I am not certain what it means to call Stanley Kubrick’s The Shining “the first epic horror film,” as the ads are quoting Jack Kroll of Newsweek, but surely it is one of the strangest of them.
The Shining (1980)
August 1980 issue of American Cinematographer magazine, including an interview with John Alcott and an article on the use of Garrett Brown’s invention, the steadicam, in The Shining.
The Shining, saggio di Paolo Cherchi Usai. Pubblicato in Segnocinema, n. 1, 1981
Stanley Kubrick, once again leaves his audiences asking a familiar question: How can anyone make a film so fastidiously beautiful and still leave so many loose ends?
The Shining, Stanley Kubrick’s spellbinding foray into the realm of the horror film, is at its most gloriously diabolical as Jack and Wendy Torrance take the grand tour.
P.L. Titterington discusses the evolution of Kubrick’s style and the language of his ideas.
Jonathan Romney looks for clues to Stanley Kubrick’s themes in The Shining’s Overlook Hotel (Sight and Sound, September 1999)
Pauline Kael’s appreciative but skeptical review of Stanley Kubrick’s “The Shining”, The New Yorker, 1980
Giovanni Grazzini recensisce per il Corriere della Sera “Shining” di Stanley Kubrick
The Shining reminds us how far the cinema has come and how much it has stayed the same. It shines bits of an enigmatic film future which in the last image turns out to be a still from the past. There is no immutable order of experience when the past becomes a picture of what might have been.
Review of Stanley Kubrick’s “The Shining”, written by Jack Kroll and published in Newsweek, June 2, 1980
Interview with Stanley Kubrick by Canadian Film Critic John Hofsess, published in The Soho News, May 1980
Saggio di Francesco Cattaneo su Shining, pubblicato dalla rivista italiana Cineforum nel 2003
The Shining is an iceberg that may in time prove to be one of the great Kubricks (with Paths of Glory, Lolita and Barry Lyndon), or may be the start of a whole new Kubrick.
In the following essay. Manchel examines the protagonist of The Shining. Jack Torrance, contending that “there are mitigating circumstances for his diabolical role in the disintegration of his family.”