The Real Reason Stephen King Loathed Stanley Kubrick's The Shining

Stephen King's reputation as the master of horror is recognized worldwide, with numerous adaptations of his novels being brought to both the big and small screens. Among these adaptations, a select few are considered cinematic classics by fans. When asked about the best Stephen King adaptation, most fans will point to Stanley Kubrick's The Shining, a film that is so highly esteemed in the industry that it has been preserved by the Library of Congress in the United States National Film Registry for its cultural, historical, and aesthetic significance.

Surprisingly, Stephen King himself does not share this sentiment. This is particularly unexpected because King is known for being supportive of almost all adaptations of his books. He has even praised films like DC's The Flash, featuring Ezra Miller, despite having no involvement in its creation. Right from the start of production, King and Kubrick clashed due to various changes made by the director to the original story. King strongly disapproved of Kubrick's interpretation of The Shining, to the extent that it almost hindered the making of Doctor Sleep, Mike Flanagan's sequel that followed an adult Danny Torrance.

What is The Shining about?

Stephen King's novel, The Shining, was the author's second work of fiction to be adapted into a film, following Carrie in 1976. The story revolves around the Torrance family, who move to the Outlook Hotel in Colorado for the winter, with Jack assuming the role of caretaker. Besides his responsibilities at the hotel, Jack is also a published novelist and plans to work on his next book during their stay. However, the malevolent "guests" of the hotel have other plans in store.

We discover that Jack's son, Danny, possesses a special psychic ability known as the shining, through a conversation with the hotel's chef, Dick Hallorann. Throughout the movie, Jack's mental condition deteriorates as he becomes increasingly influenced by the supernatural forces within the hotel, particularly the bartender, Lloyd. Danny himself encounters various apparitions, including the Grady twins and a malevolent old woman in room 237, who causes him physical harm. It is at this point that one of the spirits urges Jack to "correct" his family, setting off a murderous pursuit that ultimately results in the death of Hallorann upon his return.

The chase ultimately guides Jack to a hedge maze located just outside the hotel. In this intricate labyrinth, he becomes disoriented and unable to navigate his way out. Kubrick incorporated a lot of poetic elements into the film. It presents a profoundly unsettling narrative that exposes the capacity for individual acts of cruelty and inhumanity.

What Kubrick Did Differently in The Shining

Kubrick's film took its own direction, disregarding many elements from the book. While the novel explores a tale of a haunted hotel corrupting its guests, Kubrick's vision unfolds a gripping narrative highlighting the horrors of humanity. In the book, Jack is depicted as a decent man struggling with personal demons like alcoholism. However, the movie portrays him as an unsettling figure, cold and distant right from the start. While King envisioned Jack as a fundamentally good individual ensnared by an evil cosmic force, Kubrick took a more pessimistic approach, shaping Jack's character into that of a psychopath.

The ending of the movie had the most profound impact. Throughout the story, the hotel's boiler room symbolized Jack's moral decay. Towards the end, Danny manages to appeal to Jack's goodness, resulting in Jack regaining his sanity momentarily. This allows his family to escape while the hotel erupts in an explosion caused by the overheating boiler. In Kubrick's adaptation, Danny cleverly outmaneuvers Jack in a hedge maze by retracing his steps through the snow, making it impossible for Jack to follow. Eventually, Jack succumbs to freezing temperatures. Interestingly, the movie doesn't mention the boiler, unlike the book does.

Why Stephen King Hated Stanley Kubrick's version of The Shining

Directors and screenwriters altering his source material is a common occurrence for King. While some changes are necessary to enhance the story on screen, Kubrick's numerous alterations, in King's view, were often unnecessary. King's dissatisfaction stemmed partly from the casting choices. While Kubrick considered actors such as Jack Nicholson, Robin Williams, Harrison Ford, and Robert De Niro for the role of Jack Torrance, King believed that Martin Sheen, Jon Voight, or Michael Moriarty would have been a better fit. King was concerned that Nicholson's previous portrayals of unhinged characters would diminish the suspense of the movie.

Fans who read the novel perceive Jack as a tragic figure grappling with his sanity until he loses control completely. The author expressed dissatisfaction with Nicholson's portrayal of the character, claiming that he was visibly deranged from the start and only deteriorated further throughout the film. Deadline quotes King as saying, "Jack Torrance shows no development in that movie."

Moreover, King was also displeased with Kubrick's treatment of Wendy, played by Shelley Duvall. Dedicated followers of King's work are well aware that he creates strong female characters who stand on equal footing with their male counterparts, often emerging as heroes by the conclusion of the novel. In the book, Wendy was no exception to this pattern. King detested how Kubrick diminished her role, rendering her a feeble character solely present to cry and serve as a target for Jack's aggression.

King's major disappointment stems from Kubrick's lack of recognition of the autobiographical elements in the novel. Like any writer, King injected a part of himself into the story, identifying with Jack to some extent. The author grapples with his own battle against alcoholism, and the conclusion of the novel serves as a reflection of his triumph over these personal demons. Unfortunately, the film completely disregards Jack's redemption. Nevertheless, Mike Flanagan took on the task of adapting the sequel, Doctor Sleep, with the intention of reconciling the discrepancies between the movies and novels, effectively rectifying many of Kubrick's missteps and restoring King's faith in The Shining.