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Room 237
Room 237 is a 2012 American documentary film directed by Rodney Ascher about interpretations of Stanley Kubrick's film The Shining (1980) which was adapted from the 1977 novel of the same name by Stephen King. The documentary includes footage from The Shining and other Kubrick films, along with discussions by Kubrick enthusiasts. Room 237 has nine segments, each focusing on a different element within The Shining which "may reveal hidden clues and hint at a bigger thematic oeuvre." Produced by Tim Kirk, the documentary's title refers to a room in the haunted Overlook Hotel featured in The Shining.
Room 237 was screened in the Directors' Fortnight section at the 2012 Cannes and Sundance film festivals. Its distribution rights were acquired by IFC Midnight and was exhibited theatrically and on VOD on March 29, 2013.
Though King's novel and Kubrick's film adaptation depart in some significant details, they share the same premise. Jack Torrance, a would-be professional writer, takes on a job as the winter caretaker of the sprawling Overlook Hotel in the Colorado Rocky Mountains. His wife Wendy and son Danny accompany him for the season, the child exhibiting a psychic power called "the shining". Hotel chef Dick Hallorann also possesses psychic powers and offers advice to the youngster about managing his unusual abilities. As the months wear on, the isolated family suffers from cabin fever and begins to experience paranormal events.
Room 237 is told entirely through voice-overs by people with theories about The Shining. According to one, the film is about the cultural assimilation of Native Americans, because, according to the story, the hotel was built on a Native American burial mound; and there is imagery throughout the film associated with the American West. Cans of Calumet Baking Powder are noticeable in the background of two important scenes. Because a calumet is a ceremonial pipe, and the cans featured the image of a Native American, one analyst believed that American imperialism was the subtext of the film.
Another theorist believed that Kubrick had directed the footage disseminated by NASA to fake the Apollo 11 Moon landing. He believed that there are telltale signs of the use of front projection in NASA's footage and that Kubrick was contracted to produce hoaxed footage of a fake Moon landing. He points to the knitted Apollo 11 sweater that Danny wears and claims that "237" refers to the mean distance of the Earth to the Moon. He also refers to the fact that a carpet pattern resembles the Apollo launching pad as evidence that the film is an elaborate apology of sorts for Kubrick's involvement. The analyst feels that the tirade Jack delivers to Wendy about how she does not understand the duty of work and honoring a contract with an employer portrays Kubrick's own sense of isolation from keeping so big a secret.
One theorist connects the Overlook's hedge maze-labyrinth with the mythic story of the Minotaur, believing that a skier in a poster is actually a minotaur. She bolsters her theory by pointing out that there is no maze in the original book and that Kubrick's 1955 film Killer's Kiss, was made for Minotaur Productions.
Kubrick's unrealized project about the Holocaust, Aryan Papers, suggested to another critic that The Shining is really about that genocide. He connects Jack's sinister recitation of the Big Bad Wolf's refrain to a Disney production where the wolf is an anti-Semitic caricature. The analyst also feels that Kubrick embeds a message of hope in Dick's advice to Danny about how to deal with his shining abilities. Dick explains that the images Danny sees are just pictures of the past and they can be forgotten. The analyst feels Kubrick is trying to remind his audience of the Holocaust while at the same time helping them to let go of its horrors. There is an extended sequence where the film is superimposed over itself in reverse. By running the film forwards and backwards at the same time, parallels are created, such as Danny walking in on his father and the previous caretaker as they discuss Danny's murder.
The filmmakers do not attempt to promote the claims made by their interview subjects. Director Rodney Ascher offered his own interpretation in an interview for Complex:
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Room 237
Room 237 is a 2012 American documentary film directed by Rodney Ascher about interpretations of Stanley Kubrick's film The Shining (1980) which was adapted from the 1977 novel of the same name by Stephen King. The documentary includes footage from The Shining and other Kubrick films, along with discussions by Kubrick enthusiasts. Room 237 has nine segments, each focusing on a different element within The Shining which "may reveal hidden clues and hint at a bigger thematic oeuvre." Produced by Tim Kirk, the documentary's title refers to a room in the haunted Overlook Hotel featured in The Shining.
Room 237 was screened in the Directors' Fortnight section at the 2012 Cannes and Sundance film festivals. Its distribution rights were acquired by IFC Midnight and was exhibited theatrically and on VOD on March 29, 2013.
Though King's novel and Kubrick's film adaptation depart in some significant details, they share the same premise. Jack Torrance, a would-be professional writer, takes on a job as the winter caretaker of the sprawling Overlook Hotel in the Colorado Rocky Mountains. His wife Wendy and son Danny accompany him for the season, the child exhibiting a psychic power called "the shining". Hotel chef Dick Hallorann also possesses psychic powers and offers advice to the youngster about managing his unusual abilities. As the months wear on, the isolated family suffers from cabin fever and begins to experience paranormal events.
Room 237 is told entirely through voice-overs by people with theories about The Shining. According to one, the film is about the cultural assimilation of Native Americans, because, according to the story, the hotel was built on a Native American burial mound; and there is imagery throughout the film associated with the American West. Cans of Calumet Baking Powder are noticeable in the background of two important scenes. Because a calumet is a ceremonial pipe, and the cans featured the image of a Native American, one analyst believed that American imperialism was the subtext of the film.
Another theorist believed that Kubrick had directed the footage disseminated by NASA to fake the Apollo 11 Moon landing. He believed that there are telltale signs of the use of front projection in NASA's footage and that Kubrick was contracted to produce hoaxed footage of a fake Moon landing. He points to the knitted Apollo 11 sweater that Danny wears and claims that "237" refers to the mean distance of the Earth to the Moon. He also refers to the fact that a carpet pattern resembles the Apollo launching pad as evidence that the film is an elaborate apology of sorts for Kubrick's involvement. The analyst feels that the tirade Jack delivers to Wendy about how she does not understand the duty of work and honoring a contract with an employer portrays Kubrick's own sense of isolation from keeping so big a secret.
One theorist connects the Overlook's hedge maze-labyrinth with the mythic story of the Minotaur, believing that a skier in a poster is actually a minotaur. She bolsters her theory by pointing out that there is no maze in the original book and that Kubrick's 1955 film Killer's Kiss, was made for Minotaur Productions.
Kubrick's unrealized project about the Holocaust, Aryan Papers, suggested to another critic that The Shining is really about that genocide. He connects Jack's sinister recitation of the Big Bad Wolf's refrain to a Disney production where the wolf is an anti-Semitic caricature. The analyst also feels that Kubrick embeds a message of hope in Dick's advice to Danny about how to deal with his shining abilities. Dick explains that the images Danny sees are just pictures of the past and they can be forgotten. The analyst feels Kubrick is trying to remind his audience of the Holocaust while at the same time helping them to let go of its horrors. There is an extended sequence where the film is superimposed over itself in reverse. By running the film forwards and backwards at the same time, parallels are created, such as Danny walking in on his father and the previous caretaker as they discuss Danny's murder.
The filmmakers do not attempt to promote the claims made by their interview subjects. Director Rodney Ascher offered his own interpretation in an interview for Complex: