By King's apparent calculation, it's the finer points that count. Director Mike Flanagan's new adaptation represents near-total capitulation, lifting many of Kubrick's familiar visual and aural cues to continue the story of Danny Torrance, the child whose psychic sensitivities are referred to as "the shining." Flanagan proved a gifted steward of King's Gerald's Game, a seemingly unadaptable book he pulled off for Netflix, and he has borrowed from Kubrick's film with the author's blessing. Over time, images from Kubrick's The Shining have so dominated the culture that King's efforts to redirect the public to the source, including the sequel novel Doctor Sleep, have fallen under its shadow. It was, to put the brightest spin on it, a ratings hit.
King didn't like the cold, cavalier treatment of his novel, and he cared neither for Jack Nicholson's lead performance as Jack Torrance, which he thought signaled insanity too early, nor Shelley Duvall's Wendy Torrance, which he called "one of the most misogynistic characters ever put on film." King even went so far as to write the teleplay for a three-part miniseries in 1997, restoring many of the excised elements of the book and casting Steven Weber and Rebecca De Mornay as the Torrances. The screen history of Stephen King adaptations has for decades couched a peculiar irony: Namely, that of the dozens and dozens of films that have been produced from his work - many of them not-so-great - the author famously detested the most revered, Stanley Kubrick's 1980 version of The Shining. Here's Danny! Ewan McGregor stars as the grown-up Danny Torrance in Doctor Sleep.
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