Reviews, articles, rants & ramblings on the darker side of the media fringe

Posts tagged “Stanley Kubrick

2001: A Space Odyssey – Dave Bowman – Figurine

2001_Dave-Bowman_Keir-DulleaCheck out this incredible one-sixth scale model of Keir Dullea as astronaut Dave Bowman in the Stanley Kubrick classic 2001: A Space Odyssey. Available in late 2015 from Executive Replicas HERE


Halloween Themed Ikea Commercial

Late night shopping shouldn’t be like this… Out of Singapore comes a commercial for IKEA that echoes the size of the stores, while also delivering some scares. The ad is an absolutely brilliant homage to Stanley Kubrick’s adaptation of Stephen King’s The Shining, as little Danny Torrance bikes through the store, as if it were the Overlook Hotel, and eventually runs into the infamous “twins”.

The Shining

More awesome models from the geniuses at A Large Evil Corporation. Check out their site HERE

Shining_Overlook_Evil Twins_01


Kubrick Posters by Tracie Ching


Staircases to Nowhere: Making Stanley Kubrick’s “The

The Elstree Project, an oral history project designed to record, preserve and share the memories of people who have worked at the studios of Elstree and Borehamwood.

A 55-minute documentary with contributions from nine crew members who worked on the film and Stanley Kubrick’s widow, Christiane. This is the most in-depth exploration into the making of “The Shining” on film, from the perspective of those who actually worked on the production. Additional content includes memories of the fire at Elstree, a more in-depth look at the Stages at Elstree and the Steadicam, the work of the Second Unit on the film and what it was like to work with Kubrick.

The interviews in this film were recorded over a period of three years, and with eight students getting the chance to gain live work experience as part of their undergraduate degree course in Film and Television in the School of Creative Arts at the University of Hertfordshire.


LEGO – The Shining


Doctor Sleep – Trailer

Stephen King returns to the characters and territory of one of his most popular novels ever, The Shining, in this instantly riveting novel about the now middle-aged Dan Torrance (the boy protagonist of The Shining) and the very special twelve-year-old girl he must save from a tribe of murderous paranormals.

On highways across America, a tribe of people called The True Knot travel in search of sustenance. They look harmless—mostly old, lots of polyester, and married to their RVs. But as Dan Torrance knows, and tween Abra Stone learns, The True Knot are quasi-immortal, living off the “steam” that children with the “shining” produce when they are slowly tortured to death.

Haunted by the inhabitants of the Overlook Hotel where he spent one horrific childhood year, Dan has been drifting for decades, desperate to shed his father’s legacy of despair, alcoholism, and violence. Finally, he settles in a New Hampshire town, an AA community that sustains him, and a job at a nursing home where his remnant “shining” power provides the crucial final comfort to the dying. Aided by a prescient cat, he becomes “Doctor Sleep.”

Then Dan meets the evanescent Abra Stone, and it is her spectacular gift, the brightest shining ever seen, that reignites Dan’s own demons and summons him to a battle for Abra’s soul and survival. This is an epic war between good and evil, a gory, glorious story that will thrill the millions of hyper-devoted readers of The Shining and wildly satisfy anyone new to the territory of this icon in the King canon.

Room 237 – Trailer

After its much talked about festival screenings, The Shining documentary, Room 237, will be released by IFC at the end of March.

“After the box office failure of Barry Lyndon, Stanley Kubrick decided to embark on a project that might have more commercial appeal. The Shining, Stephen King’s biggest critical and commercial success yet, seemed like a perfect vehicle. After an arduous production, Kubrick’s film received a wide release in the summer of 1980; the reviews were mixed, but the box office, after a slow start, eventually picked up. End of story? Hardly. In the 30 years since the film’s release, a considerable cult of Shining devotees has emerged, fans who claim to have decoded the film’s secret messages addressing everything from the genocide of Native Americans to a range of government conspiracies. Rodney Ascher’s wry and provocative Room 237 fuses fact and fiction through interviews with cultists and scholars, creating a kaleidoscopic deconstruction of Kubrick’s still-controversial classic.”

Room 237 was directed by Rodney Ascher and starts a number of limited theatrical engagements on March 29th. It will also be available on the same date at multiple Cable VOD services and digital outlets. A brand new trailer has just been released.

Full Metal Jacket Diary – iPad app

Explore the making of the 1987 Vietnam War film “Full Metal Jacket” like never before with a new iPad app, created in a collaboration between the film’s star Matthew Modine and artist Adam Rackoff.

The partially Kickstarter-funded app is comprised of Modine’s personal diary, whose detailed accounts from the film’s two year shoot originally made up the 2005 book “Full Metal Jacket Diary.” Now, with the help of Rackoff, the original diary has been adapted into an app that combines audio effects, original footage, interviews, Modine’s first-hand observations of Stanley Kubrick at work, and Modine’s out-of-print original diary into one all-encompassing experience, now available on Apple’s App Store or at the fullmetaljackdiary, along with stills from the set and the diary in print form.

Matthew Modine’s FULL METAL JACKET DIARY is a premium app experience that offers users the choice to read or listen to his diary and includes the following features:

– Modine’s complete diary text from his out-of-print, award-winning, metal-bound book
– 5 chapters chronicling the filmmaking process – Private Life, Vietnam, Boot Camp, On Leave, and Boot Camp Redux
– A nearly 4 hour audio experience with Modine’s own absorbing narration, produced with immersive sound effects and original music
– Over 400 high-res photos and personal documents scanned from original negatives and source material
– Detailed information on photos including dates, locations, and all-new remembrances written by Modine
– Three bonus galleries featuring select photo restoration comparisons
– Interactive “favorites” gallery designed to simulate Matthew’s original contact sheets used in compiling his book
– Store your favorite photos and audio clips for later reference
– Share your favorite photos with your friends via Twitter
– Links to related articles, videos, content, and much more!
– Compatible with iPad 1 and 2, and optimized for the new iPad with HD Retina display

I’ll be purchasing one of these VERY soon…

Matthew Modine’s FULL METAL JACKET DIARY iPad App – Trailer from Cinco Dedos Peliculas on Vimeo.


Merry Christmas – “Heeeerre’s Santa!”

The Shining_Christmas

Malcolm McDowell

Malcolm McDowell (born 13 June 1943) is an English actor, whose career spans more than four decades. McDowell is known for his early roles in the controversial films if…, O Lucky Man!, A Clockwork Orange, and less favourably, Caligula. Since then, his versatility as an actor has led to varied roles in films and television series of different genres, including Tank Girl, Star Trek Generations, Gangster # 1, the TV serials Our Friends in the North, Entourage, and Heroes, and the 2007 remake of Halloween and its sequel.

McDowell was born Malcolm John Taylor in Horsforth, then in the West Riding of Yorkshire, now a part of the City of Leeds, the son of Edna (née McDowell), and Charles Taylor. His family later moved to Bridlington, since his father was in the Royal Air Force. McDowell trained as an actor at the London Academy of Music and Dramatic Art (LAMDA).

McDowell made his screen debut as school rebel Mick Travis in  if… (1968) by British director Lindsay Anderson. If… satirises, and is famous for its depiction of a savage insurrection at an English public school, the film is associated with the 1960’s counter-culture movement because it was filmed by a long-standing counter-culture director at the time of the student uprisings in Paris in May 1968. It includes controversial statements, such as: “There’s no such thing as a wrong war. Violence and revolution are the only pure acts”. It features surrealist sequences throughout the film. Upon release in the UK, it received an X certificate. The film stars McDowell in his first appearance as Anderson’s “everyman” character Mick Travis.

The Mick Travis films are three films directed by British film director Lindsay Anderson and written by David Sherwin, featuring McDowell as Mick Travis, in which Travis features not so much as a single character with a character arc, but as an everyman character whose role changes according to the needs of the storyteller.

In if…, his first appearance (and McDowell’s film debut), Travis first appears as a disaffected public school boy boy whose anti-establishment attitude and experiences lead to armed insurrection at a public school. In O Lucky Man!, co-written by Sherwin and McDowell, Travis becomes a picaresque character, often compared to Voltaire’s ingénu character Candide, in a satirical drama that starts with Travis’s first job as a mobile coffee salesman and, after many adventures involving arms-sale scandals, experiments in human-animal genetics by the mad scientist Doctor Millar (played with relish by Graham Crowden), and a sojourn with the musician Alan Price, ends in his rebirth as a film star, thanks to a slap by a film director played in a cameo by Anderson.

In Britannia Hospital, Travis is a reporter attempting to make an investigative documentary about a hospital where Doctor Millar, the mad geneticist from O Lucky Man! is continuing his unspeakable experiments. if…. won the Palme d’Or at the 1969 Cannes Film Festival. McDowell also made the incredible documentary Never Apologize (2007), a film of a one-man-show in which Malcolm McDowell talks about Lindsey Anderson.

His performance in if…. caught the attention of Stanley Kubrick, who cast McDowell as the lead in A Clockwork Orange, adapted from the novel of the same name by Anthony Burgess. He won great acclaim (nominated for a Golden Globe in the category of Best Actor) as Alex, a young hoodlum brainwashed by a dystopian British government of the near future.

He made his Hollywood debut as H. G. Wells in Time After Time (1979). He often portrayed antagonists in the late 1970s and 1980s, including the title character in Caligula (1979). He later remarked upon his career playing film villains: “I suppose I’m primarily known for that but in fact, that would only be half of my career if I was to tot it all up.”

McDowell appeared in the 1982 remake of Cat People. He is also known in Star Trek circles as “the man who killed Captain Kirk” in the 1994 film Star Trek Generations, in which he played the mad scientist Dr. Tolian Soran.

In 1992, he played himself in Robert Altman’s The Player (1992), in which he chastises protagonist Griffin Mill (Tim Robbins) for badmouthing him behind his back. He co-starred with actress and artist Lori Petty in the action/science fiction/comedy film Tank Girl (1995).

He gave strong performances in Gangster No. 1 (2000), and I’ll Sleep When I’m Dead, (2003) in which he played a straight married man who rapes a young drug dealer to “teach him a lesson”. McDowell appeared as Dr. Sam Loomis in Rob Zombie’s remakes of Halloween and Halloween II (in 2007 and 2009, respectively).

McDowell is set to appear in the upcoming film Silent Hill: Revelation 3D as Leonard Wolf, an insane cult leader. In between all that, he has featured in countless TV series and B-Movies. However, looking at that list you can forget McDowell’s claim that villains only make up half of his career, it may be so, but those villain roles are unforgettable.

Saul Bass

Saul Bass (May 8, 1920 – April 25, 1996) was a graphic designer and filmmaker, perhaps best known for his design of film posters and motion picture title sequences.

Saul Bass was born on May 8, 1920, in the Bronx, New York, to Eastern European Jewish immigrant parents. He graduated from James Monroe High School in the Bronx and studied part-time at the Art Students League in Manhattan until attending night classes with György Kepes at Brooklyn College. He began his time in Hollywood during the 1940s doing print work for film ads, until he collaborated with filmmaker Otto Preminger to design the film poster for his 1954 film Carmen Jones. Preminger was so impressed with Bass’s work that he asked him to produce the title sequence as well. This was when Bass first saw the opportunity to create something more than a title sequence, but to create something which would ultimately enhance the experience of the audience and contribute to the mood and the theme of the movie within the opening moments. Bass was one of the first to realize the creative potential of the opening and closing credits of a movie.

Bass became widely known in the film industry after creating the title sequence for Otto Preminger’s The Man with the Golden Arm (1955). The subject of the film was a jazz musician’s struggle to overcome his heroin addiction, a taboo subject in the mid-’50s. Bass decided to create a controversial title sequence to match the film’s controversial subject. He chose the arm as the central image, as the arm is a strong image relating to drug addiction. The titles featured an animated, white on black paper cut-out arm of a heroin addict. As he expected, it caused quite a sensation.

For Alfred Hitchcock, Bass provided effective, memorable title sequences, inventing a new type of kinetic typography, for North by Northwest (1959), Vertigo (1958), working with John Whitney, and Psycho (1960). It was this kind of innovative, revolutionary work that made Bass a revered graphic designer. Before the advent of Bass’s title sequences in the 1950s, titles were generally static, separate from the movie, and it was common for them to be projected onto the cinema curtains, the curtains only being raised right before the first scene of the movie.

Bass once described his main goal for his title sequences as being to ‘’try to reach for a simple, visual phrase that tells you what the picture is all about and evokes the essence of the story”. Another philosophy that Bass described as influencing his title sequences was the goal of getting the audience to see familiar parts of their world in an unfamiliar way.

He designed title sequences for more than 40 years, and employed diverse film making techniques, from cut-out animation for Anatomy of a Murder (1958), to fully animated mini-movies such as the epilogue for Around the World in 80 Days (1956), and live action sequences. His live action opening title sequences often served as prologues to their films and transitioned seamlessly into their opening scenes.

Toward the end of his career, he was rediscovered by Martin Scorsese who had grown up admiring his film work. For Scorsese, Saul Bass (in collaboration with his wife Elaine Bass) created title sequences for Goodfellas (1990), Cape Fear (1991), The Age of Innocence (1993), and Casino (1995), his last title sequence. His later work with Scorsese saw him move away from the optical techniques that he had pioneered and move into the use of computerized effects. Bass’s title sequences featured new and innovative methods of production and startling graphic design.

Saul Bass designed emblematic movie posters that transformed the visuals of film advertising. Before Bass’s seminal poster for The Man with the Golden Arm (1955), movie posters were dominated by depictions of key scenes or characters from the film, often both juxtaposed with each other. Bass’s posters, however, typically developed simplified, symbolic designs that visually communicated key essential elements of the film. For example, his poster for a Man with a Golden Arm, with a jagged arm and off-kilter typography, starkly communicates the protagonist’s struggle with heroin addition. Bass’s iconic Vertigo (1958) poster, with its stylized figures sucked down into the nucleus of a spiral vortex, captures the anxiety and disorientation central to the film. His poster for Anatomy of a Murder (1959), featuring the silhouette of a corpse jarringly dissected into seven pieces, makes both a pun on the film’s title and captures the moral ambiguities within which this court room drama is immersed.

He did great work for Stanley Kubrick, Hitchcock, Otto Preminger and Billy Wilder among other. His last commissioned film poster was created for Steven Spielberg’s Schindler’s List (1993), but it was never distributed. His poster work spanned five decades and inspired numerous other poster and graphic designers. Bass’s film posters are characterized by a distinctive typography and minimalistic style.

In some sense, all modern opening title sequences that introduce the mood or theme of a film can be seen as a legacy of Saul Bass’s innovative work. In particular, though, title sequences for some recent movies and television series, especially those whose setting is during the 1960s, have purposely emulated the graphic style of his animated sequences from that era. Some examples of title sequences that pay homage to Bass’s graphics and animated title sequences are Catch Me If You Can (2002), X-Men: First Class (2011), and the opening to the AMC series Mad Men.

Check out some iconic Saul Bass opening titles HERE

Anthony Burgess

John Burgess Wilson (25 February 1917 – 22 November 1993) – who published under the pen name Anthony Burgess – was an English author, poet, playwright, composer, linguist, translator and critic.

The dystopian satire A Clockwork Orange is Burgess’s most famous novel, though he dismissed it as one of his lesser works. It was adapted into a highly controversial 1971 film by Stanley Kubrick, which Burgess said was chiefly responsible for the popularity of the book. Burgess produced numerous other novels, including the Enderby quartet, and Earthly Powers. He was a prominent critic, writing acclaimed studies of classic writers such as William Shakespeare, James Joyce, D. H. Lawrence and Ernest Hemingway. In 2008, The Times newspaper placed Burgess number 17 on their list of “The 50 greatest British writers since 1945”. Burgess was also an accomplished musician and linguist. He composed over 250 musical works, including a first symphony around age 18, wrote a number of libretti, and translated, among other works, Cyrano de Bergerac and Carmen.

His dystopian novel A Clockwork Orange was published in 1962. It was inspired initially by an incident during the Second World War in which his wife Lynne was robbed and assaulted in London during the blackout by deserters from the U.S. Army. The event may have contributed to her subsequent miscarriage. The book was an examination of free will and morality. The young anti-hero, Alex, captured after a short career of violence and mayhem, undergoes a course of aversion therapy treatment to curb his violent tendencies. This results in making him defenseless against other people and unable to enjoy some of his favorite music that, besides violence, had been an intense pleasure for him.

In the non-fiction book Flame Into Being (1985) Burgess described A Clockwork Orange as “a jeu d’esprit knocked off for money in three weeks, it became known as the raw material for a film which seemed to glorify sex and violence.” He added “the film made it easy for readers of the book to misunderstand what it was about, and the misunderstanding will pursue me till I die.” Near the time of publication the final chapter was cut from the American edition of the book. Burgess had written A Clockwork Orange with twenty-one chapters, meaning to match the age of majority. “21 is the symbol of human maturity, or used to be, since at 21 you got to vote and assumed adult responsibility,” Burgess wrote in a foreword for a 1986 edition. Needing a paycheck and thinking that the publisher was “being charitable in accepting the work at all,” Burgess accepted the deal and allowed A Clockwork Orange to be published in the U.S. with the twenty-first chapter omitted. Stanley Kubrick’s film adaptation of A Clockwork Orange was based on the American edition, and thus helped to perpetuate the loss of the last chapter.

In Martin Seymour-Smith’s Novels and Novelists: A Guide to the World of Fiction, Burgess related that he would often prepare a synopsis with a name-list before beginning a project. Seymour-Smith wrote: “Burgess believes overplanning is fatal to creativity and regards his unconscious mind and the act of writing itself as indispensable guides. He does not produce a draft of a whole novel but prefers to get one page finished before he goes on to the next, which involves a good deal of revision and correction.”

Beyond the Black Rainbow – Trailer

Beyond the Black Rainbow, written and directed by Panos Cosmatos, is a Reagan-era fever dream inspired by hazy childhood memories of midnight movies and Saturday morning cartoons. Cosmatos brings a bold, Kubrickian vision to the screen in stunning detail in this sci-fi fable of a young woman imprisoned in an experimental laboratory and the enigmatic scientist who is her captor. Set in a futuristic 1983, Elena finds herself held against her will in a mysterious facility under the watchful eye of the sinister Dr. Barry Nyle. Pushed to her limits, Elena is left with no choice but to navigate an escape from her labyrinthine prison, in the process revealing its hidden secrets.

The Shining – Poster Art part 2

After the popularity of post of poster art for ‘The Shining’ I’ve sourced a few more…

A Clockwork Orange – Desktop Background

Staying with yesterday’s Kubrick theme, here’s my ‘A Clockwork Orange’ desktop background. It features some rather nice fan art for Kubrick’s controversial masterpiece. Click on the image to get the full size version.

Stanley Kubrick

Stanley Kubrick (July 26, 1928 – March 7, 1999) was an American film director, writer, producer, and photographer, noted for the scrupulous care with which he chose his subjects, his slow method of working, the variety of genres he worked in, his technical perfectionism, his reluctance to talk about his films, and his reclusiveness regarding his personal life. He maintained almost complete artistic control, making movies according to his own whims and time constraints, but with the rare advantage of big-studio financial backing for all his endeavors. Kubrick’s films are characterized by a formal visual style and meticulous attention to detail. His later films often have elements of surrealism and expressionism that eschews structured linear narrative. His films are repeatedly described as slow and methodical, and are often perceived as a reflection of his obsessive and perfectionist nature. A recurring theme in his films is man’s inhumanity to man.

After his early forays into film, ‘Fear and Desire’ (1953) and ‘Killers Kiss’ (1955); the film that first brought him attention to many critics was ‘Paths of Glory’ (1957), the first of three films of his about the dehumanizing effects of war. Starring Kirk Douglas, Paths of Glory tells the story of three innocent soldiers who are charged with cowardice and sentenced to death, allegedly as an example to the troops but actually serving as scapegoats for the failings of the commanding officers.

Kubrick was about follow up with ‘One-Eyed Jacks’ starring Marlon Brando, however the two clashed and Kubrick was sacked from the project. It turned out to be fortuitous as Kirk Douglas hired him to direct ‘Spartacus’ (1960), whose original director, Anthony Mann was similarly fired. Despite on-set troubles, Spartacus was a critical and commercial success and established Kubrick as a major director. However, its embattled production convinced Kubrick to find ways of working with Hollywood financing while remaining independent of its production system.

In 1962, Kubrick moved to England to film ‘Lolita’ (1962), where he would live there for the rest of his life. The original motivation was to film Lolita in a country with laxer censorship laws. However, Kubrick had to remain in England to film Dr. Strangelove since Peter Sellers was not permitted to leave England at the time as he was involved in divorce proceedings. ‘Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb’ (1964), became a cult film and is now considered a classic. Roger Ebert wrote that it is the best satirical film ever made.

It was after filming the first two of these films in England and in the early planning stages of 2001 that Kubrick decided to settle in England permanently. Kubrick spent five years developing his next film, 2001: A Space Odyssey (1968). The film was conceived as a Cinerama spectacle and was photographed in Super Panavision 70mm. Kubrick co-wrote the screenplay with science fiction writer Sir Arthur C. Clarke. Kubrick reportedly told Clarke that his intention was to make “the proverbial great science fiction film.” 2001: A Space Odyssey was noted for being both one of the most scientifically realistic and visually innovative science-fiction films ever made while maintaining an enigmatic non-linear storyline. The $10,000,000 (U.S.) film was a massive production for its time. The groundbreaking visual effects were overseen by Kubrick and were engineered by a team that included a young Doug Trumbull, who would become famous in his own right for his work on the films Blade Runner and Terence Malicks recent ‘The Tree of Life’.

After 2001, Kubrick initially attempted to make a film about the life of Napoleon. When financing fell through, Kubrick went looking for a project that he could film quickly on a small budget. He eventually settled on ‘A Clockwork Orange’  (1971). His adaptation of Anthony Burgess’ novel is a dark, shocking exploration of violence in human society. The film was initially released with an X-rating  in the United States and caused considerable controversy. The film was extremely controversial because of its explicit depiction of teenage gang rape and violence. It was released in the same year as Straw Dogs and Dirty Harry, and the three films sparked a ferocious debate in the media about the social effects of cinematic violence. The controversy was exacerbated when copycat crimes were committed in England by criminals wearing the same costumes as characters in A Clockwork OrangeKubrick voluntarily withdrew his film ‘A Clockwork Orange’ from Great Britain, after it was accused of inspiring copycat crimes which in turn resulted in threats against Kubrick’s family.

Kubrick’s next film, released in 1975, was an adaptation of William Thackeray’s ‘The Luck of Barry Lyndon’, about the adventures and misadventures of an 18th-century Irish gambler and social climber. His films were largely successful at the box-office, although ‘Barry Lyndon’ performed poorly in the United States.

The pace of Kubrick’s work slowed considerably after Barry Lyndon, and he did not make another film for five years. ‘The Shining’ (1980), was adapted from a novel by bestselling horror writer Stephen King. The film starred Jack Nicholson as Jack Torrance, a failed writer who takes a job as an off-season caretaker of the Overlook Hotel, a high-class resort deep in the Colorado mountains. The job requires spending the winter in the isolated hotel with his wife, Wendy (played by Shelley Duvall) and their young son, Danny (played by Danny Lloyd), who is gifted with a form of telepathy—the “shining” of the film’s title. As winter takes hold, the family’s isolation deepens, and the demons and ghosts of the Overlook Hotel’s dark past begin to awake, displaying horrible, phantasmagoric images to Danny, and driving his father Jack into a homicidal psychosis.

The film opened to mixed reviews, but proved a commercial success. As with most Kubrick films, subsequent critical reaction has treated the film more favorably. Among horror movie fans, The Shining is a cult classic, often appearing at the top of best horror film lists alongside ‘Psycho’ (1960), ‘The Exorcist’ (1973), and other horror classics.

Seven years later, Kubrick made his next film, ‘Full Metal Jacket’ (1987). The film appears as two films in one, the first part centres around the dehumanising training of raw recruits by the sadistic Gunnery Sergeant Hartman (an incredible turn by R. Lee Ermey). The second half throws those same recruits into Vietnam, following their advance on and through Hue City, which has been decimated by the North Vietnamese Tet Offensive.

Kubrick’s final film was “Eyes Wide Shut’ (1999), starring then-married actors Tom Cruise and Nicole Kidman as a wealthy Manhattan couple on a sexual odyssey. It follows Dr. William Harford’s journey into the sexual underworld of New York City, after his wife, Alice, has shattered his faith in her fidelity by confessing to having fantasized about giving him and their daughter up for one night with another man. Until then, Harford had presumed women are more naturally faithful than men. This new revelation generates doubt and despair, and he begins to roam the streets of New York, acting blindly on his jealousy.

In 1999—four days after screening a final cut of Eyes Wide Shut for his family, Tom Cruise, Nicole Kidman and Warner Bros. executives—70-year-old Kubrick died of a heart attack in his sleep. All of Kubrick’s films from the mid-1950s to his death except for The Shining were nominated for Oscars, Golden Globes, or BAFTAs. Although he was nominated for an Academy Award as a screenwriter and director on several occasions, his only personal win was for the special effects in 2001: A Space Odyssey.

The Shining – Poster Art

Here are 6 of the better poster art images for Kubrick’s ‘The Shining’ (1980). I thought one Shining article today wasn’t nearly enough… Click on the image for a hidden ‘bonus’ poster. Enjoy.

Shelley Duvall – The Shining

Shelley Alexis Duvall (born July 7, 1949) is an actress best known for her roles in 70’s Robert Altman movies: Brewster McCloud (1970), McCabe & Mrs. Miller (1971), Nashville (1975) and as Olive Oyl in ‘Popeye’ (1980). She followed up with roles in ‘Annie Hall’ (1977), ‘Time Bandits’ (1981), the Tim Burton short film ‘Frankenweenie’ (1984) and ‘Roxanne’ (1987). She is also an Emmy-nominated producer, responsible for ‘Faerie Tale Theatre’ (1982-86) and other kid-friendly programming.

However she is remembered most famously as Wendy Torrance in ‘The Shining’ (1980) opposite Jack Nicholson. The Shining is a classic psychological horror film about a writer Jack (Nicholson) who with his wife (Duvall) and young son Danny (Danny Lloyd), accepts a job as an off-season caretaker in an isolated hotel, the Overlook. Danny possesses psychic abilities and is able to see into the past and future as well as see the ghosts who inhabit the Overlook. A massive winter storm hits the region soon after the family move in, effectively cutting them off and isolating them for the winter. Jack soon descends into madness and convinced that his family are holding him back, he tries to kill them.

Directed by Stanley Kubrick and based on the best-selling novel by Stephen King. The Shining is widely regarded as a classic in the genre although novelist Stephen King has been quoted as saying that although Kubrick made a film with memorable imagery, it was not a good adaptation of his novel and is the only adaptation of his novels that he could “remember hating”. Notably, before this King often said he did not care about the film adaptations of his novels, although now, he apparently loves Brian DePalma’s version of ‘Carrie’ (976). The film differs from the novel significantly with regard to characterization and motivation of the action. The most obvious differences are with regard to the personality of Jack Torrance, mainly Kubrick pulling back on the alcoholism from the novel as these are the source of much of author Stephen King’s dissatisfaction with the film.

During the making of this film, Kubrick and Duvall would often become very frustrated with each other. The most obvious example is when Kubrick shot the famous “baseball bat scene” with Duvall and Nicholson 127 times, which is the world record for most number of takes in any film set.

Nicholson states in the documentary ‘Stanley Kubrick: A Life in Pictures’ (2001) that Kubrick was great to work with but that he was “a different director” with Duvall. Due to Kubrick’s highly methodical nature, principal photography took a year to complete. Despite their differences, Duvall admitted that she learned more from Kubrick than any of her previous films and that she “wouldn’t trade the experience for anything.” Kubrick also knew that he pushed Shelley and treated her the way he did for a significant reason, as the role of “Wendy Torrance” was even said by Jack Nicholson, “the hardest role anyone has ever had to play.”

A Clockwork Orange & Psycho – Poster Art

Here are another few reworked art posters for some great movies.

Both are from the Castro Theatre in San Francisco.

Stanley Kubrick’s ‘A Clockwork Orange’

Alfred Hitchcock’s ‘Psycho’.

You’re welcome… enjoy.

Stanley Kubrick Poster Art

Two more cool Art Posters. This time for two Stanley Kubrick films.

The Shining (1980) for a screening by the Alamo Drafthouse.

Eyes Wide Shut (1999) for a screening at the Castro Theatre in San Francisco.