Stanley Kubrick's masterful interpretation of Stephen King's novel has become a classic. Though King has claimed that the film is too little like the novel, there is little doubt that the film has become much more significant in cultural history than the novel itself and probably also a more complete artwork.

There are few incidents where Kubrick accepts anything but perfection, and this becomes yet another demonstration of his fondness of quality. Two features, however, stand out in the film. The first is the nearly bizzare use of sounds, which is very effective. Kubric has realized that silence or simply the natural sounds of the scenes creates just as tense an atmosphere as does music. When music is utilized, it is incorporated very well with the images and the effect is optimal. The second feature is the interesting use of camera and angles. While a fly-on-the-wall perspective is the most usual, we see the world (or, rarther, the hotel) through young Danny's eyes at times - film is then captured through a distance-magnifying lens - as well as through his parents. The playful use of cameras and angles reinforce the idea that even the objective reality is different depending on who is experiencing it, an idea already expressed by filming Jack's fantasies and Danny's ESP experiences.

There is hardly any reason to comment negatively on Jack Nicholson's acting, though critics of the movie comment on how his character is quite different than its counter part in the novel. Having read the novel, I must admit that the difference is clear, though the change is for the better. The choice of Shelley Duvall as Mrs. Torrence is wonderful and she delivers a credible character. Her looks, very offset from the classical Hollywood-beauty, suits the role very well, too. Danny, acted by Danny Lloyd, however, remains the single most impressive aspect of the film. He delivers not only a credible character, but also credible suffering as his father descends into insanity.

I am indeed a supporter of the claim that the film should be hailed as a classic because it remains the single most tense thriller I have seen. This is partly because the supernatural plays a very little role in the film - only a very few incidents are not explainable; my father argues convincigly that none are - and although Kubick says he had no intention of making a realistic film, his masterful filmmaking could make the least realistic story seem credible. This, to me, is where the true genius of the film lies.