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The Shining (stylized as Stephen King's The Shining) is a three-part television miniseries based on Stephen King's novel of the same name. Directed by Mick Garris from King's teleplay, the series was first aired in 1997.
The 1980 version of THE SHINING can be found on the STANLEY KUBRICK board....
- Steven Weber as Jack Torrance
- Rebecca De Mornay as Wendy Torrance
- Courtland Mead as Danny Torrance
- Wil Horneff as Tony/Adult Danny
- Melvin Van Peebles as Dick Hallorann
- Pat Hingle as Pete Watson
- Elliott Gould as Stuart Ullman
- John Durbin as Horace Derwent
- Stanley Anderson as Delbert Grady
- Cynthia Garris as Lorraine Massey (Woman in Room 217)
- Lisa Thornhill as Rita Hayworth Look-alike
- Michael O'Neill as Doctor Daniel Edwards
- Jan Van Sickle as Al Shockley
- Stephen King as Gage Creed, the orchestra conductor
The creation of this miniseries is attributed to Stephen King's dissatisfaction with director Stanley Kubrick's 1980 film of the same name. In order to receive Kubrick's approval to re-adapt The Shining into a program closer to the original story, King had to agree in writing to eschew his frequent public criticism of Kubrick's film, save for the sole commentary that he was disappointed with Jack Nicholson's portrayal of Jack Torrance as though he had been insane before his arrival at the Overlook Hotel.
Aside from the motive behind the creation of the miniseries, the 1997 rendition featured an important set piece that helped to inspire the original story: The Stanley Hotel in Estes Park, Colorado. King used the hotel that inspired him to write the book as the main exterior and the design of the interior sets. Scenes were also shot using the real interior; however, specific pieces of set dressing were used to enhance the old-fashioned feel of the building.
Ken Tucker of Entertainment Weekly reviewed the miniseries, saying, "There's a deep, rich creepiness suffusing Stephen King's The Shining that makes this miniseries the most frightening TV movie ever made." Ray Richmond of Variety stated, "At six hours, its slowness is carefully calculated; the edge-of-your-seat creepiness unfolds with a languid believability that will rope in viewers early and hold them. This mini earns its massive length, using every minute to paint a picture of surprising emotional complexity and depth