The Shining - Two Scene Analysis

Bar Scene

The scene opens with a long shot of Jack sitting at a bar, in a room known as ‘The Gold Room’, filled with tables and a stage adorned with a piano, giving us the impression that the room is used for parties, complete with a bar that is currently empty. The absence of everything that would bring this place to life gives it a desolate, eerie feeling. Throughout the scene, the background stays in deep focus, reinforcing a theme of isolation and making Jack feel insignificant against the vast, imposing nature of the hotel bar.

The camera angles onto Jack, and makes it seem as though he is breaking the 4th wall, implying that he has truly lost his mind. Jack’s interaction with Lloyd, a ghostly bartender who materialises out of thin air, is a two-shot interaction. The audience knows through dramatic irony that this isn’t real. However, the use of a two-shot makes Jack believe that he is having a genuine conversation; this is the Hotel’s way of luring Jack in.

In terms of mise-en-scène and sound design, the gold walls and ceiling, and golden light, as well as the symmetry of the lights on the tables, make this scene feel as though it is set in an entirely different place, almost like another plane of reality, compared to the harsh, intrusive lighting before. This is further implied by the prominent use of diegetic sound; the wind can be heard clearly, as well as soft echoes when the two characters are speaking. There is no music throughout this exchange, continuously reinstating the theme of isolation and separation.

This scene is the perfect example of representing the supernatural power of the Overlook. One of Jack’s lines, "God, I'd give my god-damned soul for just a glass of beer", shows his willingness to give in to the Hotel’s control and bring himself relief from his inner struggles. Almost like magic, a bartender appears with full shelves of alcohol, like something otherworldly has taken him up on his offer. Furthermore, Jack calls Lloyd the “best bartender”, and is told that his “credit is fine” when has no money, this is the hotel’s way of gaining control of Jack subconsciously, and manipulating him, by giving him his every desire, and telling him exactly what he wants to hear.

Bat Scene

The scene begins with fixed camera shots that angle on Jack and Wendy, accompanied by unsettling yet subtle music. Occasional pizzicato heightens tension, keeping viewers uncertain. As Jack starts moving towards Wendy, the camera transitions to a tracking shot, signalling a shift from static observation to active pursuit. This movement portrays the characters as predator and prey. Furthermore, the two characters do not share the same shot until the end, emphasising their emotional distance throughout the scene. Instead, it’s a back and forth between them, and we can immediately tell that something isn’t quite right.

As for lighting, it’s intense. Bright natural lighting reinforces the idea that Wendy is vulnerable, like a deer in headlights. She is frozen and unable to defend herself, even though she has the means. The contrast in lighting is vital. The harsh ambient, available light downstairs is like an interrogation room, creating pressure and vulnerability. The lighting also makes the room feel cold and unwelcoming. Combined with the desolate hotel lounge, where Wendy and Jack are the sole focus, it shows how blank Jack’s mind has become. This highlights his descent into insanity. In contrast, as Wendy moves up the stairs, the lighting softens and warms. It seems to provide protection and safety while Jack stays in the harsh light. Here, the two characters finally appear in the same shot. Kubrick uses an over-the-shoulder angle to show Jack as a threat to Wendy as he grows more and more hostile.

As the scene plays out, the music continues to amplify the feeling of dread, shifting from subtle eeriness to bold dark ambience; it's distorted, with a combination of low and high tones. The high-pitched note that is drawn out evokes fear and audibly transitions the trepidation into something more tangible, especially as the music is non-diegetic; we know that it has been put in there for this reason specifically.

In terms of mise-en-scène, there isn’t much to go off; the barren hotel lounge filled with empty chairs and tables is used to create verisimilitude, creating a seemingly normal atmosphere that twists and becomes a sinister setting as the narrative progresses. In conclusion, this scene successfully creates an immersive world full of apprehension, surrealism and the feeling that something supernatural could appear at any point in time.