Novel → Film · Direct adaptation
The Shining (1980)
The hotel, the family, and the ghosts carry over. The boiler that destroys the Overlook does not, and neither does the rescuer who drives the family out.
Adaptation
The Shining · Film · 1980 · 1 film, 2 cuts
Stanley Kubrick (director), Stanley Kubrick (screenwriter), Diane Johnson (screenwriter)
Warner Bros.
TrueToPage 66 · The Shining (1980 US theatrical) · v0.3partial censuscatalog score
CutThe general-release US cut, trimmed by two minutes from the 146-minute premiere engagement soon after opening. This is the cut on US home video, and it is the cut the coverage and character notes score.
Stephen King produced a second adaptation of the novel, the 1997 ABC miniseries. It is a separate adaptation of the same source and is scored on its own page, not folded into this one.
The five-part, 58-chapter structure mapped here is the 1977 Doubleday first edition. King's cut prologue, 'Before the Play,' is not in that edition. It was published later in Whispers magazine and in deluxe reprints, and it is not part of the mapped text.
No seed axis scores were supplied for this title. The six axes are derived from the mapping, character, voice, and theme inventories stored on this record, with the arithmetic shown in the research report.
The international cut's coverage figure is an estimate drawn from the documented list of trims, which are the doctor's-office scene, an extended déjà-vu exchange, and part of the grounds tour. It is not the result of a second beat-by-beat mapping pass.
Fidelity
Higher = more of the source is still true. Fidelity is not quality.Plot structure63The spine appears in causal order: the job interview, the family's isolation, Room 217/237, the descent into violence, Hallorann's return, and the family's escape. Two structural joints change. The ghosts' plan to have Jack neglect the boiler is dropped, so the mechanism that ends the book, the hotel destroying itself, gives way to a chase in a hedge maze the film invents. Hallorann's survival, which lets him drive the family out in the book, gives way to his death on arrival. Length-weighted across the twenty units mapped here, seven kept units take full credit, six condensed units take partial credit, and seven replaced or omitted units take none.partial evidenceN = 20 beats, source weight 34
Character70Danny, Grady, Ullman, and Lloyd keep most of their attested traits; Danny's method of getting away from Jack changes while the outcome does not. Jack scores lowest of the seven people at 38. The two backstory strands the novel uses to explain him, his father's violence and the George Hatfield firing, are both omitted, and his gradual loss of control is altered. Stephen King said in 1983, 2013, and 2016 that the film leaves Jack no arc. Wendy scores 57, with three of her seven attested traits altered, including the self-reliance Kubrick described in 1980 and the dialogue Diane Johnson said in 2006 was cut from her draft. Hallorann keeps five of seven traits, losing his survival and his job as the family's driver out.partial evidenceN = 7 people, weight 15
Dialogue & voice50Four of the eight voice markers are preserved. Hallorann's folksy account of the 'shine,' Ullman's officious hotel-manager register, Grady's formal household-staff diction, and the typed line 'All work and no play makes Jack a dull boy' all reach the screen. Two are omitted: Jack's interior, self-justifying narration, and the hotel's own voice, which the novel carries in the scrapbook's news clippings. Two are altered: Danny's Tony changes from a heard inner voice to a performed finger-puppet register, and Wendy's talkative, reasoning dialogue is cut back.partial evidenceN = 8 voice markers
Theme & tone63Five of the eight theme claims are preserved: the hotel's evil as an active force, isolation as a horror engine apart from the supernatural, Jack's wish to belong to the hotel's history, domestic violence treated as a grounded reality, and the caretakers repeating Grady's pattern. Two are omitted. The novel's case that alcoholism and abuse pass down a family line, built on Jack's father beating his mother, is not dramatized on screen, and Jack's late flash of love for his family has no equivalent scene. One is altered: Stephen King said in 2013 that he writes to be warm toward the reader and that this film is cold by comparison.partial evidenceN = 8 thematic claims
Coverage65US theatrical cut. Thirteen of the twenty story units mapped here appear on screen, six of them condensed. Two more are replaced by a different mechanism, the hedge animals by the maze and Hallorann's survival by his death, and do not count as present. Five are absent: the wasps'-nest subplot, the boiler-room scrapbook scene, the ghosts' boiler-sabotage plan, the explosion it causes, and the closing 'Epilogue/Summer' chapter. The international cut removes further material without dropping a whole story unit, so its coverage is estimated rather than mapped separately.partial evidenceN = 13 of 20 source units present
Additions restraint87Thirteen source units appear on screen against two invented beats in the change log, for 13 of 15 counted beats. The two are the ad-libbed 'Here's Johnny' line and the closing ballroom photograph. The hedge maze and Hallorann's on-screen death replace attested beats rather than adding new ones, so they are not counted here. No new subplot and no additional major character is added.partial evidenceN = 13 source beats, 2 invented
Ending
Side by side, in our words.On the page · The Shining
Jack, under the hotel's control but with a last flash of love for his family, forgets the ghosts' instruction to relieve pressure in the hotel's aging boiler. The boiler explodes, burns the Overlook to the ground, and kills Jack. Dick Hallorann, hurt by Jack's roque mallet but alive, drives Wendy and Danny to Sidewinder. An epilogue the following summer shows Hallorann helping Danny recover at a lakeside camp.
On the screen · The Shining
Jack chases Danny into the hotel's hedge maze. Danny doubles back on his own footprints in the snow and leaves with Wendy in the hotel's Snowcat. Jack, lost in the maze, freezes to death. The hotel is left standing. A closing shot shows Jack among the guests in a 1921 Overlook ballroom photograph, dated decades before his birth.
The book destroys the hotel and gives Jack a moment of love for his family before he dies. The film leaves the hotel standing and gives him no such moment. Two mechanisms change: the boiler becomes the maze chase, and Hallorann's rescue becomes the family's own escape. The closing photograph has no equivalent in the book.
Mapping
20 rows. Every source unit, including the ones that never appear.| Source unit | What happens there | On screen | Notes | Cut | Evidence |
|---|---|---|---|---|---|
| Part One: Prefatory Matters (Ch. 1–7) | Jack interviews with Ullman for the caretaker job; chapters establish his firing from Stovington Prep after assaulting a student, his history of drinking, and Watson's tour of the hotel's boiler and grounds. | Film, opening to approx. 0:20 | Condensed. The interview and the boiler tour survive. The film never mentions the Stovington firing or the George Hatfield assault, on screen or in dialogue; Jack is introduced only as a former schoolteacher. | all | strong |
| Part Two: Closing Day (Ch. 8–13) | The family arrives and tours the hotel; Dick Hallorann meets Danny, explains the 'shine,' and warns him away from Room 217 before the hotel closes for winter. | Film, approx. 0:20–0:38 | Kept. The grounds tour, the kitchen meeting with Hallorann, and the Room 217 warning are all present. | all | strong |
| Part Three, Ch. 14–17 (the wasps' nest) | Danny is stung by wasps Jack thought he had exterminated; Jack keeps the nest as a trophy, an early sign the hotel is already working on him. | omitted | Not present in the film in any form. | all | strong |
| Part Three, Ch. 18: The Scrapbook | Jack finds a scrapbook of press clippings in the boiler room documenting the Overlook's history of crime and death, which feeds his growing obsession. | omitted | Per Diane Johnson, a version of this scene was filmed and then cut for time; the finished film keeps no equivalent scene explaining Jack's shift from blocked writer to manic energy. | all | strong |
| Part Three, Ch. 19–24 (research and the settling-in routine) | Jack researches the hotel's past by phone with Ullman; the family settles into the snowbound routine; Danny plays in the hedge-animal topiary and the playground. | Film, approx. 0:38–0:55 | Kept, condensed into shorter routine montages; the phone research on the hotel's history is compressed. | all | partial |
| Part Three, Ch. 25: Inside 217 | Danny enters Room 217 against instructions and is attacked by the reanimated corpse of a former guest. | Film, approx. 0:55–1:05 | Kept. The room is renumbered 237 at the request of the location hotel's management, who did not want guests avoiding a real Room 217. | all | strong |
| Part Four, Ch. 26–32 (isolation deepens) | Jack grows more erratic and withdrawn; Wendy grows afraid of him; Danny retreats further into Tony's visions as the radio and the Sno-Cat's parts are sabotaged. | Film, approx. 1:05–1:25 | Kept, condensed into a shorter stretch of scenes. | all | partial |
| Part Four, Ch. 33: The Snowmobile | Jack disables the family's escape vehicle at the hotel's urging. | Film, approx. 1:25 | Kept. | all | partial |
| Part Four, Ch. 34: The Hedges | The topiary hedge animals (a dog, a rabbit, lions, a buffalo) come alive and stalk Danny and later Hallorann across the grounds. | Film, hedge maze introduced approx. 0:30, used in climax | Replaced. Kubrick has said the animated maze chase 'may have suggested itself from the animal topiary scenes in the novel'; the maze is a static structure with no equivalent living-topiary threat. | all | strong |
| Part Four, Ch. 35–37 (the elevator vision and the dry bar) | Jack sees a vision of blood pouring from the elevator; alone in the hotel's dry bar, the ghost bartender Lloyd serves him drinks on the house. | Film, approx. 1:00 and 1:10 | Kept. Both the elevator-blood image and the Lloyd bar scene are close to the page. | all | strong |
| Part Five, Ch. 38–41 (Hallorann's warning; the manuscript) | Hallorann, in Florida, receives Danny's telepathic distress call and starts back; Wendy discovers Jack's manuscript is the single sentence 'All work and no play makes Jack a dull boy' typed thousands of times. | Film, approx. 1:35–1:50 | Kept. The manuscript reveal is one of the film's most direct lifts from the page. | all | strong |
| Part Five, Ch. 42–45 (Grady's ghost urges Jack on) | At a costume party thrown by the hotel's ghosts, Delbert Grady tells Jack he must 'correct' his wife and son as Grady once did his own family. | Film, approx. 1:40 | Kept. The film relocates the conversation from the party itself to the hotel's red men's room just off it. | all | strong |
| Part Five, Ch. 46–50 (Wendy fights back) | Wendy strikes Jack with the roque mallet and locks him in the hotel's dry-goods pantry; Grady's ghost later unbolts the door to free him. | Film, approx. 1:45–1:55 | Kept. The weapon changes from a mallet to a baseball bat in this scene, ahead of the axe used later. | all | strong |
| Part Five, Ch. 51–53 (Hallorann reaches the hotel) | Hallorann arrives, is attacked and badly hurt by Jack with the roque mallet, but survives. | Film, approx. 2:00–2:05 | Replaced. Jack kills Hallorann outright with an axe just inside the hotel's entrance, in place of the mallet beating he survives in the book. | all | strong |
| Part Five, Ch. 54: Tony | Danny, guided by Tony, tricks Jack by insisting 'you're not my daddy,' breaking the hotel's hold long enough to get away. | Film, approx. 2:05–2:12 | Condensed. Danny escapes by outrunning Jack into the hedge maze and doubling back along his own footprints, in place of the verbal confrontation that breaks the hotel's hold over Jack in the book. | all | strong |
| Part Five, Ch. 55: That Which Was Forgotten | Jack, per the ghosts' plan, forgets to relieve pressure in the hotel's boiler. | omitted | The boiler is mentioned once early (Watson's tour) and never becomes a plot mechanism. | all | strong |
| Part Five, Ch. 56: The Explosion | The boiler explodes, destroying the Overlook and killing Jack. | omitted | Omitted. The explosion never happens. Jack instead freezes to death in the hedge maze, and the hotel is left standing. | all | strong |
| Part Five, Ch. 57: Exit | Hallorann drives Wendy and Danny away from the ruined hotel to Sidewinder. | Film, approx. 2:20–2:23 | Condensed. With Hallorann dead, Wendy and Danny escape alone in the hotel's Snowcat. | all | strong |
| Part Five, Ch. 58: Epilogue/Summer | The following summer, Hallorann helps Danny recover at a lakeside camp, closing the book on a note of healing. | omitted | No equivalent scene. The film closes instead on the ballroom photograph. | all | strong |
| Cross-cutting: Jack's alcoholism and inherited violence (Part One flashbacks) | Jack's own father was a violent alcoholic who beat Jack's mother with a cane; Jack fears repeating the pattern with Danny, and the George Hatfield assault is the proximate cause of his firing. | Film, doctor's-office scene, approx. 0:08 (US cut only) | Condensed to a single reported incident: Wendy tells a visiting doctor that Jack, drinking, dislocated Danny's shoulder and has been sober five months since. Jack's own father and the George Hatfield firing are never mentioned. | US theatrical | strong |
Change log
The argument. The mapping above is the evidence.- OmittedThe wasps'-nest subplot, an early sign of the hotel's influence on Jack, is cut entirely.Part Three, Ch. 14–17 → omittedRemoves the book's first sign that the hotel is working on Jack.Attribution: unknown / production decision
- OmittedThe boiler-room scrapbook scene, which drives Jack's sudden burst of writing, is absent from the finished film.Part Three, Ch. 18 → omittedDiane Johnson said in 2006 that a version of the scene was filmed and cut for time. Without it, Jack's shift from blocked writing to constant typing has no on-screen cause.Attribution: Stanley Kubrick, per Diane Johnson's account
- OmittedThe topiary hedge animals that come alive and attack are replaced by a fixed hedge maze used for the climactic chase.Part Four, Ch. 34 → Film, maze introduced early, used in the climaxReplaces a supernatural threat that acts against characters through the middle of the book with a setting that carries no threat until the final chase.Attribution: Stanley Kubrick, who has said the maze 'may have suggested itself from the animal topiary scenes in the novel'
- InventedThe line 'Here's Johnny!' at the bathroom door is an on-set ad-lib, and the novel supplies no counterpart.No equivalent line → Film, approx. 1:55Adds dialogue without changing a plot mechanism; the line is film-only.Attribution: Jack Nicholson, widely reported as improvised on set
- OmittedDick Hallorann is killed on screen with an axe immediately after arriving at the hotel.Part Five, Ch. 51–53, where Hallorann survives → Film, approx. 2:00–2:05Removes the book's rescuer, so Wendy and Danny leave on their own, and ends Hallorann's story where the book carries it into the epilogue.Attribution: Stanley Kubrick; actor Scatman Crothers has said the earlier draft screenplay kept Hallorann alive as in the book
- InventedThe film's closing shot shows Jack in a 1921 Overlook ballroom photograph, dated decades before his birth.No equivalent image → Film, final shotOpens a reading in which Jack belongs to the hotel's earlier history. The novel's ending states nothing of the kind.Attribution: Stanley Kubrick
- Ending changedThe boiler explosion that destroys the hotel and kills Jack is replaced by Jack freezing to death, lost in the hedge maze.Part Five, Ch. 55–56 → Film, final actThe Overlook survives the film, so both the destruction of the hotel and its cause, the neglected boiler, leave the story.Attribution: Stanley Kubrick, who called the book's ending 'a bit hackneyed' and 'not very interesting' in a 1980 interview
- OmittedThe closing 'Epilogue/Summer' chapter, in which Hallorann helps Danny recover the following summer, is cut.Part Five, Ch. 58 → omittedRemoves the book's final scene, in which Danny recovers. The film's last scene is the ballroom photograph instead.Attribution: unknown / production decision
- ReorderedGrady's ghost urging Jack to 'correct' his family moves from the costume party itself to the hotel's red men's room just off the party.Part Five, Ch. 42–45 → Film, approx. 1:40The causal beat and the substance of the dialogue are unchanged. The party stays in shot as a backdrop rather than as the scene's setting.Attribution: unknown / production decision
- CondensedJack's alcoholism and family-violence backstory, spread across several early chapters, is reduced to one reported incident, Danny's dislocated shoulder. His father's abuse of his mother and the George Hatfield firing do not appear.Part One, Ch. 1–7 flashbacks → Film, doctor's-office scene, approx. 0:08 (US cut only)Removes the inherited-abuse line the novel uses to explain why Jack is open to the hotel's influence.Attribution: unknown / production decision
- Tonal shiftThe film's register differs from the novel's stated warmth toward the reader, in the camera and in the performances.Novel-wide → Film-wideStephen King said in 1983 and again in 2013 that he writes to be warm toward the reader and that this film is cold by comparison, and he reported Kubrick describing himself as pragmatic and rational. The theme inventory records the tonal claim as altered on that basis.Attribution: Stanley Kubrick's directorial approach, per Stephen King's public comments
- Identity / design changeGrady's two young daughters, aged eight and ten in the book, are cast and shot as apparently identical twins.Part Five, Ch. 42–45 and Ullman's Part One account → Film, hallway scenesUllman's dialogue in the film still gives the ages as eight and ten, so the twin imagery sits on top of the book's detail rather than replacing it.Attribution: Stanley Kubrick
- Kept, unflinchingThe decaying corpse of the woman in Room 217/237 is shown directly in both cuts.Part Three, Ch. 25 → Film, approx. 0:58Keeps a source detail the film could have implied instead. Kubrick said in 1980 that the corpse in the bathtub is also in King's text.Attribution: Stanley Kubrick
People
Trait score = attested traits kept ÷ attested traits shown. Unstated traits are not rows.Jack Torrance38
| Vocation / role | A struggling novelist and former prep-school English teacher, hired as the Overlook's winter caretaker. | preserved |
| Body / ability | A recovering alcoholic, sober roughly five months after a drunken incident in which he dislocated Danny's shoulder. | preserved |
| Arc | Lost his teaching job at Stovington Prep after losing his temper and assaulting a student, George Hatfield, who had slashed his tires. | omitted |
| Relationships | His own father was a violent alcoholic who beat Jack's mother; Jack fears repeating the cycle. | omitted |
| Personality | Begins the story genuinely trying to stay sober and rebuild his family, and loses his grip only gradually under the hotel's influence.Stephen King's core complaint: the film reads Jack as unstable from his first scene, removing the gradual descent. | altered |
| Relationships | Shows real early warmth toward Wendy and Danny before the hotel's influence takes hold. | altered |
| Plot function | Is manipulated by the hotel's ghosts, who unbolt a locked door to free him and press him toward killing his family. | preserved |
| Arc | In a last lucid moment before his death, love for his family briefly resurfaces. | omitted |
Wendy Torrance57
| Appearance | Blonde and strikingly attractive; drawing looks from strangers.Kubrick himself has said the novel 'pictures her as a much more self-reliant and attractive woman' than the film's casting. | altered |
| Personality | Resourceful and comparatively level-headed once the crisis begins.Screenwriter Diane Johnson has said cuts to Wendy's dialogue left her 'reduced to tears and whimpers' rather than the 'round' character she and King had written. | altered |
| Voice | Given substantial dialogue reflecting her own fear and reasoning through the crisis. | altered |
| Relationships | Physically fights to protect Danny, striking Jack to stop him. | preserved |
| Moral code | Stands by Jack out of love despite his relapse into drinking and rage, hoping he can recover. | preserved |
| Body / ability | Overpowers Jack long enough to lock him in the hotel's pantry. | preserved |
| Plot function | Escapes the hotel grounds by driving the property's snow vehicle. | preserved |
Danny Torrance86
| Body / ability | Age five, and possesses a strong psychic gift the hotel and Hallorann both call 'the shine.' | preserved |
| Relationships | Communicates with an inner presence he calls Tony, who shows him visions and warns him of danger. | preserved |
| Plot function | Explores Room 217 against instructions and is attacked by the decaying woman inside. | preserved |
| Plot function | Ultimately escapes his father and survives with his mother. | preserved |
| Personality | A quiet, watchful child who understands the hotel's danger before the adults around him do. | preserved |
| Arc | Breaks the hotel's hold on Jack by insisting 'you're not my daddy,' rather than by outrunning him.The film replaces the verbal confrontation with Danny outrunning Jack and doubling back on his own footprints in the maze. | altered |
| Relationships | Bonds closely with Dick Hallorann, who shares his psychic gift and warns him about the hotel. | preserved |
Dick Hallorann71
| Vocation / role | The Overlook's head chef, who also has the psychic 'shine.' | preserved |
| Identity | A Black man. | preserved |
| Relationships | Forms an immediate bond with Danny, recognizing the boy's gift as his own. | preserved |
| Plot function | Warns Danny to stay out of Room 217. | preserved |
| Plot function | Senses Danny's telepathic distress call from Florida and returns to the hotel. | preserved |
| Arc | Is attacked by Jack on arrival but survives, wounded, and helps Wendy and Danny escape.The film kills him outright with an axe just inside the entrance. | altered |
| Plot function | Drives the family's escape from the Overlook's grounds. | omitted |
Delbert Grady86
The film has Ullman call him 'Charles Grady' once, while the ghost gives his name as 'Delbert Grady.' The novel uses Delbert Grady throughout. The novel states no 'Charles,' so this is a film-only discrepancy and is not counted as a trait miss.
| Vocation / role | The Overlook's previous winter caretaker, in the 1970–71 season. | preserved |
| Arc | Murdered his family and killed himself during an isolated winter, driven mad by the hotel. | preserved |
| Body / ability | Killed his two daughters with an axe. | preserved |
| Appearance | Has two young daughters, ages eight and ten.The film casts them as visually identical twins, though Ullman's dialogue still gives their ages as eight and ten. | altered |
| Plot function | As a ghost, unbolts a locked door to free Jack. | preserved |
| Plot function | As a ghost, urges Jack to 'correct' his wife and son, framing it as his duty as caretaker. | preserved |
| Voice | Formal, deferential household-staff diction. | preserved |
Stuart Ullman100
| Vocation / role | The Overlook's image-conscious hotel manager, who interviews and hires Jack. | preserved |
| Personality | Officious and a little pompous, insistent on the hotel's reputation. | preserved |
| Plot function | Discloses the hotel's violent history, including the Grady murders, to Jack during the hiring interview. | preserved |
Lloyd (the bartender)100
| Vocation / role | A ghost who once tended the Overlook's bar. | preserved |
| Plot function | Serves Jack drinks on the house, luring him back to alcohol despite the hotel being dry for the winter. | preserved |
| Voice | Smooth, ingratiating bartender's patter. | preserved |
Creator stance
Time-stamped. Co-creators are never collapsed.Stephen King
author of source
1983
Opposed, credited
Told Playboy he was 'deeply disappointed' in the film, that Kubrick was 'a very cold man' who couldn't grasp the Overlook's 'inhuman evil,' and that casting Jack Nicholson right after One Flew Over the Cuckoo's Nest meant audiences read Jack as crazy from his first scene, robbing the story of the tragedy of his gradual breakdown.
Stephen King
author of source
2013
Opposed, credited
Said the film felt 'very cold' next to the warmth he tries to write into his books, comparing its treatment of the characters to watching ants in an anthill, and called Shelley Duvall's Wendy 'one of the most misogynistic characters ever put on film,' saying she is reduced to screaming rather than the woman he wrote.
Original interview reported as a BBC conversation; the direct BBC page could not be located and verified live, so this row cites secondary reporting that quotes it.
Stephen King
author of source
2016
Opposed, credited
Told an interviewer that Jack Torrance 'has no arc' in the film, that he reads as unstable from his first scene rather than a sane man slowly losing his sanity, and called the film 'a big, beautiful Cadillac with no engine inside it.'
Original interview reported in Deadline; the Deadline page itself returned an access-gate error on every fetch attempt, so this row cites secondary reporting that quotes it directly.
Stanley Kubrick
director and co-screenwriter
1980
Participating adapter
Told Michel Ciment that the novel's ending felt 'a bit hackneyed' and 'not very interesting' to him, so he built a climax the audience could not anticipate; explained that Room 217 became 237 only because the location hotel objected, not for any narrative reason; and said the decaying corpse in the bathtub was kept from King's text deliberately.
Diane Johnson
co-screenwriter
2006
Participating adapter
Wrote that she and Kubrick deconstructed King's novel into scenes on index cards; that she wrote Wendy with more sympathetic dialogue than survived the edit, after Duvall and Kubrick cut many of her lines; and that the boiler-room scrapbook scene, which she considered important to Jack's motivation, was filmed and then removed at the last minute for time.
Essay first published in the 2006 academic collection Depth of Field: Stanley Kubrick, Film, and the Uses of History; this is a live reproduction of that essay.
Planned: the-shining-novel-to-1997-miniseries.
Sources
Every score note points here. Wikipedia is a lead, not an authority.- primarySTEPHEN KING: PLAYBOY INTERVIEW (1983)
King's 1983 assessment of Kubrick as 'cold,' his complaint about Nicholson's casting removing Jack's arc, and the 'Cadillac with no engine' framing of the film's virtuosity without heart. - primaryKubrick on The Shining: An interview with Michel Ciment
Kubrick's own account of why he changed the ending, why Room 217 became 237, his approach to Danny and Hallorann's psychic ability, and his decision to keep the decaying corpse explicit. - primaryDiane Johnson: Writing 'the Shining'
The screenwriting process, the cut scrapbook scene, the trimming of Wendy's dialogue, and Kubrick's approach to the ghosts as narratively 'real.' - secondaryWhy Does Stephen King Hate Stanley Kubrick's 'The Shining' So Much? (Collider)
King's 2013 and 2016 remarks on Wendy's characterization and Jack's missing arc, quoted from the original BBC and Deadline interviews. - secondaryHow Stephen King Really Felt About The Shining (Looper)
King's 2014 Rolling Stone remark that Jack reads as 'crazy from the first scene,' and his response to the documentary Room 237. - secondaryHow The Shining Book Differs From The Movie (Looper)
Jack's father's abuse and the George Hatfield firing as book-only backstory; the roque mallet versus axe change; the hedge animals versus the maze; Hallorann's survival in the book. - secondaryThe Shining's Twins Explained (CBR)
The Grady daughters' ages (eight and ten) and lack of names in the novel, versus their film portrayal as named, identical-seeming twins. - secondaryThe Shining's Original Script Didn't Kill Dick Hallorann (Why It Changed) (ScreenRant)
Hallorann's survival in the novel and in Kubrick's earlier draft screenplay, per Scatman Crothers, versus his on-screen death in the finished film. - secondaryDick Hallorann's death in The Shining is both a WTF moment and tragically inevitable (SYFY)
The manner and staging of Hallorann's on-screen death (an axe blow just inside the hotel's entrance). - secondaryHow Long Is The Original Shining Movie? Unveiling the Different Cuts & Versions (Dark Skies)
The 144-minute US theatrical runtime and the 119-minute international cut, and Kubrick's own hand in preparing the shorter cut. - referenceThe Shining Study Guide (BookRags)
The novel's five part titles and 58 chapter titles used for the mapping table's units. - referenceThe Shining (novel), Wikipedia
Lead for the novel's 1977 Doubleday publication and general plot facts. Not an authority for any score. - referenceThe Shining (film), Wikipedia
Lead for release date, director and screenwriter credits, distributor, and the existence of the premiere/US/international cuts. Not an authority for any score. Its plot summary also carries no mention of Jack's Stovington firing or the George Hatfield assault, confirming the backstory is absent from the film. - secondaryThe Shining (1980) film script transcript, SpringfieldSpringfield
The Ullman-interview dialogue, showing Jack is introduced only as 'formerly a schoolteacher' with no line naming Stovington, his firing, or the George Hatfield assault. - productionThe Shining, Stephen King official site
Publisher (Doubleday) and January 1977 publication date for the novel.
Record the-shining-novel-to-1980 · schema 0.2 · scoring 0.3-census · completeness partial. Fidelity is not quality; the score is not a review.