Entering the West Tunnel (Revisiting the Shining)

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Entering the West Tunnel, Revisiting The Shining, Google Redux

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Entering the West Tunnel #2, Revisiting The Shining, Google Redux

Using Google maps as a base, imagined views from the yellow beetle in The Shining, if the yellow beetle could transport itself to now. There are two tunnels on the Going to the Sun Road in Glacier National Park, just as there are two St. Mary’s lakes (an upper and a lower). The film shows the beetle entering the west tunnel which is between Logan’s Pass and the loop back. So, the beetle is still traveling west but it is on another section of the road which has it actually going the opposite direction on the Going-to-the-Sun-Road from the other opening shots. The two tunnels look much alike but the west tunnel can be distinguished as the appropriate one by the parking before and after.

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Helicopter Takes a Pass at the Little Beetle (Revisiting The Shining)

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Rounding the Bend – Revisiting “The Shining – Google Maps Redux Art

A perspective from Google Maps as it reaches the point when the helicopter would have made its pass.

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Crossing the Field – Revisiting “The Shining” – Google Maps Redux Art

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Crossing the Field – Revisiting “The Shining” – Google Maps Redux Art

Before The Narrows, at St. Mary’s Lake, the little beetle crosses a field. The previous serpentine bends shot was already past The Narrows. The shot after this will take us back past The Narrows again, further beyond.

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Serpentine Bends – Revisiting “The Shining – Google Maps Redux Art

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Serpentine Bends – Revisiting “The Shining” – Google Maps Redux Art

The opening shot of The Shining has the helicopter passing by Wild Goose Island, then continuing toward the cliff area where it will a couple shots later do a close pass over the beetle. At the end of the opening shot we have a crossfade to the beetle winding through forest on a serpentine stretch of road that is between The Narrows and the aforesaid cliff.

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St. Mary’s Lake – Revisiting “The Shining” – Google Maps Redux (2 images)

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St. Mary’s Lake – Revisiting “The Shining” – Google Maps Redux

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St. Mary’s Lake (2) – Revisiting “The Shining” – Google Maps Redux

Wild Goose Island, with which “The Shining” opens, is on St. Mary’s Lake past The Narrows in Glacier National Park, Montana. There are two St. Mary’s Lakes, this one and a Lower St. Mary’s Lake.

The helicopter soars past the island and towards the bank where several shots later it will do a close pass by the yellow beetle.

Continue reading St. Mary’s Lake – Revisiting “The Shining” – Google Maps Redux (2 images)

“Definitely No King”

A while back it was proposed in the comment area of a section of my analysis on Kubrick’s The Shining that the item Danny carries into the maze, when exploring it with Wendy, worn on a kind of holster, may not be a toy gun but is possibly a small super 8 film camera. Wendy is, herself, carrying a Polaroid camera.

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The Shining – How the Kubrick Carpet Trick Works

NOTE: I’ve added an update at the bottom of the post.

So, how does that reverse carpet trick work when Danny is in the hall on Wednesday and the ball rolls toward him?

In shot 257, the camera is over Danny and facing him as the ball rolls to him on a “reversed” field of carpet, then in shot 258 the carpet is returned to its normal state.

Kubrick has moved Danny. In shot 257 Kubrick leaves a bit of the edge of the white wall to the rear of the elevators showing which provides us with an orientation point.

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As you can see, based on that orientation point, in shot 258, Danny has made one diagonal move up. If this was a chess game it would be down the order of moving from D2 to C3. Not exactly, I’m just drawing a comparison to illustrate the manner of the move.

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What’s interesting to me is that Kubrick has left in shot 257 that orientation point of the bit of white wall so we can see what has happened.

And now, viewing from the front again, in shot 259, we can look at that orientation point of the bit of white wall and see again how Danny has simply been moved.

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Comparing the above with shot 257 now that we know to look at the orientation point of that white corner.

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UPDATE (March, 2014): If there is any doubt this was done intentionally, such as that the very edge of the wall wasn’t intended to be viewed, please refer to my analysis of 2001, the Jupiter and Beyond the Infinite section. Kubrick does the same thing here with the illuminated floor, as you can see in shots 584 and 585. I’ve described this in the analysis (also in shot 590) and how I believe, in 2001, what he did fits in with the chess game between HAL and Frank Poole. To understand a little more about the chess game you’ll need to read section three of that analysis beginning at shot 264. I had long thought that Kubrick’s moving Danny on the carpet seemed a very chess thing to do, but it wasn’t until doing my analysis of 2001 this past winter that I realized Kubrick had essentially the same set-up there and that Kubrick had established the chess board 8×8 square in shot 584.

Comments for “The Shining” Analysis – Table of Contents

I removed the analyses from the blog as there were too many images and I was concerned the server wouldn’t tolerate the traffic. Have converted them to static html pages and they are up here.

Below are some fun posts I’ve kept on the blog rather than converting to html:

In Which Kubrick Tricks Us Into Not Noticing the Door Which Has Opened
A post on the door that opened in the hall beyond Danny when he tried the door to Room 237 and found it locked.

How the Kubrick Carpet Trick Works
A post on how the Kubrick carpet trick works, when the pattern reverses under Danny. So simple!

Maps of the Overlook Hotel

I had thought it fun to study the locations of the shots on the Going-to-the-Sun road in Glacier National Park in particular, and below are posts showing shots from Google Street View of the locations.

Repurposed shots from Google Maps street view pinpointing the locations of the opening shots on Going-to-the-sun-road are in the following posts: St. Mary’s Lake, Serpentine Bends, Crossing the Field, Helicopter Takes a Pass, Entering the west tunnel, Exiting the West Tunnel, The East Tunnel (not used in the film), After the West Tunnel, Last Shot of Glacier Park in the Opening. Though the Overlook is in Colorado, these opening shots, along with the Closing Day shots, pinpoint a kind of psychological place for the lodge as being on the Continental Divide. The final crossfades to the lodge occur before it. In the opening, the VW travels east to west and the final crossfade out to the lodge occurs east of the Continental Divide. In the Closing Day section, the VW travels west to east on the road and the final crossfade to the lodge occurs west of the Continental Divide. Kubrick often gives us several perspectives of a scene. Such as with there being several perspectives for the “shining” in Room 237. Such as the several mazes. We have the set maze outside the Overlook, we have the map for the maze (different from the set maze), we have the model maze (different from the set maze), and then finally he shows us the “world maze” in which the left mirrors the right side. This is a double labrys–the labyrinth–and we may find the same with the VW approaching the Overlook from either side of the Continental Divide.

Repurposed shots from Google Maps street view pinpointing the location of the Boulder apartment.

Repurposed shots from Google Maps street view pinpointing the locations of the ascent.

Repurposed shots from Google Maps street view showing the view down the mountain and the maze of ski slopes before the Timberline.

Repurposed shots from Google Maps street view of the Miami Channel 10 radio station and where the Stapleton airport was once located and the Westminster/Boulder exit from Denver that Dick passes by on his way to the Overlook.

Repurposed shot from Google Maps street view showing the exterior of a snow-drenched Timberline/Overlook.

Repurposed shots from Google Maps street view showing Dick’s travels up the mountain to the Overlook. Through sheer luck I believe I may have been able to pinpoint the location in which the Snowcat is shown in a pristine winter wonderland that hardly seems real, but is.

Repurposed shots from Google Maps street view showing a couple supplemental, pretty shots of the Timberline area.

In Which Kubrick Tricks Us Into Not Noticing the Door Which Has Opened

When Danny starts his circuit of the 2nd floor above the Colorado lounge, it is about the area of the elevators. He passes Room 237 on his right. His return has him pass Room 237 on his left. This time he stops his big wheel and looks back at the room.

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The Shining – A Comparison of the Green Hall Behind the Office and the Red Hall

The Overlook Hotel is a maze and our ability to map the hotel beyond a few seemingly geographically/locationally concrete portions is pretty well impossible, but we still have sympathetic relationships that can be used to link some areas.

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Updated maps of The Shining

Stanley Kubrick’s “The Shining”–The Maps

I’ve attempted to get the proportions as best as possible, discovering that I was able to do so via the graphics on the carpet as I was able to count them off.


Hi there. This post gets a fair number of visitors and for some reason the idea of everything not fitting together makes some people upset when it really shouldn’t. The initial response of many is to think in terms of continuity and design problems on a major production and that the maps are a matter of nit-picking at small details.

One has to realize that Kubrick practiced the same mismatch technique in certain places in 2001 and with the apartment of Bill and Alice in Eyes Wide Shut. For instance, he radically shifts internal orientation of space as opposed to what we see on the exterior of one of the ships carrying Floyd to Clavius, so that the pilots have views of both the earth and moon which could only have been had by Floyd. He moves the bedroom of Bill and Alice. Also, in Eyes Wide Shut (never mind the maze of streets down which we are taken numerous times under different guises) he discreetly dropped in elements directly connecting the Nathanson apartment with the Ziegler mansion. So, the Overlook is not exceptional in Kubrick’s films for its disequilibrium.

The interior of the Overlook simply doesn’t fit with either the exterior on the studio set or real life; the different parts of it don’t connect together in the way Kubrick visually leads one to believe. His manner of editing establishes assumptions, but those assumptions are wrong. I cover possible reasons for the “why” in my analyses of the different films, but can’t give you a flat-out “why”. What one can discuss, which I’ve done in the analyses, is the psychological and cinematic effect these mismatches and the false flow may have on the viewer. What the maps below do is supply a pretty basic and simple first approach to seeing how we do have these mismatches.

In respect of The Shining, one can also look at the way Kubrick gives the impression of our viewing a family “together” at the Overlook, when we almost never see Jack, Wendy or Danny in the same shot. We have them together in the car, we have them briefly together when Danny meets Dick in the Gold Room and when he is left with Dick as his parents go off to the boiler room with Stuart. After that, after everyone else has left the hotel, the only other time we see Jack, Wendy and Danny together is in the post-choking scene in the Colorado Lounge. We never even see the three in the same shot in the apartment. At the end, by the time Jack has hacked his way into the suite, Wendy and Danny are in the bathroom and Wendy has quickly sent Danny out the window so he’s not even in the suite. The lobby is particularly interesting as one really “feels” we should have seen all three of them there together, and yet it never happens. As with the architecture, Kubrick gives a certain feeling for what is happening and has happened, and quite often it is different from what we’ve seen on the screen.


Continue reading Updated maps of The Shining