Sunday, August 12, 2007

Pictures III

Someone has been reading and fixed the crooked lamp between shots and the magazines move also.



Wendy throws the knife down in the packed snow and it later disappears.



Who shut all the lights? This happens continuously in the end.



Jack’s typewriter carriage moves without being touched.



Wendy never puts the bat down but it’s not in her hand in the next shot.



Look very closely as the well-hidden TV wire is visible between the bottom of the chairs in the middle of this picture.


Wendy crumples the top pages than later Jack looks at them and they haven't been touched yet.



The TV wires move without being touched.



The typewriter carriage moves without being touched.



The rug underneath the TV moves and disappears throughout the movie.




Danny’s toys and baseball glove move without being touched.



Time flies between shots on Wendy’s watch.



The snow on the windowsill disappears between shots.



This window couldn’t possibly exist because their apartment is in the back of the building.



The nightstand and the book under the tank move between shots.



The pictures on the sidewall disappear between shots.



The knife reverses in Danny’s hand between shots.



The mike moves before Jack reaches it.



The Indian disappears between shots.



The blue oval picture disappears and moves right before our eyes. Later it's hung in a different lower spot.





Look closely, as the yellow ball is rolled down a seam in the carpet so it ends up in the correct spot. Danny's position on the carpet also reverses between shots.



Another “Shining” streetlight disappears between shots of that spot.



The artwork on the table behind Jack is gone.



Stanley Kubrick's reflection can be seen moving in the window of Mr. Ullmann's office as Jack first walks in.


The statue and sofa both disappear.



The splinters around the opening disappear between shots.





Look at the books in the middle as someone’s been reading between shots.



The chair against the wall moved without anyone going near it.



Someone else opened both doors and shut off the lights.



Danny’s slide marks on the snowdrift disappear and different lights are turned on.



The sofa is reversed later in the movie.



The scrubs outside Mr. Ullmann’s window disappear later in the movie.



The scrapbook closes without being touched by anyone.



The roof antenna changes as the movie progresses.



Half of Danny’s sandwich is eaten in one second and the plate rotates, and moves on the tablecloth without being touched. If you look closely it's not even the same sandwich.



Pots appear behind the table later on even though no one is eating.



The magazines under the nightstand change between shots.



The plants above their heads disappear as the movie progresses.



Plastic flowers appear on the table between shots.



The pipes and tree line change later in the movie.




Look at the phone chord as someone made a call between shots.



The piece of wood is reversed between shots.



The penholder disappears between shots.



The overhead lamp moves around thought the movie.





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11 comments:

Anonymous said...

While preparing each individual shot, you often move, sometimes even remove things, like say paintings, (as in your example), on a wall so that they will fit the composition of that particular picture you are about to shoot. So if some of the props seem to move around between say a WS and an MCU, it's often normal procedure of building individual pictures, not continuity errors.

Cion said...

Hi. I love analyzing Kubrick movies. May I suggest some answers for lights going off and pictures moving? There are many things Kubrick does subliminally to make us feel ill at ease in the movie. One is to mess with our orientation. That's why there's windows where there shouldn't be. Pictures moving suggests we are moving through time, seeing the murder in the Overlook from many different points in time. Furniture seeming to move to suggest we are, indeed, in a haunted place. That's one simple explanation. Another is that every character is mirrored by another in the past (Jack and Delbert Grady, Jack Torrance and his ancestors). Call it a shadow. Kubrick is suggesting the murder never goes away and it follows from one generation to another. This would fit in with the suggestion that the Overlook is a metaphor for the United States. Kubrick is basically saying 'there has always been murder in this Land, it's built on murder and genocide. It may shine and sparkle like the Gold Room, but the river of blood is the hidden horror.

sarah said...

What Cion said is quite clever!

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Anonymous said...

Yes, thanks for bringing all these details together. I am sure a few props were moved, removed, or added to change the look of the shot. I also see a few items moving that may be giving direct clues like the ceiling light in the bedroom. When it is shown it is always directly above someone's head. Not sure what to make of it. Perhaps whoever it is spotting share a particular aspect?

I am just as certain that these are not the reason behind every one. Remember that the sets were kept in place for the duration of the shoot. Scenes were shot and completed in order. So, one particular scene would have been wrapped up in less than a few weeks. There would be no reason to dismantle a set and then pull props out of storage and rebuild a set and arrange all these props later using polaroid stills, thus no reason for this many props to move. If something disappears or moves, someone moved it, sometime over a short period. For example, the magazines on the bottom of the nightstand. They not only moved, they are different magazines. It wasn't just the magazines that moved either, every single thing moved (first pair of pics, look at the top, lamp moved to center, smokes angled differently, magazines, etc). The magazines, in particular the ones on the bottom would never be noticed while watching in the theater and only a hardcore researcher working scene by scene would ever discover these. I suspect the changes were supposed to be subtle and add to the disorienting feeling of the Overlook (on a subconscious level). They were certainly subtle. I had seen this movie perhaps 15 times before ever reading about any "continuity errors" and frankly, the only one I ever noticed at that point was Danny's sammich, and that one was a bright white glaringly obvious one. I chalk that up to SK wanting to keep Danny sane and not use his other subtle powers of manipulation (repetition/boredom) to achieve a goal. Notice that besides the obvious sandwich (I still didn't notice this myself until later in life) there are no obvious "errors", at least anything that 99% of viewers would notice, especially when they probably have their mind on much more pressing issues than prop details while watching a movie like this.

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