If you find any numerical evidence similar to what I believe Stanley Kubrick has done here in other movies, or in life in general, post so everyone can see it. Even if you have you’re own special numbers, dream about special numbers, or see special numbers in your cereal. Let us know, maybe someone will chose to write a blog about you.
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I just watched Alfred Hitchcock's 1942 movie Saboteur. Initially there were some unremarkable coincidences at the beginning of the movie which reminded me of the Shining. The movie begins at an aircraft factory during WWII. The factory has warning stenciling on the walls which is similar to that found in the kitchen and back service areas of the Overlook along with heavy sliding fire doors also present in the Overlook kitchen. A fire is set in the factory by a saboteur and there is a dramatic scene where the smoke flows from the side of the movie frame and eventually fills it with dark ominous swirling clouds of smoke not unlike the way the blood flows out of the elevator doors and eventually engulfs the camera in the Shining.
ReplyDeleteLater in the film the coincidences become even more interesting as the hero and his girl find themselves at a very bizarre society ball. They are trapped in the huge ball room with "all the best people" but the villains can't capture them for fear of alarming the other guests and making a scene and the hero can't appeal for help because he doesn't know which party goers might be in league with the villains. Amid the strange events going on, one of the villains approaches the hero and lifts his glass and wryly says " Charming party isn't it?" which echoes the similar phrase and circumstances from the Shining when the formally dressed bloody man tips his glass to the terrified Wendy and says "Great party, isn't it? "
Shortly thereafter the hero of the movie Saboteur is knocked out and carried into (you guessed it) a food locker where rows of dry goods and large cans are stacked on shelves. One row features a black Jemima character (not unlike the Calumet Indian) on the cans prominently placed behind the hero as he stands upon regaining consciousness. He finds that he has been locked in but then successfully tricks the staff into opening the door so he can escape.
Thematically both movies are epic in scale and the human drama is played out against huge symbols of Americana. Saboteur begins in Los Angeles takes a side trip to Hoover Damn and ends abruptly atop the Statue of Liberty.
This most likely is just pure weird coincidence, but none the less remarkable in the number of uncanny parallels to the Shining. And don't forget it was released in the spring of '42.
Excellent. I’m going to check it out. Thank you.
ReplyDeleteThis comment has been removed by the author.
DeleteI think you should try to view Once Upon a Time in America. It has so many symbols and number sin it that a page like this would seem small.
ReplyDeleteEyes Wide Shut has alot to do with mind control (MK Ultra) and the use of mirrors..maybe also something to do with that?
ReplyDeleteThere is the possibility of Jack (unconciously perhaps) sending a psychic messgae to both Halloran and Danny, but this doesn't involve Ullman in any way, so it still doesn't prove your point.
ReplyDeleteBy the way, I found your numerology angle quite intriguing, and I was with you until you go to the Ullman part, and then you kind of went off the rails.
ReplyDeleteSometimes, I think in the first version of Michael Haneke's "Funny Games". For instance, in the beginning of both films there's aerial shots on the main characters cars going to the scene (the Overlook and the house in the lake). And also for the study of violence and for the similar tone of each movie: hyper realistic but not credible, more near than a kind of mental state.
ReplyDeleteI am completely intrigued bu this article and will be watching the Shining this weekend to see all these things you have pointed out, how ever, I read the information on IMDB ( a sit eI don't generally like as I find it annoying to scroll through and some of the time referances and number referances are a little off. Also, I was thinking, the way Stanley has used the jersey with Apollo 11 the design has made the 11 also look like roman numeral.
ReplyDeleteHave you actually read the book?? A lot of the points you made are completey wrong.
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There are numbers scattered throughout Kubrick's work, 103 crops up a lot and in one very odd place in EYS, just pops out of nowhere between the legs of a mannequin for a single frame. You can only see it in the 4:3 ratio version from DVD, all the HD versions are cropped differently. When Millich chases his daughter after he catches her with the two Japanese chaps, if you step frame by frame you'll notice it.
ReplyDeleteIt's also in Strangelove, on the war room wall.
I read your post about how The Shining inverts its source material by changing many details to be the opposite of the novel. The 1984 movie The NeverEnding Story does something similar. Here are a few of the differences. I'll use the "Movie / Novel" format like you did:
ReplyDelete-Bastian is skinny in the movie / Bastian is overweight in the book
-Bastian is more emotional than his father / The father is more emotional than Bastian
-Atreyu looks like a normal human / He has green skin and blue hair
-The Childlike Empress has brown hair / She has white hair
-The magical land is called Fantasia / Fantastica
-Artax can't speak / Artax can speak
-Falcor looks like a flying dog creature / Falcor is described as a traditional dragon
These are just a few of the differences. Like in The Shining, they may just seem like random changes at first, but I suspect Wolfgang Peterson may have been trying to invert The NeverEnding Story in a similar way to what Kubrick did with The Shining.
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