It's no secret that Stefan King hated Stanley Kubrick's adaptation to his best -selling horror novel, "Shine."The reasons are multiple, ranging from strong disapproval to Jackec Nicholson's casting as Jackack Torrence to disappointment with significant changes in the original book. These criticisms, while valid, the clash with the film's film is an undisputed status as a horror. the King's perception of it; The deadline).

Now, these are Really Raw words, such as King, essentially compares Kubrick's translation of "glitter" to a substance -style exercise and accuses him of stepping up the artistic intention of the book for the worse. Whether you agree with King, that is It is true that Kubrick's story is significantly moving away from the original material, to the extent that both Jackec and Wendy Torrens are questioned as significantly different characters. In addition, King's story feels like a different tragedy because his Jackack Torrence is every person who is crazy only of a terrible goal After He puts a foot at the hotel "Views". Conversely, Nicholson's Jackack always looks a little off, a little too intense, even before the hotel claims its soul.

In 1997 Mick Garis (who previously used "Sleepwalkers" in 1992, also written by King himself) directed these episodes, encouraging a classic story with praise (though flaws). Some would even argue that King's minisers are worth watching with Kubrick's 1980 filmBecause these double interpretations are greatly enriched our understanding of the strange, intriguing world of the Hotel "Views".

It is uncertain to say that Garis's ministers do not approach the brilliance of Kubrick's adaptation, but this knee comparison should not be the only metrics for the show's assessment. We must recall that King's reaction to the 1980 film was not an attempt to emerge against it - if anything, it is bitter proof of intermittent expectations. King sincerely hoped that Kubrick would understand (and preserve) the thematic impulses that lead his tragic horror story. In an interview in 1983 with Playboy (through Dissolve.

King and Garis' "glitter" should be the antithesis of this cold, pragmatic look - and it is very much. The show opens with a research on Jackack's inner life (Steven Webber), Wendy (Rebecca de Sail) and their son Danny (Courtland Hon), bringing all the eccentric small details of the book to life (including a rather unfortunate manifestation of Danny's imaginary friend). Some sequences are strange to the point of silly redundancy - such as when CGI live animals are revived and chasing Danny around the basics of the hotel, or when the insincere jackeck shouts "Bu!" Before breaking maliciously on the bathroom door - but there is an honest charm of this literal approach. Plus, we need to recognize the fact that Garis expertly shapes some of the more neglected parts of the story, bringing them to life with great care.

On flipside, such a virtually, insincere retelling does not make it a little to cause the anxiety you feel when you read about the view and its corrosive evil for the first time. Well, this version of "Shining" radiates heat, flying the abstract terror being affected by a retaliatory hotel and its dead maniacal residents. But the same coldness for which King criticizes Kubrick is what makes the perspective of the latter so dark and persecuting. In Kubrick's vision there is a dark desolationWhere the more miraculous aspects of the story are passed on only through symbolic insinuation, making these aspects more convincing than ever.

While King's minisers are covered by a shiny of a competent story that remains faithful to the author's vision, it achieves little else. However, it is a valuable effort to be assessed in its own terms. Continue, give it a fair chance.