Stephen King hated Kubrick’s 1980 adaptation of The Shining, but the original treatment featured an even more drastically changed ending.

Stephen King hated Stanley Kubrick’s famous 1980 adaptation The glow it diverged from his novel, but the original treatment of the film featured an even more drastically altered ending. Released in 1980, The glow I saw mercurial A Clockwork Orange Director Stanley Kubrick put a cast that included Jack Nicholson and Shelley Duvall through hell to create an unforgettable piece of cinematic psychological horror. The film received mixed reviews at release, but is now considered a true classic.

Less emotionally resonant and more darkly comical than Carrie Source novel by creator Stephen King, the film adaptation of The glow it diverged from the original book in important ways, both in terms of plot and characters. Jack Torrance was less of a tragic figure and more of an indefensible madman in the film, while the poignant topiaries that indicated that the supernatural elements of the novel were very real were removed by Kubrick for a more ambiguous sentiment. Whereas King’s novel was a brutally sad tale of a man who tried unsuccessfully to fight his demons and succumbed to insanity, on the contrary, Kubrick’s film was an inscrutable, often strangely comic, mystery about a man who It is definitely insane and a hotel that may not. even be haunted

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Stephen King was, and still is, vocally unhappy with the way the film adapted his work, although he was much happier with Mike Flanagan. Sleep doctor, which managed to merge its Sparkly sequel novel of the same name to the 1980 film. But Kubrick’s early treatment of The glow it contained even more notable differences that would have diverged even more from King’s vision. This included an ending where Wendy kills Jack, only for newcomer Dick Halloran to be possessed by the evil of the Overlook Hotel and take over evil stalking duties.

The Resplendent Scatman Crothers as Dick Hallorann

In the finished movie, Dick Halloran is killed by Jack and provides The glow lonely victim (not Jack) near the final moments in a scene so anticlimactic that it borders on morbid comedy. However, the original ending would have seen Kubrick move closer to the horror lore of revealing that the paranormal threat is not entirely defeated, as it became clear that the hotel now had Halloran in its domain, and Scatman Crothers’ character. replaced Jack as the one who terrorized Wendy and Danny. The idea that the hotel could simply possess anyone who entered its sacred corridors takes the sting out of it. The glowJack’s involvement was always destined to end there, and this ending makes the character’s madness easier to excuse, as it clarifies that he was under the sway of supernatural forces beyond his control.

Ultimately, it’s probably the best Kubrick chose for the more ambiguous ending, in which it is strongly implied that something in Jack’s spirit has always been linked to the Overlook without really clarifying that none of the ghosts or apparitions were real. Not that this more faithful decision prevented King from creating a television miniseries adaptation of The glow in the mid-90s that, despite some effective makeup work, did not quite match Kubrick’s take. King’s decision to excuse Jack’s collapse by making the paranormal elements explicitly real was what many critics saw as the miniseries’ biggest mistake, proving that Kubrick made the right decision by changing the ending of The glow from your first treatment.

Next: The Shining: All The Differences Between The Miniseries And The Stephen King Book

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Reference-screenrant.com

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