, while seated at a garden table, he remains unperturbed by the rain. 

As established by the renowned philosopher, the flowing water symbolizes the ever-changing nature of existence—reflecting Kris's own life as depicted in the early scenes of the movie. The rain carries a profound message: Kris's life, fragmented and scattered, precipitates upon him during this moment of remembrance. However, the reason for his apparent indifference remains unclear and will only unfold as the movie progresses. 

As he sits on the porch of his father's house (representing the past), Chris leaves the house on his back and looks at what lies ahead (symbolizing the future).  But Amidst the heavy rainfall, he finds himself unable to resist gazing at the objects on the table—symbols deeply intertwined with his past and inner life. These objects hold profound significance, which will become fully illuminated by the film's conclusion. 

Solaris, Part 2: Cinematic Style

Solaris was released in 1972 based on the 1961 novel by Polish author Stanisław Lem. The novel is a cornerstone of science fiction literature, exploring complex themes of human consciousness, the limits of scientific understanding, and the nature of communication with alien intelligence. Tarkovsky approached Solaris not merely as a science fiction story but as a vehicle to explore deeper philosophical and emotional themes. He aimed to distance the film from the typical conventions of the genre, focusing instead on the human condition and inner conflicts. 

The use of long takes, slow pacing, and meticulous composition creates a contemplative atmosphere. The visuals are rich with symbolic imagery, such as water, reflections, and recurring motifs of nature, which contrast the sterile environment of the space station. The contrast between the natural, earthy scenes on Earth and the cold, artificial interiors of the space station emphasizes the disconnect between humanity and the cosmos. Tarkovsky's use of color and lighting further accentuates this dichotomy. 

The soundtrack includes the use of electronic music by Eduard Artemyev and classical pieces by Johann Sebastian Bach and is designed to play a crucial role in creating the film’s immersive and meditative mood. 

Solaris continues to be a subject of scholarly analysis and discussion, not just for its cinematic qualities but also for its rich philosophical content. The film challenges viewers to reflect on their own inner lives and the nature of human existence, making it a timeless piece of cinema that transcends its genre. The film has influenced many filmmakers and is often cited for its philosophical depth and unique approach to science fiction. It stands in contrast to the more action-oriented and technologically focused science fiction films of its time. 

The story revolves around psychologist Kris Kelvin, who is sent to a space station orbiting the mysterious planet Solaris. The planet's ocean will reveal itself as a single, sentient entity capable of probing the minds of the station's inhabitants and materializing their repressed memories and subconscious fears. 

Solaris, Part 1: Background

Following the Bolshevik Revolution in 1917, Soviet cinema became a tool for propaganda, with the government heavily investing in the industry to promote communist ideology. Under Stalin, films were required to strictly adhere to Socialist Realism, depicting an idealized vision of socialist life.

This period saw less experimentation and more emphasis on straightforward storytelling. The government maintained strict control over film production, ensuring that movies aligned with political goals. This led to censorship and a focus on themes like patriotism, the heroic worker, and the triumph of socialism, etc.. 

Stalin's death brought a period of relative liberalization, known as the Khrushchev Thaw, allowing filmmakers more creative freedom, it is during this period that Tarkovsky's "Ivan's Childhood" (1962) is produced, marking the rise of one of cinema's most revered directors, that despite the ongoing censorship, was able to create his most visually stunning and thematically complex works (Solaris (1972), Stalker (1979) )  during the late Soviet period, a period in which, under Leonid Brezhnev, the Soviet Union experienced a period of political stagnation known as the "Era of Stagnation".

While the government maintained tight control over artistic expression, filmmakers found ways to subtly critique society and the state. During this period, filmmakers delved into complex themes such as identity, memory, and the human psyche, often using allegory and symbolism to critique Soviet society. 

The Late Soviet Era of cinema gained significant international recognition, winning awards at major film festivals and influencing filmmakers worldwide. The works of Tarkovsky, in particular, have been cited as major influences by numerous directors, including Ingmar Bergman, Lars von Trier, and Christopher Nolan.

Overall, the Late Soviet Era was a time of profound creativity and subtle resistance in Soviet cinema, producing works that continue to be celebrated for their artistic achievements and deep humanistic concerns.

Andrei Tarkovsky born in 1932 in Russia, was the son of a poet and studied film at the State Institute of Cinematography in Moscow, where he was mentored by the renowned director Mikhail Romm. He directed many films mostly characterized for their spiritual and metaphysical themes, to mention only a few:

Andrei Rublev (1966) explores the spiritual and artistic struggles of a 15th-century Russian icon painter.

Mirror (1975)  blurs the line between past and present using evocative imagery and a non-linear narrative.

Stalker (1979)  is a slow pace, philosophically oriented film, depicting the mundane and the mystical side of the world. 

Tarkovsky faced increasing difficulties with Soviet authorities due to the perceived anti-Soviet themes in his work. He eventually left the Soviet Union in 1984 and lived in Italy and Sweden until his death in 1986.

The Shining, Part 2: The End is The Beginning

 

The movie opens with a yellow Volkswagen Beetle navigating a winding mountain road, accompanied by the haunting music of "Dies Irae" and credits in blue letters.

From the outset, the film is rich with significant details. As the car proceeds, it encounters a hearse parked just before entering a tunnel. Two notable details emerge here: first, as the car passes the hearse, the credits introduce Scatman Crothers, who portrays the Overlook Hotel's Chef. He, alongside Jack, the protagonist, will ultimately be the only characters to meet their demise in the course of the movie.

But more importantly for the interpretation of this movie, the hearse before the tunnel symbolizes the passage to the afterlife. People often describe near-death experiences as involving a tunnel. This idea is reinforced by the symbolic significance of scarab beetles in ancient Egypt. Scarab beetles played a significant role in ancient Egyptian funerary rituals. Scarab beetle amulets were often placed in tombs to ensure the deceased’s safe passage into the afterlife. These amulets were also associated with the heart and were sometimes placed on the heart during mummification to symbolize its importance in the afterlife. This connection underscores the symbolic weight of the scene in the movie, where the funerary car and the tunnel represent a transition into the afterlife. The Egyptians also believed in the judgment of the deceased as a prerequisite for passing into the afterlife, and as said before, the music playing, "Dies Irae," translates to "Day of Wrath" or "Day of Judgment" in Latin, further emphasizing the theme.

So we see just from the beginning that this is about a judgement where the deceased is Jack Torrance and the Chef's dead is foreshadowed in the same way with the same symbol.

As the car arrive to The Overlook Hotel we see from above, that there are 41 cars parked in front of the Hotel, there is also a snow vehicle and apart we find some cars presumably, those of the staff.

But the important detail is that those of the guests are 41, and this is important because continuing in the same line of interpretation, we know that the Egyptians believed that the judgement of the dead was presided by 42 judges, as stated in the book of the dead. The deceased was accompanied into the presence of Osiris by the god Anubis, where they would declare their innocence of the "42 sins" against justice and truth by reciting a text known as the "Negative Confessions."

The heart of the deceased was then weighed on a two-plate scale: one plate for the heart and the other for the feather of Maat. Maat represented by an ostrich feather, was the deification of truth, justice, rectitude, and cosmic order. The 42 judges who flanked Osiris acted in her name, determining the fate of the deceased in the afterlife.

It may seem problematic that there are only 41 cars, but there are two possible explanations for this. First, at the end of the movie, Halloran, the Overlook's chef, arrives at the hotel using a snow vehicle. The snow vehicle seen in the opening scenes could be foreshadowing this event.

However, there is another, more likely explanation. The right candidate to be the missing judge will be revealed in the upcoming scenes of the movie and is no other than Danny.

Immediately, we see Jack's family—his wife and son—eating breakfast. For the first time, it's revealed that Jack's son has an imaginary friend. This detail becomes crucial for the rest of the movie, as Tony, the imaginary friend, will be the unseen protagonist driving much of the narrative. In the final scenes Toni will even take over Danny and will save him from Jack by fooling him into the maze.

Behind Ullman, we can clearly see an eagle and a U.S. flag on his desk. The eagle emerges as a prominent symbol throughout the film, establishing a clear parallel between The Overlook Hotel and the United States—a connection that will become more evident as the movie progresses. As Jack drives in the entering scenes through the serpentine road towards the Overlook Hotel, the car is followed from above, as if the camera was an eagle and once in the Hotel as said we see the eagle behind Ullman, who then reveal to Jack the Hotel´s past. He explains that something happened years ago at the hotel that he should be aware of before accepting the job. Ullman then tells Jack about the previous caretaker who killed his family and himself with an ax during the winter of 1970. Jack doesn't seem impressed by this revelation and readily accepts the job.

The next scene reveals several key points. First, it becomes evident that Tony is real when he predicts that Jack is about to call, and immediately, the telephone rings. Additionally, we see that Danny has the number 42 on his right sleeve. This detail ties back to the Egyptian line of explanation, where we have just found the missing judge: Danny is the forty-second judge who hasn't yet arrived at the Overlook. Furthermore, the name Danny is a Hebrew name, that literally means "my judge". So Danny confirms perfectly well the previous explanation.

The Shining, Part 1: Background

 

Stanley Kubrick was a renowned American film director, screenwriter, and producer, celebrated for his innovative and meticulous approach to filmmaking. Born on July 26, 1928, in New York City, Kubrick displayed an early interest in photography, leading him to work as a photographer for Look magazine at the age of 17. This background in photography significantly influenced his visual style in filmmaking.

Kubrick's first success was "Paths of Glory" (1957), an anti-war film that showcased his developing directorial prowess and moral complexity.

Kubrick's move to the UK in the early 1960s marked a significant phase in his career. There, he directed "Lolita" (1962), based on Vladimir Nabokov's controversial novel, and the darkly comedic "Dr. Strangelove" (1964), which offered a satirical take on Cold War politics.

His 1968 masterpiece "2001: A Space Odyssey" revolutionized science fiction cinema with its groundbreaking special effects and philosophical depth. This was followed by "A Clockwork Orange" (1971), a dystopian exploration of free will and societal control, which courted both acclaim and controversy for its explicit content.

Horror movies in the UK during the late 1970s experienced a unique period marked by both innovation and the influence of earlier traditions. Hammer Film Productions, which had dominated British horror throughout the 50s and 60s with its Gothic horror films, began to decline in the late 70s. Hammer's traditional horror formula, featuring characters like Dracula and Frankenstein, struggled to compete with the new wave of horror emerging from the United States and other parts of the world.

This period saw the release of films like "The Omen" (1976), a British-American production that combined supernatural horror with a modern setting or The Shout" (1978), directed by Jerzy Skolimowski, combined horror with psychological and surreal elements, exploring themes of madness and power.

Overall, horror movies in the UK during the late 70s were characterized by a transition from the traditional Gothic horror of earlier decades to more diverse and experimental forms of horror. This period saw filmmakers exploring new themes and techniques, influenced by both domestic and international trends, resulting in a rich and varied contribution to the genre.

Kubrick's subsequent film The Shining (1980) wals based on Stephen King's 1977 novel of the same name. Some distinctive features of the film are the pioneering use of the Steadicam allowing for smooth, fluid camera movements, symmetrical compositions and use of wide-angle lenses contributing to the sense of moving between paralel realities and naturally the soundtrack featuring works by composers such as Wendy Carlos and Krzysztof Penderecki contributing greatly to the otherworldly feel of the Overlook Hotel.

This is a book that will barely cover the main storyline of the movie, and try to give insight

The Shining tells the story of Jack Torrance, an aspiring writer and recovering alcoholic who takes a job as the winter caretaker of the isolated Overlook Hotel. He brings his wife Wendy and young son Danny with him. Danny possesses "the shining," a psychic ability that allows him to see the hotel's horrific past. As the winter progresses, Jack's sanity deteriorates under the influence of the supernatural forces inhabiting the hotel. The film explores the effects of isolation and the descent into madness. The vast, empty spaces of the Overlook Hotel contrast with the claustrophobic tension within the Torrance family.