No.80
No.80 is a thickly layered visual metaphor: Wendy runs upstairs and encounters one of the most famous scenes in the film.
American History/Culture:
It is assumed Wendy is around the LQ in the WW Hallway because of the stairs and the blue walls and carpet.
Including the Native American children portraits (shown around the Living Space and The Exit Hallway) brings in American History framing to what we’re about to see.
American History/Culture:
It is assumed Wendy is around the LQ in the WW Hallway because of the stairs and the blue walls and carpet.
Including the Native American children portraits (shown around the Living Space and The Exit Hallway) brings in American History framing to what we’re about to see.
The Maze:
Kubrick as Unreliable Narrator:
Who are these men?
In the book, it is explained that this is Derwent- and this is something he did on the regular. In that understanding, these men are ghosts.
Since there is no mention of this, but there are references to dogs, bears, and tuxedos- it becomes something different in the film than what it was decided in the source novel.
Spatial Reflection / Amalgamated Space
There are references and repetitions pulled from the Torrance home, as well as pieces from The Overlook, curated and recreated here. It indicates that this was happening ‘under her nose’ in every context.
A6:i144, Man and Dog, Coleville (bull dog portrait)
A7:i175, the bear
A24:i490, water cooler
A25:i517, mounted Buffalo head
A41:i704, floral rug
A41:i704, water on wooden plaque (?)
A45:i751, bear skin rug
A54:i1164, children’s pajamas
A91:i2142, Jack in a tuxedo
Light as Awareness:
Wendy is finally seeing.
Euphemism/Idiom:
People as Furniture:
People who have been somewhere such as their place of work for such a long time that it is hard to imagine that place without them.
Artwork:
MANY of the pieces we see in this scene are repeated or referencing other pieces of artwork in other scenes.
Snow fishing painting, seen No.3
An additional note: Wendy is styled like the ice fishing painting
Native American children portraits, seen No.13 and No.66/No.81
Snowy Cabin / Snowy house, shown in No.72
We have reached another level, and as Wendy reaches the next floor, she reaches a new awareness as to what was going on under her nose the whole time.
Moon and Cow, Alex Colville
Reflecting another Coleville, Horse and Train, A7:i81.1
Ghost Story:
In the book, it is explained that this is Derwent- and this is something he did on the regular. In that understanding, these men are ghosts.
Cabin Fever:
Whether it’s the shock of almost being slaughtered or the long stays inside, Wendy’s starting to feel the push of mental strain.
Wendy runs to the left, it cuts to Jack. The traveling sequences are becoming shorter and ‘matched’ in edits to be a continual flow of movement without any real sense of place or spatial relationship to each other.
The connections are metaphorical.
It is assumed Wendy is around the LQ in the WW Hallway because of the stairs and the blue walls.
No.13
Jack and Wendy tour the Living Quarters
No.24
Wendy brings Jack breakfast in bed
No.38
Danny trikes around The Lobby and ends up in the West Wing area
No.71
Jack axes down the door to the West Wing Living Area.
Wendy
WENDY
X Danny!
Both Wendy and Jack are calling out for Danny. Jack is doing so to scare him, Wendy is doing it to find and help him.
Utrenja II: Ewangelica
The ‘sting’ of percussion that hits hard, is done so to accentuate awareness and the reality of the situation, and the immediate danger they are all in.