The last time we saw Danny Torrance, son of Jack and Wendy Torrance by way of Stephen King, he was a young boy who had trapped his father in a deadly maze outside The Overlook Hotel. In Stanley Kubrick’s film “The Shining” little Danny has psychic powers known as the “shining.” A new film, “Doctor Sleep,” brings us up to date on Danny’s later life and the effects of family tauma.
Now going by the more adult name Dan (Ewan McGregor), Torrance is still haunted by the events of his youth. Alcoholic and unhappy, he pursues peace by working in a hospice, using his unique power to comfort the dying. His patients call him Doctor Sleep and soon his work, along with the help of AA, help him overcome his torment. His tranquility is undone when he meets psychic teenager Abra Stone (Kyliegh Curran). “You’re magic,” Abra says, “like me.” “I don’t know about magic,” Dan replies. “I always called it “the shining.”
Abra’s abilities—“Her head is like a radio that sometimes picks up strange stations.”—have caught the attention of the True Knot, a tribe of demonic psychics led by Rose the Hat (Rebecca Ferguson), an almost-immortal being who feeds off children’s telepathic abilities to prolong her own life. “They eat screams and drink pain,” says Dan’s mentor-in-shining Dick Hallorann (Carl Lumbly). To battle Rose and her evil minions Danny must face his greatest fear, returning to the psychological horrors of the Overlook Hotel.
The spirit of Stanley Kubrick’s “The Shining” hangs heavy over “Doctor Sleep”—visual homages and callbacks abound—but where the 1980 film is an exercise in icy exterior thrills the new one, directed by Mike “Oculus” Flanagan, brings a thaw to the action. He has opened up the action and the characters. Kubrick created claustrophobia by setting the action mostly in the closed off rooms and hallways of the Overlook Hotel while Flanagan, who also wrote the script, lets the characters roam free, exploring the world around them and the inner workings of their extra-special-psyches. It makes for a much different feeling film that contains similar amounts of suspense—although it must be said, not nearly the same level of outright fear—but an added dose of emotional resonance and friendship.
McGregor is never quite as compelling as Jack Nicholson was in the original film but the supporting characters pick up much of the slack. As Abra, Curran is the most compelling character on screen. Fearless and resilient, she has an open heart and it is her friendship with Torrance that brings his lifelong journey for peace to a head. In one nicely rendered scene Dan speaks through her in a moment ripe with danger. Curran embodies the character and it is eerie to see the thirteen-year-old take on the weight of her adult counterpart.
Ferguson plays Rose the Hat as a bohemian villain. Callous and cruel, she brings a much-needed sense of unpredictability and danger to a story that isn’t particularly scary. It’s atmospheric and the character work brings us in, but it likely won’t haunt your dreams with the exception of one scene.
(MILD SPOILER ALERT) The True Knot believe that pain purifies the “steam,” the essence of their victims, which leads to a very unpleasant scene involving the demise of Jacob Tremblay as a young baseball player. You either remember him as the vulnerable child in “Room” or the foul-mouthed star of “Good Boys,” but this grim scene will give you new, nasty memories of his work.
“Doctor Sleep” often feels like a tribute to “The Shining” but brings enough of its own ideas on the effects of childhood trauma and the lingering pain of a shattered family to add richness and originality to the movie.
Richard takes a walk through the TIFF Bell Lightbox exhibit of the work of Stanley Kubrick. He highlights props from “Full Metal Jacket,” “The Shining,” “2001: A Space Odyssey,” “A Clockwork Orange” and “Barry Lyndon.” Click HERE to see “The Shining’s” axe and typewriter, Alex’s cane from “A Clockwork Orange” and much more!
Giant labyrinthine puzzles are almost as old as mankind: Prehistoric mazes were built as traps for malevolent spirits, while in medieval times the labyrinth represented a path to God. But recently, the idea of people struggling through a complicated network of paths has made for some striking visuals in movies.
This weekend, The Maze Runner sets much of its action inside a gigantic maze where frightening mechanical monsters called Grievers wander, tormenting Thomas (Dylan O’Brien) as he navigates the maze to pick up clues that help him piece together memories of his past. The sci-fi story is just the latest to feature a maze as a major plot point, but just as Labyrinth’s Sarah (Jennifer Connelly) is warned, “nothing is as it seems” in these movie puzzles.
Remember Harry Potter and the Goblet of Fire? Like Thomas in The Maze Runner, the boy wizard has to make it through a maze (in this instance to find the Triwizard Cup), but instead of fighting magical creatures, this hedge maze is magical; shape shifting to make the journey extra difficult. The 1972 horror film Tales from the Crypt contained an even more sinister maze.
Made up of five stories, the film culminated with the tale of a labyrinth told with razor-sharp wit. Set in a home for the blind, the patients get even with the institute’s cruel director by placing him in the centre of a maze of narrow corridors lined with razor blades. It’s a cutting edge story, that, according to besthorrormovies.com “rivals the ‘death traps’ of Saw and ‘tortures’ of Hostel while only showing a single small cut of the flesh.”
In The Shining, the axe-wielding father Jack Torrance (Jack Nicholson) chases his son Danny (Danny Lloyd) through the Overlook Hotel’s hedge maze. The quick-thinking boy escapes by retracing his steps, confusing his maniacal dad. The documentary Room 237 offers up a number of interpretations of what the maze and Danny’s escape represents. One theory suggests it reflects Greek hero Theseus’ slaying of the Minotaur and escape from the labyrinth, while another speculates it’s a metaphor for conquering repression. Whatever the subtext, it remains one of director Stanley Kubrick’s most tense scenes.
And finally, Francis Ford Coppola’s version of Dracula sees Lucy (Sadie Frost) sleepwalking through a garden maze, chased by Dracula (Gary Oldman) in wolfman form while Pan’s Labyrinth features a maze as a place of safety for Ofelia (Ivana Baquero) to evade her attacker.
“Grand Hotel… always the same. People come, people go. Nothing ever happens.”
That famous line from the Greta Garbo film Grand Hotel is only half right. Hundreds of movies have used hotels as a backdrop for the action because people come, people go, but despite the quote’s assertion, there’s always something happening.
This weekend’s The Grand Budapest Hotel is a case in point. Starring Ralph Fiennes as a concierge at a European hotel between the world wars, it features an all-star cast, including Bill Murray, Owen Wilson, Harvey Keitel and Edward Norton. They are all part of the fabric of the hotel’s history, which includes assassins, murder, riches and a mysterious painting.
Hollywood has always recognized that the transient nature of hotels makes for great drama.
New York City’s Plaza Hotel has played host to many famous movie scenes. Everything from Barefoot in the Park to Funny Girl to The Great Gatsby has used the iconic hotel as a backdrop, but it is probably best known as a location for North by Northwest. In the Alfred Hitchcock film Roger O. Thornhill (Cary Grant) is mistaken for a government agent and kidnapped from the ornate lobby.
The opening shot of Goldfinger features a stunning aerial view of Miami’s Fontainebleau Hotel, which at the time was the most luxurious guesthouse on Miami Beach. Later in the film Bond Girl Jill Masterson (Shirley Eaton) dies of skin asphyxiation inside the hotel after henchman Oddjob (Harold Sakata) coats her whole body in gold paint.
In the 1920’s the Hotel del Coronado was a famous weekend getaway for Hollywood stars like Mae West, Charlie Chaplin, Clark Gable and Errol Flynn but the Victorian wooden beach resort found fame as the setting for several scenes in Some Like it Hot. Located on San Diego Bay across from San Diego, the beachfront location was the scene of one of the film’s most famous lines. When Jerry (Jack Lemmon) first spies Sugar Kane (Marilyn Monroe) sashaying through the sand he says, “Look how she moves! It’s like Jell-O on springs.”
Stephen King was inspired to write The Shining after staying at the 140-room Stanley Hotel in Colorado. “I think a lot of things happened right here in this particular hotel over the years,” says Dick Hallorann (Scatman Crothers) in the film version. “And not all of ’em was good.”
The Stanley has been used as a location for Dumb and Dumber and other films, but Stanley Kubrick chose not to showcase the place in his 1980 adaptation of the novel. Instead, much to King’s disappointment, he used Oregon’s Timberline Lodge as a stand-in for the film’s fictional Overlook Hotel.
“January 12, 1965. Very snowy that day. 7.2 inches of snow that day.” – Rain Man
1. Snow Business Hollywood, a leader in providing fake snow for movies, says they have 168 products they can use to create screen snow. What’s the advantage to filmmakers of using artificial snow on a film set? “You can control it,” says owner Roland Hathaway. “Also, you’re never dealing with the cold weather.”
2. To create the sound of swirling snow heard on Hoth in The Empire Strikes Back
Foley Artists recorded surf sounds and tinkered with the sound by raising and lowering the volume. The Empire Strikes Back was shot at Elstree Studios, Borehamwood, Hertfordshire, England, the same film studio where The Shining was made. As a result much of the fake snow used for Kubrick’s film was also used for the Hoth scenes.
3. Asbestos was often used as fake snow in Hollywood films in the 1930s and 40s. The White Christmas sequence in Holiday Inn—showing Bing Crosby singing the classic tune amid the falling snow—exposed the cast and crew to asbestos fiber.
4. The “snowy” maze near the conclusion of The Shining consisted of 900 tons of salt and crushed Styrofoam.
5. Fake snow was also used during the uncharacteristically snowless Denver shoot for Die Hard 2.
6. Sam Raimi learned some techniques about shooting in heavy snow or A Simple Plan from the Coen brothers, friends of his who had been responsible for Fargo.
7. It’s a Wonderful Life was shot in the sweltering heat of a Los Angeles summer in 1946, necessitating the need for fake snow. Instead of using cornflakes painted white—which was loud when stepped on—director Frank Capra and RKO studio’s head of special effects Russel Sherman invented a quiet—and sprayable—version by mixing foamite with sugar, water and soap flakes to create the winter wonderland of Bedford Falls.
8. The usually snowy Minneapolis/St. Paul International Airport was chosen as the location for the field and terminal scenes in Airport but the film’s producers had to use bleached sawdust as a supplement, to make up for the lack of falling snow, until a snowstorm hit the Twin Cities area during the production of the film.
9. A “beginner” model movie snow machine will set you back about £1000 ($1584.02 in Canadian dollars.)
10. To create blowing snow for a scene, throw laundry soap flakes or instant potato flake in front of a powerful fan. Be warned! Soap flakes can make the set slippery. To make laying snow mix 1⅓ cups of liquid starch, 4 cups of laundry soap flakes and several drops of blue food colouring. To add a sparkling effect, add glitter.
