Ragyogás

Tipikus Stanley Kubrick. Nincs olyan pillanat a filmben, amely ne lenne része egy pszichológiai labirintus bonyolult mozaikjának. Minden tökéletesen időzített, gördülékeny, a kamera legtöbbször derékszögben és a sablonos szálloda falaival párhuzamosan mozog. Nincs egyetlen olyan hang sem a zenében, amely ne lenne elengedhetetlen. A legdurvább vizuális és zenei minimalizmus tökéletesen kiemeli az üres környezet nyomasztó érzését, ahol a történet játszódik. Jack Nicholsont nem csak filmszereplőként nézzük, hanem Kubrick vizuálisan naturalista rendezői koncepciója révén mi magunk válunk Jack Nicholsonná. Hozzá hasonlóan bennünk is fokozódik az idegesség, egészen addig, amíg nem félünk attól, hogy mire lennénk képesek az ő helyében. A Ragyogás című filmet nem lehet "horror" címkével megjelölni, amely szokásos horroroknak jár a műfaji szórakozás keretein belül. És bár kár, hogy ridegsége és precíz számítása nem teszi lehetővé, hogy a főszereplők történetét az agyamon kívül másképp éljem át, mégis teljes értékű minősítést adok. Tisztelem Kubrick elrugaszkodott útját, amit választott, mert minden alkalommal, amikor megnézem, találok valami újat ebben az őrületben. (2002.06.05)

Stanley Kubrick met with horror for the first and last time in 1980 to elevate the genre to slightly different dimensions, creating a valuable piece and one of his more digestible works. Nicholson's devilish one-man show and the musical accompaniment composed of disharmonies and squeaky sounds heavily contributed to this, maintaining an unpleasant feeling of tension throughout. However, the result somewhat pales in comparison to King's brilliant source material, possibly due to inadequate psychological groundwork. 70% (2006.03.31)

Redrum. Redrum. Redrum. The main asset of this movie is neither Nicholson, nor Kubrick’s precise directing, but the flawless atmosphere in the mountain top hotel. Kubrick’s loose adaptation of King’s novel is attractive due to it being actually only very loosely based on the motifs in one of King’s best stories and is not a mere idealess “one to one" adaptation (however much I may think that Torrance’s fall was far too sudden in comparison with the gradual descent in the book). redruM! (2007.01.30)

The excellent minimalist soundtrack couldn't be better, and some scenes, especially the bathroom scene and the boy's vision of dismembered children in the hotel corridor, are truly horrifying, but I still have some reservations. Jack Nicholson, as excellent as he is, overacts disgustingly in some scenes; if that's the director's intention, I didn't quite get it. And Shelley Duvall, as she runs around the hotel with a knife in her hand, tries to play scared, but you can see in her face that she's not very good at it. But these are just tiny blemishes on the beauty of the whole. (2003.11.11)

I may be strange, but I tried to read King's book three times, and I always put it down about 100 pages. I didn't like it. But the film immediately got to me through its suggestive atmosphere of creeping terror, in which Jack Nicholson's masterful performance plays a big part. He plays Jack Torrance like a harp, first quietly with all the dark undertones, and then suddenly he starts to yank on all the strings. Jack's transformation into a monster is gradual, and he's basically "making" this film. Kubrick admirably managed to create fear without darkness and cramped spaces. The fear of The Shining is an airy, light, spacious fear... And that's absolutely unique. The film also feels authentic because the evil seems to have no source – is it "from inside" Jack, or is it evil embodied in the genius loci? Is Jack's madness really just the work of his bruised psyche? The viewer is stuck in the same uncertainty as the main heroes of the film - it is difficult to determine the distribution of forces between reality and the supernatural. But everything only leads to one thing... REDRUM... did it also give you goose bumps? (2004.01.30)