When Stephen King’s “The Shining” was published in 1977, it quickly became a staple of horror literature, earning acclaim for its chilling portrayal of a family’s descent into madness at an isolated hotel. Just three years later, Stanley Kubrick’s film adaptation hit the big screen, bringing the story to life in a completely new and visually striking way. However, King and Kubrick’s visions of “The Shining” are remarkably different, each focusing on different aspects of horror, character development, and storytelling. The divergence between the novel and the film is one of the most debated topics in horror circles, and comparing the two reveals how different creative perspectives can lead to entirely unique experiences from the same source material.
Jack Torrance: Tragic Character or Deranged Monster?
One of the most notable differences between the novel and the film is the portrayal of Jack Torrance, the story’s protagonist. In the book, Jack is a deeply flawed but ultimately sympathetic character. Stephen King presents Jack as a man struggling with his demons—alcoholism, anger issues, and a troubled past—yet he is also portrayed as a loving father who wants to make things right for his family. Jack’s descent into madness is gradual, and readers can feel the internal struggle as he fights against the supernatural forces of the Overlook Hotel. King’s Jack is a tragic figure, a man who is ultimately overpowered by the malevolent influence of the hotel despite his efforts to resist.
In Stanley Kubrick’s film, Jack Torrance, played by Jack Nicholson, is portrayed quite differently. From the very beginning, there is an underlying sense of instability and menace to Nicholson’s performance. His Jack seems on the edge of madness from the moment he steps into the Overlook Hotel, making his eventual breakdown feel almost inevitable. Kubrick’s portrayal of Jack is less about a gradual descent and more about the revelation of an already fractured psyche. This depiction changes the character from a man battling his own weaknesses to a figure who seems predisposed to violence and insanity. As a result, the film’s Jack is far less sympathetic, and the audience is left with the impression that he was always a danger to his family.
Wendy Torrance: A Shift in Strength
Wendy Torrance, Jack’s wife, also undergoes significant changes between the book and the film. In King’s novel, Wendy is portrayed as a strong, resourceful character who plays an active role in trying to protect her son, Danny, and herself from the growing threat posed by Jack and the Overlook Hotel. She is determined and resilient, and her love for her family motivates her to fight against the dark forces at play.
In contrast, Wendy, as portrayed by Shelley Duvall in Kubrick’s film, is depicted as much more vulnerable and fearful. Kubrick’s Wendy is often seen as passive, and her portrayal has been criticized for lacking the strength and depth that King gave her in the novel. Duvall’s Wendy is frequently in a state of terror, reacting to Jack’s increasing instability with a sense of helplessness. This shift in Wendy’s character changes the dynamic of the family, making her less of an equal partner in the struggle against the hotel’s malevolence and more of a victim. Kubrick’s choice to portray Wendy in this way adds to the overall atmosphere of dread, but it also strips her of much of the agency that she has in the book.
The Overlook Hotel: A Character of Its Own
The Overlook Hotel itself is a central character in both the book and the film, but the way it is portrayed differs significantly. In Stephen King’s novel, the hotel is a living, breathing entity with a dark history that slowly reveals itself to Jack and the reader. The Overlook is filled with malevolent spirits, and its influence on Jack is portrayed as a gradual, insidious process. The supernatural elements of the hotel are vivid and explicit—moving topiary animals, ghostly parties, and haunted rooms all contribute to the growing sense of danger. The hotel’s evil is palpable, and King makes it clear that it is the driving force behind Jack’s descent into madness.
Kubrick’s film, on the other hand, takes a more ambiguous approach to the supernatural elements of the story. The Overlook is certainly eerie, but Kubrick leaves much of the horror open to interpretation. Are the ghosts real, or are they a product of Jack’s deteriorating mental state? The film blurs the lines between psychological horror and the supernatural, creating a sense of unease that is rooted in the uncertainty of what is real and what is imagined. The haunting images—the Grady twins, the elevator of blood, and the ghostly ballroom—are iconic, but Kubrick never fully explains them, leaving viewers to draw their own conclusions. This ambiguity is a hallmark of Kubrick’s style, but it differs greatly from King’s more direct depiction of the hotel’s malevolent power.
Danny Torrance and the Shine
Danny Torrance, the young boy at the center of the story, is another character whose portrayal varies between the book and the film. In the novel, Danny is a highly perceptive child with a powerful psychic ability known as “the shining.” His connection to the Overlook and its dark past is central to the story, and his ability to communicate telepathically with the hotel’s cook, Dick Hallorann, plays a crucial role in the plot. King spends a significant amount of time exploring Danny’s thoughts and fears, making him a fully fleshed-out character who is actively aware of the dangers around him.
In the film, Danny’s abilities are portrayed more subtly. While it is clear that he has some form of psychic connection to the hotel, the details of his abilities are less explicit. The focus is more on the terrifying visions he experiences, such as the Grady twins and the word “REDRUM,” rather than on his internal understanding of what is happening. Additionally, the bond between Danny and Dick Hallorann, which is a key element of the book, is less developed in the film. In the novel, Hallorann’s psychic connection with Danny is a source of hope, and his return to the hotel to save Danny and Wendy is a heroic moment. In the film, Hallorann’s role is minimized, and his sudden death upon arriving at the hotel adds to the sense of hopelessness rather than providing a glimmer of rescue.
Themes: Alcoholism and Madness
Stephen King has often stated that “The Shining” is, at its core, a story about alcoholism and the destructive impact it can have on a family. Jack’s struggle with his addiction is a major theme in the novel, and it is portrayed as one of the factors that makes him vulnerable to the influence of the Overlook Hotel. King uses Jack’s battle with alcohol as a metaphor for the loss of control and the fear of hurting those he loves. This theme adds depth to Jack’s character, making his descent into madness all the more tragic as readers see how his past mistakes and his desire for redemption are manipulated by the hotel.
Kubrick’s film, however, shifts the focus away from the theme of alcoholism and instead emphasizes the theme of isolation and the fragility of the human mind. Jack’s struggle with alcohol is mentioned but is not given the same weight as it is in the book. Instead, Kubrick focuses on the psychological deterioration that comes from being cut off from the outside world. The vast, empty spaces of the Overlook Hotel and the use of unsettling visuals and sound design create an atmosphere of isolation that mirrors Jack’s mental unraveling. The horror in the film is less about Jack’s personal demons and more about the terrifying potential for madness that lies within us all when pushed to the brink.
The Ending: Redemption vs. Doom
The endings of the book and the film are perhaps the most striking differences between the two versions of “The Shining.” In the novel, the story ends with Jack ultimately sacrificing himself to save Wendy and Danny. He briefly regains control of his mind, allowing Danny and Wendy to escape as the hotel’s boiler explodes, destroying the Overlook. This ending provides a sense of redemption for Jack, as he is able to fight off the hotel’s influence long enough to save his family. The destruction of the hotel is also a symbolic victory over the malevolent forces that have haunted the Torrances.
In Kubrick’s film, the ending is far bleaker. There is no redemption for Jack; instead, he chases Danny through the hotel’s snowy hedge maze, ultimately freezing to death in the cold. The final shot of Jack’s frozen face, followed by the unsettling photograph showing Jack at a 1921 party at the Overlook, leaves viewers with a sense of unease and ambiguity. The hotel’s influence is never defeated, and Jack becomes a part of its dark history. This ending aligns with Kubrick’s overall vision of the story as one of inevitable madness and the inescapable pull of the Overlook’s sinister power.
A Tale of Two Horrors
Ultimately, “The Shining” is two different stories told through two different lenses. Stephen King’s novel is a deeply personal tale of a man struggling with his inner demons, a haunted hotel that preys on its guests, and a family trying to stay together against all odds. It is a story of both horror and redemption, with Jack Torrance portrayed as a tragic figure whose love for his family is twisted by the dark forces of the Overlook.
Stanley Kubrick’s film, on the other hand, is a psychological horror masterpiece that emphasizes the terror of isolation, the fragility of the human mind, and the inevitability of madness. The changes Kubrick made to the characters, themes, and ending create a story that is less about personal redemption and more about the inescapable nature of evil. Both versions are powerful in their own right, but they offer vastly different experiences for those who dare to enter the haunted halls of the Overlook Hotel.
