Almost 45 years later, The brilliant There remains a famous masterpiece of cinema and occupies a place among the greatest films of all time. The adaptation by Stanley Kubrick of Stephen King highlights the director’s unique style and is full of bizarre visuals and disturbing moments. It has long been examined by students and criticism of cinema and is always reviewed by fans in the hope of collecting new clues or finding a new interpretation of the equipment. All this attention has naturally led to the development of many theories concerning The brilliant and its meaning. Some of these theories are intriguing and others are simply bizarre, but they are all fun to think.
Secret messages hidden in the film to larger themes which are communicated, there is no shortage of ideas on The brilliant And how it should be visualized. Some are supported by experts on the film and some are marginal theories that are certainly wrong. For fans, however, it is difficult to ignore even absurd theories when you watch a film that is in itself, rooted in the surrealist and the shocking.
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Kubrick may use the brilliant to confess his attachment to the moon landing
A marginal theory is attached to a sweater and piece numbers
Perhaps the most bizarre theory on The brilliantAnd the only one that is certainly not true because it is based on another false conspiracy theory, is that Stanley Kubrick used films to confess his involvement in the tractor of the moon landing in 1969. History tells that the government of the United States, rather than on the landing of astronauts on the Moon, simulated the Apollo 11 mission on a sound stage Hollywood. Kubrick, an accomplished director who had experience 2001: A Space Odysseywas recruited for the project. According to this plot, The brilliant served as a way to reveal this to the public.
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Those who hold this plot indicate many little things The brilliant. Danny wears an Apollo 11 shirt and, at some point, goes from a kneeling position to a standing position which gives the impression that the rocket is unleashed. The carpet on which it stands is a little like a launch ramp. The often referenced room 237 represents the average distance between the earth and the moon. It is said that Jack’s diatribe on the duty of an entrepreneur would represent Kubrick’s own feelings about hiring to simulate moon landing. Of course, like many conspiracy theories, it is based on small coincidences and pure and simple disinformation (the average distance between the earth and the moon is closer to 238 miles, not 237,000). However, like many theories of the eccentric plot, it’s too fun not to indulge briefly.
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The brilliant serves as allegory on colonialism
Amerindian imaging appears throughout the film
A much more likely theory on the Bright Posit that he hides a message on colonialism and the abuse of the Amerindians. It was revealed at the start of the film that the Overlook hotel was built on native funeral ground and that Native American images are located throughout the film. Of a chef wearing a traditional hairstyle on boxes of dough powder to a Native American carpet on a wall, There are many small clues that the almost extermination of the population of American origin is that The brilliant is secretly about. In addition, unlike moon theory, it is supported by more important moments in the film.
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At the base, The brilliant is an incredibly violent film, revolving around a abusing and tormenting man around him who are weaker. The tradition of the Overlook hotel also revolves around the cycles of violence, disturbed people continuously violating the peace of their environment with explosions of destruction. Jack also refers to the “White Man Burial”, a racist philosophy used to justify colonialism at the beginning of the 20th century. All this supports the idea that Kubrick thought of the experience of Amerindians and colonialism in general during the realization The brilliant. Whether it is the main theme of the film or one of the many, it certainly seems to be present to a certain extent.
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The brilliant could also concern the holocaust
Another theory maintains that The brilliant Talk about a different crime against humanity, secretly referring to the Holocaust and the Second World War. Supported by the history teacher Geoffrey Cocks and his book The wolf at the door: Stanley Kubrick, History and HolocaustThis point of view argues that the director was deeply influenced by the horrors of Nazism and wanted to make a film on the genocide of European Jews for a large part of his life. Cocks and others note that Kubrick was born from a Jewish family and grew up in a Jewish district in the years following the Second World War. Although he was not religious, he strongly kept his inheritance and it was an important influence on his work. According to this theory, Kubrick said he could never make the Holocaust film he wanted, so he subtly slipped his planned message The brilliant.
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Like other theories, it also points to symbols and declarations that are easily neglected in the film. The number 42 appears several times throughout The brilliant And would be referred to 1942, the year when the expression “final solution” was adopted by the Nazis as a code for their planned genocide. Jack’s typewriter, including a German brand, would represent the cold, calculative and mechanical way of the holocaust. As with the theory of the Amerindians, it also underlines the crushing theme of the abuse of the weak by the forts and notes that the only victim of murder The brilliant is an African-American, killed by a white man, speaking to themes of racial violence and white supremacy. As with the previous theory, it is difficult not to see it as plausible. Whether intentional or subconscious, primary or secondary, the holocaust was probably in the mind of Kubrick while directing The brilliant.
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The brilliant is designed to synchronize with himself upside down
A variation in the Pink Floyd-Wizard of Oz Theory
A much less dark theory, and that fans can like to test themselves, maintains that The brilliant is specifically intended to correspond when played simultaneously in front and back. Some viewers who have tested this hypothesis swear if you superimpose two views of the film, started at the same time, but with one back, the combined images will apparently adapt and transmit hidden meanings. When Danny looks in the mirror while talking to his invisible friend, Tony, the mirror will seem to show him horrible images of things to come thanks to the other version of the film playing in the background. The emblematic blood elevators synchronize with Wendy brandishing a knife. A murderous jack seems to float between his normal ego and Wendy as they head towards the overlook. These could, of course, be coincidences, but there are certainly many, bringing some fans to engage in the idea.
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This theory is hardly the first to maintain that artists have secretly tried to synchronize their work with something else. Older music fans will probably remember the argument that Pink Floyd Dark side of the moon The album was designed to correspond to Oz assistantAnd strange models could be found if the two were played at the right time. It is a somewhat discordant way to make a film but, for those who have already seen The brilliantOr Oz assistantCountless times and are looking for a new way of experimenting, testing these theories could be a fun way to make the experience new again.
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Kubrick is a blow on Stephen King in the brilliant
The king hated the adaptation of Kubrick
The most plausible theory, because imaging is perhaps so blatant, is that Kubrick explicitly reported his distance from the vision of Stephen King in his adaptation of The brilliant. It was well known that the famous horror author did not approve of the adaptation of Kubrick of his novel. King’s story was a fairly simple story of morality with a haunted hotel and a bad mind. Kubrick took the basic premises to tell a much more ambiguous story that let the fans wonder if Jack was possessed or if he was still bad. Kubrick had no problem challenging King’s vision and, he seems, he said in the film that his Bright was not the same as the original.
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How the most sadly famous film by Stanley Kubrick deliberately dragged the audience
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In the novel, Jack Torrance drives a red beetle VW. At the start of the film, however, the family is shown in long scanning shots to drive a yellow beetle. This may seem a simple change that could have been the result of the type of car to which the studio had access. However, in the third act of the film, leading to the overlook, Dick Hallorann passes an accident on the road where a red beetle seems to have been crushed. Symbolism seems quite clear. Kubrick place Jack in another car to say that his film was not King’s book and literally destroys a symbol of King’s version to report his contempt for that. For a director known for his subtle messages and his intelligent images, this special moment is too difficult to ignore.
The brilliant
- Release date
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June 13, 1980
- Execution time
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146 minutes
