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Stephen King hates Kubrick’s The Shining, calling it “cold and disappointing.” He feels the film lacks “emotional warmth and humanity.” For him, the tragedy is completely lost because Jack is “crazy from the start” rather than a good man losing his way, and Wendy is insulted by being reduced...

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"What’s basically wrong with Kubrick’s version of 'The Shining' (1980) is that it’s a film by a man who thinks too much & feels too little; and that’s why, for all its virtuoso effects, it never gets you by the throat and hangs on the way real horror should." --- Stephen King Full Excerpt: "Stanley Kubrick‘s version of 'The Shining' (1980) is a lot tougher for me to evaluate [than 'Carrie' (1976)], because I’m still profoundly ambivalent about the whole thing. I’d admired Kubrick for a long time and had great expectations for the project, but I was deeply disappointed in the end result. Parts of the film are chilling, charged with a relentlessly claustrophobic terror, but others fall flat. I think there are two basic problems with the movie. First, Kubrick is a very cold man—pragmatic and rational—and he had great difficulty conceiving, even academically, of a supernatural world. He used to make transatlantic calls to me from England at odd hours of the day and night, and I remember once he rang up at seven in the morning and asked, “Do you believe in God?” I wiped the shaving cream away from my mouth, thought a minute and said, “Yeah, I think so.” Kubrick replied, “No, I don’t think there is a God,” and hung up. Not that religion has to be involved in horror, but a visceral skeptic such as Kubrick just couldn’t grasp the sheer inhuman evil of the Overlook Hotel. So he looked, instead, for evil in the characters and made the film into a domestic tragedy with only vaguely supernatural overtones. That was the basic flaw: Because he couldn’t believe, he couldn’t make the film believable to others. The second problem was in characterization and casting. Jack Nicholson, though a fine actor, was all wrong for the part. His last big role had been in 'One Flew over the Cuckoo’s Nest' (1975), and between that and his manic grin, the audience automatically identified him as a loony from the first scene. But the book is about Jack Torrance’s gradual descent into madness through the malign influence of the Overlook, which is like a huge storage battery charged with an evil powerful enough o corrupt all those who come into contact with it. If the guy is nuts to begin with, then the entire tragedy of his downfall is wasted. For that reason, the film has no center and no heart, despite its brilliantly unnerving camera angles and dazzling use of the Steadicam. What’s basically wrong with Kubrick’s version of 'The Shining' is that it’s a film by a man who thinks too much and feels too little; and that’s why, for all its virtuoso effects, it never gets you by the throat and hangs on the way real horror should. I’d like to remake 'The Shining' someday, maybe even direct it myself if anybody will give me enough rope to hang myself with." (From Stephen King's interview to Playboy, 1983) P.S: On this day, 46 years ago, "The Shining" (1980) had its limited release in the USA & Turkey.
2:34

"What’s basically wrong with Kubrick’s version of 'The Shining' (1980) is that it’s a film by a man who thinks too much & feels too little; and that’s why, for all its virtuoso effects, it never gets you by the throat and hangs on the way real horror should." --- Stephen King Full Excerpt: "Stanley Kubrick‘s version of 'The Shining' (1980) is a lot tougher for me to evaluate [than 'Carrie' (1976)], because I’m still profoundly ambivalent about the whole thing. I’d admired Kubrick for a long time and had great expectations for the project, but I was deeply disappointed in the end result. Parts of the film are chilling, charged with a relentlessly claustrophobic terror, but others fall flat. I think there are two basic problems with the movie. First, Kubrick is a very cold man—pragmatic and rational—and he had great difficulty conceiving, even academically, of a supernatural world. He used to make transatlantic calls to me from England at odd hours of the day and night, and I remember once he rang up at seven in the morning and asked, “Do you believe in God?” I wiped the shaving cream away from my mouth, thought a minute and said, “Yeah, I think so.” Kubrick replied, “No, I don’t think there is a God,” and hung up. Not that religion has to be involved in horror, but a visceral skeptic such as Kubrick just couldn’t grasp the sheer inhuman evil of the Overlook Hotel. So he looked, instead, for evil in the characters and made the film into a domestic tragedy with only vaguely supernatural overtones. That was the basic flaw: Because he couldn’t believe, he couldn’t make the film believable to others. The second problem was in characterization and casting. Jack Nicholson, though a fine actor, was all wrong for the part. His last big role had been in 'One Flew over the Cuckoo’s Nest' (1975), and between that and his manic grin, the audience automatically identified him as a loony from the first scene. But the book is about Jack Torrance’s gradual descent into madness through the malign influence of the Overlook, which is like a huge storage battery charged with an evil powerful enough o corrupt all those who come into contact with it. If the guy is nuts to begin with, then the entire tragedy of his downfall is wasted. For that reason, the film has no center and no heart, despite its brilliantly unnerving camera angles and dazzling use of the Steadicam. What’s basically wrong with Kubrick’s version of 'The Shining' is that it’s a film by a man who thinks too much and feels too little; and that’s why, for all its virtuoso effects, it never gets you by the throat and hangs on the way real horror should. I’d like to remake 'The Shining' someday, maybe even direct it myself if anybody will give me enough rope to hang myself with." (From Stephen King's interview to Playboy, 1983) P.S: On this day, 46 years ago, "The Shining" (1980) had its limited release in the USA & Turkey.

DepressedBergman

450,030 Aufrufe • vor 1 Monat

Stephen King didn’t like Jack Nicholson in The Shining especially in this scene “When we first see him in office he’s crazy as a sh*t house rat.” “All he does is get crazier. In the book, he’s struggling and finally loses it.” “To me, that’s tragedy.”
2:25

Stephen King didn’t like Jack Nicholson in The Shining especially in this scene “When we first see him in office he’s crazy as a sh*t house rat.” “All he does is get crazier. In the book, he’s struggling and finally loses it.” “To me, that’s tragedy.”

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Elliott Wilson admits he hates rappers-turned podcasters; he feels like they're taking his spotlight and access as a journalist. He also says Cam’ron is trying to be like the next Stephen A. Smith and it annoys him.
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Elliott Wilson admits he hates rappers-turned podcasters; he feels like they're taking his spotlight and access as a journalist. He also says Cam’ron is trying to be like the next Stephen A. Smith and it annoys him.

Ahmed/The Ears/IG: BigBizTheGod 🇸🇴

1,491,229 Aufrufe • vor 1 Jahr

Andrei Tarkovsky on Ingmar Bergman's Shame (1968): "Let us look at Bergman's Shame. The film doesn't contain a single 'actor's piece' for the performer to 'give away' the director's purpose, to play the conception of the persona, his attitude to it, to assess it in relation to the overall idea; and the latter is entirely hidden within the dynamic of the characters' lives, at one with it. The people in the film are crushed by circumstances; they act only in accordance with their situation, to which they themselves are subordinate; they make no attempt to proffer us any idea, any perspective on what is happening, or to draw any conclusion. All of that is left to the film as a whole, to the director's vision. And how superbly it is accomplished! You cannot say in simple terms who amongst them is good or bad. I could never say that von Sydow is a bad man. They are all partly good and partly bad, each in his own way. No judgements are passed, because there is no hint of tendentiousness in any of the actors, and the circumstances of the film are used by the director to explore the human possibilities which they test, and not for a moment in order to illustrate a thesis. Max von Sydow's character is developed with masterly power. He is a very good man; a musician; kind and sensitive. It turns out that he is a coward. But by no means every bold man is a good human being, and cowards are not always scoundrels. Of course, he is weak and irresolute. His wife is far stronger than he, so much so that she can overcome her fear. The hero lacks that strength. He is tormented by his own weakness, vulnerability, lack of resilience; he tries to hide, to cower in a corner, not to see and not to hear; and he does this like a child, naively and with complete sincerity. But when circumstances nevertheless force him to defend himself, he instantly turns into a scoundrel. He loses all that was best in him; but the drama and absurdity of his situation is that as he is now he becomes necessary to his wife, who, in her turn, looks to him for protection and succour instead of despising him as she always had. When he beats her about the face and says 'Get out!' she goes crawling after him. There is something here of the age-old idea of passive good and active evil; but its expression is immensely complex. At the beginning of the film the hero cannot even kill a chicken, but as soon as he has found a way of defending himself he becomes a cruel cynic. He has something of Hamlet: my view is that the Prince of Denmark perishes not as a result of the duel, when he dies physically, but immediately after the 'rat' scene, when he understands how irreversible are those laws of life which have forced him, a man of humanity and intellect, to act like the inferior people who inhabit Elsinore. Von Sydow is now a sinister character, afraid of nothing: he kills; will not raise a finger to save his fellows; pursues only his own interests. The point is that you have to be a person of great integrity to feel fear in the face of the foul necessity to kill and humiliate. And by shedding that fear and apparently acquiring courage, a person in fact loses his spiritual strength and intellectual honesty and parts from his innocence. War is the obvious catalyst for the cruel, anti-human elements in people. Bergman uses the war in this film exactly as he uses the heroine's illness in Through a Glass Darkly: to explore his view of man." — "Sculpting in Time" by Andrei Tarkovsky (translated by Kitty Hunter-Blair, 1987)
0:50

Andrei Tarkovsky on Ingmar Bergman's Shame (1968): "Let us look at Bergman's Shame. The film doesn't contain a single 'actor's piece' for the performer to 'give away' the director's purpose, to play the conception of the persona, his attitude to it, to assess it in relation to the overall idea; and the latter is entirely hidden within the dynamic of the characters' lives, at one with it. The people in the film are crushed by circumstances; they act only in accordance with their situation, to which they themselves are subordinate; they make no attempt to proffer us any idea, any perspective on what is happening, or to draw any conclusion. All of that is left to the film as a whole, to the director's vision. And how superbly it is accomplished! You cannot say in simple terms who amongst them is good or bad. I could never say that von Sydow is a bad man. They are all partly good and partly bad, each in his own way. No judgements are passed, because there is no hint of tendentiousness in any of the actors, and the circumstances of the film are used by the director to explore the human possibilities which they test, and not for a moment in order to illustrate a thesis. Max von Sydow's character is developed with masterly power. He is a very good man; a musician; kind and sensitive. It turns out that he is a coward. But by no means every bold man is a good human being, and cowards are not always scoundrels. Of course, he is weak and irresolute. His wife is far stronger than he, so much so that she can overcome her fear. The hero lacks that strength. He is tormented by his own weakness, vulnerability, lack of resilience; he tries to hide, to cower in a corner, not to see and not to hear; and he does this like a child, naively and with complete sincerity. But when circumstances nevertheless force him to defend himself, he instantly turns into a scoundrel. He loses all that was best in him; but the drama and absurdity of his situation is that as he is now he becomes necessary to his wife, who, in her turn, looks to him for protection and succour instead of despising him as she always had. When he beats her about the face and says 'Get out!' she goes crawling after him. There is something here of the age-old idea of passive good and active evil; but its expression is immensely complex. At the beginning of the film the hero cannot even kill a chicken, but as soon as he has found a way of defending himself he becomes a cruel cynic. He has something of Hamlet: my view is that the Prince of Denmark perishes not as a result of the duel, when he dies physically, but immediately after the 'rat' scene, when he understands how irreversible are those laws of life which have forced him, a man of humanity and intellect, to act like the inferior people who inhabit Elsinore. Von Sydow is now a sinister character, afraid of nothing: he kills; will not raise a finger to save his fellows; pursues only his own interests. The point is that you have to be a person of great integrity to feel fear in the face of the foul necessity to kill and humiliate. And by shedding that fear and apparently acquiring courage, a person in fact loses his spiritual strength and intellectual honesty and parts from his innocence. War is the obvious catalyst for the cruel, anti-human elements in people. Bergman uses the war in this film exactly as he uses the heroine's illness in Through a Glass Darkly: to explore his view of man." — "Sculpting in Time" by Andrei Tarkovsky (translated by Kitty Hunter-Blair, 1987)

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A man in Chicago was walking down the street and heard what appeared to be gunshots. He ran to a nearby alley, where he came across a man shot in the leg. The man is getting backlash online for standing there and making jokes instead of calling 911 for help. The victim asked him to call for help. The man recording says he did call 911, and the victim got the help he needed and is in good condition.

Goofies Of Chicago

271,982 Aufrufe • vor 2 Monaten

This is how it feels when you start from zero on your own. It’s quite an emotional and happy day for him. From YouTube to a web series he built everything himself making his own connections. So many hurdles came his way, but he never stopped. genuinely happy for him, and I hope this series receives all the love it deserves This is just the start bro many more successes are on the way. Keep shining !! #ElvishYadav #ElvishArmy #AukaatKeBahar
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This is how it feels when you start from zero on your own. It’s quite an emotional and happy day for him. From YouTube to a web series he built everything himself making his own connections. So many hurdles came his way, but he never stopped. genuinely happy for him, and I hope this series receives all the love it deserves This is just the start bro many more successes are on the way. Keep shining !! #ElvishYadav #ElvishArmy #AukaatKeBahar

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This is disappointing, he didn't even comprehend the question, the man is so lost without the teleprompter. Mother of democracy is being led by a man who can't understand and doesn't know how to respond to the press. #cringe #ModiFlopsInTheUSA
0:47

This is disappointing, he didn't even comprehend the question, the man is so lost without the teleprompter. Mother of democracy is being led by a man who can't understand and doesn't know how to respond to the press. #cringe #ModiFlopsInTheUSA

Lavanya Ballal Jain official

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RoboCop (1987): The scene where RoboCop shoots Dick Jones and reclaims his humanity by answering “Murphy.” This ending is thrilling and meaningful—it satisfies the audience as the villain is punished while capturing the film’s central theme: the struggle to regain humanity in a world ruled by technology and corruption. The moment he calls himself “Murphy” is the emotional highlight, showing RoboCop has returned as a man with memory and identity.
5:21

RoboCop (1987): The scene where RoboCop shoots Dick Jones and reclaims his humanity by answering “Murphy.” This ending is thrilling and meaningful—it satisfies the audience as the villain is punished while capturing the film’s central theme: the struggle to regain humanity in a world ruled by technology and corruption. The moment he calls himself “Murphy” is the emotional highlight, showing RoboCop has returned as a man with memory and identity.

Love Classical Music and Movies 🎺🎻💖🎥🎬

188,538 Aufrufe • vor 1 Monat

By the way if you’re picking a Secretary of the Treasury, is he like the perfect guy... for a movie? He's made for the movie. Look at him.. he is Central Casting. Under that beautiful exterior, is a killer. If he is honest and fair... ahh its going to be great.
1:30

By the way if you’re picking a Secretary of the Treasury, is he like the perfect guy... for a movie? He's made for the movie. Look at him.. he is Central Casting. Under that beautiful exterior, is a killer. If he is honest and fair... ahh its going to be great.

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xQc is trying to lie because he got upset after being beaten by VTubers in a game. The guy sucks and can't handle losing because he is a man child.

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Skip bayless says Luka Doncic is overrated as a player and he feels bad the lebron James is being reduced to being a 3rd wheel on the lakers behind Luka and Austin reaves
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Skip bayless says Luka Doncic is overrated as a player and he feels bad the lebron James is being reduced to being a 3rd wheel on the lakers behind Luka and Austin reaves

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Neville Addresses Being Called A “W*nker” In Public: “I Thought He Was Gonna Set The Dog On Me!” 😬 Gary Neville has addressed the moment a man approached him and his wife on their way to watch James at a concert, calling him a “w*nker” and a “f*cking pr*ck”. He said the part that really bothered him was the fact his wife was with him, but he soon forgot about it and enjoyed the concert. Gary admitted his mistake was not filming the man himself, because now no one can see who he is, and if he had filmed it, the guy may not have posted the video. He also revealed the man had a really aggressive dog with him, and at one point Gary thought he was going to let it off the lead to savage him! Roy Keane, never missing, chimed in at the end: “Let him go back to his slip and have a good night’s sleep.” 😂
1:35

Neville Addresses Being Called A “W*nker” In Public: “I Thought He Was Gonna Set The Dog On Me!” 😬 Gary Neville has addressed the moment a man approached him and his wife on their way to watch James at a concert, calling him a “w*nker” and a “f*cking pr*ck”. He said the part that really bothered him was the fact his wife was with him, but he soon forgot about it and enjoyed the concert. Gary admitted his mistake was not filming the man himself, because now no one can see who he is, and if he had filmed it, the guy may not have posted the video. He also revealed the man had a really aggressive dog with him, and at one point Gary thought he was going to let it off the lead to savage him! Roy Keane, never missing, chimed in at the end: “Let him go back to his slip and have a good night’s sleep.” 😂

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THERE IT IS!!! He is a wrap ladies and gents. Trump has no understanding of what he is doing and who he is talking to or about. He is compromised by the handlers around him taking advantage of a man losing all his faculties! #RESIGN (iran and india battle)
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THERE IT IS!!! He is a wrap ladies and gents. Trump has no understanding of what he is doing and who he is talking to or about. He is compromised by the handlers around him taking advantage of a man losing all his faculties! #RESIGN (iran and india battle)

Mark Bland

135,940 Aufrufe • vor 8 Monaten

Royal Ascot is off to a good start with cheers for the King as he arrived in the parade ring with the Queen and other members of the royal family
0:40

Royal Ascot is off to a good start with cheers for the King as he arrived in the parade ring with the Queen and other members of the royal family

Kate Mansey

10,914 Aufrufe • vor 1 Jahr

I’ll keep screaming it until I’m blue in the face: The Norris race is WIIIIDDDEEEE OPEN and it’s wild that Makar is the HEAVY favorite by every Sportsbook. Not saying he shouldn’t win, but being a -550 favorite bc of his start and PR is crazy.
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I’ll keep screaming it until I’m blue in the face: The Norris race is WIIIIDDDEEEE OPEN and it’s wild that Makar is the HEAVY favorite by every Sportsbook. Not saying he shouldn’t win, but being a -550 favorite bc of his start and PR is crazy.

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68,315 Aufrufe • vor 4 Monaten

Losing a father at such a young age is deeply painful & lonely. I love how, as Prince grew older, he seemed to take more pride in his father, not just as a dad, but as a man and an entertainer. It feels like the older he got, the more he truly understood him. That’s so beautiful.
0:24

Losing a father at such a young age is deeply painful & lonely. I love how, as Prince grew older, he seemed to take more pride in his father, not just as a dad, but as a man and an entertainer. It feels like the older he got, the more he truly understood him. That’s so beautiful.

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A man joined went to his daughter’s birthday dinner, when it was time to pay, her feminist friends are now crying that he wants to only pay got his family including himself, daughter and his wife and should pay the whole $700 bill because he is the only man at the table. They are now attacking him and calling him cheap and ghetto. As the only man at the table, is it automatically his responsibility to pay or are his daughter’s friends the ones being cheap?

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Kayikunmi is caught in the middle! Isabella is giving him the cold shoulder, and he's trying to avoid the drama. He's not here for a showmance, saying he feels he is "more" than that. What's your advice for him? 🤔 #BBNaija

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When the famously liberal film and arts world start to speak out you know things are changing. Geoff Bell is not your normal luvvie. South London boy, footballer, genuine working class and a brilliant actor, as well as being thoughtful, poetic and emotional (as all real men are). What he says here cannot be argued with, every word is right…and massive respect to him for having the balls to say it. #GeoffBell

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