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Stephen King is known for his hands-on approach to adaptations of his work, often sharing his opinions candidly, particularly when dissatisfied. This was evident with a ’90s adaptation of one of his short stories, which flopped with a 0% Rotten Tomatoes rating. His critique extends to Stanley Kubrick’s rendition of “The Shining,” a film that diverged significantly from King’s original narrative. In response, King personally selected Mick Garris to direct a new adaptation, casting Rebecca De Mornay as Wendy Torrance. This wasn’t King’s first foray into production; he also helmed the critically panned “Maximum Overdrive.”
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During a 2021 interview with The Morning Call, De Mornay recounted how she secured the role. She was at the same event as King when a publicist informed her of his interest. Minutes later, King approached her with his director, Mick Garris, enthusiastically expressing his desire for her participation in his upcoming project. De Mornay initially thought his approach was overzealous and doubted it would materialize, but she was delighted when the script arrived two years later.
The miniseries adaptation of “The Shining” emerged nearly twenty years after Kubrick’s film, initially praised for its closer adherence to the novel. However, over the 25 years since its release, perceptions have shifted. Critics like The New York Observer in 2014 ranked it as the weakest among King’s TV adaptations, a stark contrast to Kubrick’s film, which gained acclaim over time as a horror masterpiece.
Despite its fidelity to the book, the miniseries lacks the impact of its predecessor. Kubrick’s version, while creatively different, introduced a Jack Torrance who appeared doomed from the start. Kubrick acknowledged his alterations, which strayed from King’s narrative, but maintained an appreciation for King’s writing. Conversely, King has been vocal about his dissatisfaction with Kubrick’s portrayal of the adult characters.
Nothing could live up to the original The Shining film
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The attempt at faithfulness in the miniseries is arguably its downfall. Certain book elements, like the animate topiaries, didn’t translate effectively on screen, losing their intended menace. The series lacks memorable cinematic moments, unlike Kubrick’s version, which, although it veered from the text, delivered iconic scenes like the elevator’s torrent of blood. Kubrick’s artistic choices continue to resonate, while the miniseries, despite De Mornay’s commendable performance, gradually fades into obscurity.
What the television project has over the earlier adaptation is that it is indeed more faithful to the source material. Kubrick took some liberties with his version, creating a vision that makes Jack visibly doomed from the outset. The director has said the changes he made had nothing to do with the original story, though his own opinion of King’s writing is mostly complimentary. In return, King is similarly open about his thoughts on Kubrick’s vision of “The Shining,” noting his distaste for the changes to the two adult leads.
Unfortunately, what makes the miniseries more faithful is also its demise. Some of the aspects of the book, particularly the sequence with the topiaries, just don’t translate as well to the screen, losing the menacing factor they had on the page. Overall, the miniseries lacks an iconic moment. Alternatively, the elevator and its nightmarish surge of blood may not have been something King wrote, but it created an iconic film moment. Kubrick’s visual elements helped to give his movie the power it still has today, while the miniseries, decent, drab, and carried hard by Rebecca De Mornay’s strong performance, continues to fade.
