Stephen King's Fiery Critique Of ‘The Shining’—Why The Master Of Horror Hates One Of the Greatest Horror Films Ever Made

Stephen King does not do subtle when it comes to The Shining. And his beef with Stanley Kubrick is especially spicy, because it involves a hotel room number, a specific lodge, and the movie version of the one character King thought mattered most.

Here’s the messy part: King’s own inspiration came from the Stanley Hotel in Estes Park, where he and his wife stayed in 1974. The book got its creepy spark from those deserted corridors and that heavy, unsettling vibe. So when Kubrick rolled into Oregon and filmed at Timberline Lodge instead, King wasn’t exactly thrilled.

Then the Wendy problem hit, and suddenly this wasn’t just about scenery, it was about the whole emotional core of the story.

King wasn't happy that Kubrick chose a scenic location rather than somewhere spooky

Warner Bros.

First off, let’s talk hotels. If there’s one thing King is passionate about, it’s the places that inspire his stories. The Stanley Hotel in Estes Park, Colorado, was the muse behind the fictional Overlook Hotel in The Shining.

King and his wife stayed there in 1974, and the deserted corridors and unsettling atmosphere left such an impression that it sparked the idea for his novel. So, imagine his disappointment when Kubrick opted to film at the Timberline Lodge in Oregon instead. 

Not only did it lack King's personal connection with The Stanley Hotel, but Timberline’s management even asked Kubrick to change the infamous room number from 217 (as in the book) to 237 (which is a non-existent room at the hotel).

The irony? Room 217 is now the most requested at the Timberline Lodge. Looks like the original haunted room had the last laugh!

But King’s grievances didn’t stop at the hotel. He also took issue with Kubrick’s portrayal of Wendy Torrance, who was played by Shelley Duvall.

In the novel, Wendy is a strong, resilient woman who stands by her family in the face of supernatural horror. But Kubrick’s Wendy? She was more ‘damsel in distress’ than a real survivor. King didn’t mince words; he boldly declared she was just “there to scream and be stupid.” Ouch.

Even the “haunted” details got under King’s skin, because Timberline Lodge reportedly asked Kubrick to swap the book’s room 217 for 237, which doesn’t exist there.

Ultimately, honoring the essence of the original story while embracing innovative storytelling techniques can enhance the adaptation process.

King was disappointed at how Wendy and Jack Torrance were depicted

And yes, King still had to watch the final product, even though room 217 later became the most requested room at Timberline Lodge anyway.

King’s grievances didn’t stop at the hotel. He also took issue with Kubrick’s portrayal of Wendy Torrance, who was played by Shelley Duvall.

In the novel, Wendy is a strong, resilient woman who stands by her family in the face of supernatural horror. But Kubrick’s Wendy was more of a ‘damsel in distress’ than a real survivor. King didn’t mince words; he boldly stated that she was just “there to scream and be stupid.” Ouch!

There have been allegations that Kubrick’s relentless directing methods drove her to exhaustion, isolation, and tears.

Also, this reminds us of Kim Kardashian’s surprising Taylor Swift confession on her sister’s podcast.

And then we have Jack Torrance, the story’s unraveling protagonist

But the real fight turned personal when King took aim at Kubrick’s Wendy Torrance, calling her more “there to scream and be stupid” than a resilient survivor.

Artistic Intent vs. Audience Reception

Stephen King's critique of Stanley Kubrick's adaptation of 'The Shining' highlights a fundamental tension between artistic intent and audience reception. "the disconnect between an artist's vision and audience interpretation can lead to significant misunderstandings." King has expressed that he felt his novel was meant to convey a specific emotional journey that Kubrick's film overlooked. This discrepancy serves as a reminder that interpretations of art can vary widely, depending on individual perspectives and experiences.

In the world of adaptations, it’s crucial for creators to find a balance between their vision and what resonates with audiences, fostering a dialogue rather than a divide.

In the novel, Jack Torrance begins as a relatable, recovering alcoholic, a detail reflecting King's own life. King wanted an "everyday" actor like Christopher Reeve for the role, but Kubrick chose Jack Nicholson.

Even though Jack Nicholson delivered a brilliant performance in the movie, King wasn't impressed, as he felt Nicholson lacked the character arc he envisioned.

"I don’t like the arc that Jack Nicholson runs as Jack Torrance," he said to the New York Times. "Because it isn’t really an arc — it’s a flat line. He’s crazy from the jump." 

In addition, the movie focuses more on Jack as the antagonist rather than the supernatural forces of the Overlook Hotel. This differed significantly from the novel’s depiction.

The book and the movie are two worlds apart

So while Kubrick leaned into a chilly, cinematic approach to Jack and Wendy Torrance, King felt the adaptation missed the strength that the novel made feel real.

In the end, the film and the book are almost two entirely different stories. Despite King’s admiration for Kubrick as a director, he just couldn’t reconcile these differences.

Even though King’s disdain for The Shining has softened over the years, he still isn’t a fan. However, the fact remains that Kubrick’s film, love it or hate it, is now a cornerstone of cinematic history.

Stephen King's critique of 'The Shining' highlights the complexities involved in adapting beloved literary works for the screen.

King didn’t just hate a movie choice, he hated the way it changed what the story was supposed to protect.

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