mozart decoded
have you ever wondered about the man behind such beautiful music as the magic flute opera? learn more about the young genius, his life, the time period and the masonic rituals that impacted his work. watch mozart decoded online on gazebo tv: urltoken purchase mozart decoded on dvd here: urltoken learn more about mozart decoded here: urltoken
mozart decoded is a prelude to the magic flute diaries (a, 8 p. m .), a two - hour modern take on mozart' s popular opera. though with its soundtrack of mozart classics, recreations featuring opera atelier and fabulous footage of great cathedrals and lush countryside, this feast for ears and eyes easily stands on its own .
mozart continues to influence the people of the world. he is undoubtedly my hero. mozart forever! !! !
the latter part of this kevin sullivan - produced doc could have been called the magic flute decoded since it uses mozart' s masonic membership as a focal point for not only his political ideas but as the creative fulcrum of his final opera, an entertaining masterpiece reflecting free - thinking ideals .
requiem in d minor by wolfgang amadeus mozart for solo piano (1791) k. 626 ebook by wolfgang amadeus mozart - 9781447489177 | rakuten kobo
the (true) story of the mozart' s requiem a funereal video .
the music of wolfgang amadeus mozart has amazed and entertained people for over 250 years... but who was the man behind the music? what inspired him to compose the musical masterpieces that immortalized him as one of the greatest composers the world has ever known? mozart decoded takes an in - depth look at mozart' s tumultuous and often difficult life, from his beginnings as a musical prodigy, through his rise to stardom and membership with the secretive freemasons, and ultimately to his mysterious and untimely death or murder at the age of 35 .
amadeus (1984) official trailer - f. murray abraham, mozart drama movie hd
mozart - ah! vous dirai - je, maman k. 265 for piano solo
wolfgang amadeus mozart - abendempfindung - k. 523 - a score for voice and piano
the music of wolfgang amadeus mozart has amazed and entertained people for over 250 years... but who was the man behind the music? what inspired him to compose the musical masterpieces that immortalized him as one of the greatest composers the world has ever known? mozart decoded takes an in - depth look at mozart' s tumultuous and often difficult life, from his beginnings as a musical prodigy, through his rise to stardom and membership with the secretive freemasons, and ultimately to his mysterious and untimely death or murder at the age of 35. written by sullivan entertainment
there is also the bbc series the genius of mozart and also the genius of beethoven .
requiem in d minor by wolfgang amadeus mozart for solo piano (1791) k. 626
wolfgang amadeus mozart - das veilchen - k. 476 - a score for voice and piano
wolfgang amadeus mozart - die alte - k. 517 - a score for voice and piano
wolfgang amadeus mozart - an chloe - k. 524 - a score for voice and piano
wolfgang amadeus mozart - der zauberer - k. 472 - a score for voice and piano
wolfgang amadeus mozart - das kinderspiel - k. 598 - a score for voice and piano
fantasia in c minor by wolfgang amadeus mozart for solo piano (1785) k. 475
wolfgang amadeus mozart - oiseaux, si tous les ans - k. 307 / k. 284d
wolfgang amadeus mozart - das lied der trennung - k. 519 - a score for voice and piano
7 variations on wilhelm von nassau by wolfgang amadeus mozart for solo piano (1766) k. 25
wolfgang amadeus mozart - als luise die briefe - k. 520 - a score for voice and piano
nope. your order is not fine at all. mozart is above beethoven sorry. i have read music history page after page and there bach and mozart stand above every compoer as the greatest composer ever. beethoven is nowhere close to mozart. mozart wrote the greatest piano concerts, the greatest operas, the greatest mass and the best symphonies. its not up to your personal opinion who is the best. music history the ultimate source of music has spoken and has ranked beethoven below mozart, where he belongs
j. s. bach is the father of us all .
- w. a. mozart
9 variations on a minuet by duport by wolfgang amadeus mozart for solo piano (1789) k. 573
piano suite in c major by wolfgang amadeus mozart for solo piano (1782) k. 399 / 385i
9 variations on lison dormait by wolfgang amadeus mozart for solo piano (1778) k. 264 / 315d
wolfgang amadeus mozart - die ihr des unermeßlichen weltalls - k. 619 - a score for voice and piano
12 variations in b - flat major by wolfgang amadeus mozart for solo piano (1786) k. 500
wolfgang amadeus mozart - dans un bois solitaire - k. 308 / 295b - a score for voice and piano
12 variations on salve tu domine by wolfgang amadeus mozart for solo piano (1783) k. 398 / 416e
6 variations on mio caro adone by wolfgang amadeus mozart for solo piano (1773) k. 180 / 173c
8 variations on ein weib ist das herrlichste ding by wolfgang amadeus mozart for solo piano (1791) k. 613
12 variations on la belle fran oise by wolfgang amadeus mozart for solo piano (1782) k. 353 / 300f
mozart meets the masons:' the magic flute' written during the final year of mozart' s life, the magic flute presents a magical world of surreal characters and mysterious rites, and the composer filled it with masonic symbols and allegory .
wolfgang amadeus mozart - ah, spiegarti, o dio - k. 178 / 417e - a score for soprano voice and piano
12 variations on ah, vous dirai - je maman by wolfgang amadeus mozart for solo piano (1782) k. 256 / 300e
piano sonatas no. 16 - 17 by wolfgang amadeus mozart for solo piano (1788 - 1789) k. 545 k. 570
steven lubin, mozart, variations in c, k. 265 (300e), on
ah, vous dirai - je maman
the music of wolfgang amadeus mozart has amazed and entertained people for over 250 years... but who was the man behind the music ?
mozart was the true genius of music without doubt, because his works started with the simple piano sonatas, violin sonatas, trios, quartets…. and the italian & german operas. he mastered every genre of music. of course, if anyone compares his low kv numbers, it may be weak! mozart changed completely after kv 271piano concerto no. 9. tchaikovsky said
the center of christianity is jesus and the center of music must be mozart
. it is the true that bach is the father of music, then mozart must be the god of music .
mozart' s status as the rock star of his century, most notably established by an irreverent tom hulce in the 1984 film amadeus, is given its due here. as is mozart' s precocious proclivity for producing complex compositions, reputedly beginning when he was 4, and his peculiar demise at just 35 .
we' re not finished with it yet, but it' s definitely better than
the magic flute diaries .
interesting info on mozart, though .
i don' t know of any other ones, but are you talking about the mozart movie ,
amadeus
? that one was really good. .
usually real brilliance is accompanied by either sketchy character, or demented family lives. so, propz the mozart for his well - rounded, dignified time on earth .
3 rondos in a minor, d major and f major by wolfgang amadeus mozart for solo piano (1786 - 1787) k. 511 k. 485 k. 494
very well done - - very entertaining as well as being informative. fine acting - - an artistic achievement. congratulations to all involved in its production! (but i agree
joeyc
- - bach still the greatest, and i think mozart would agree with this estimation. bach, beethoven, and mozart, in that order. : )
piano sonatas no. 7 - 9 by wolfgang amadeus mozart for solo piano (1777 - 1778) k. 309 / 284b k. 310 / 300d k. 311 / 284c
there' s food for thought as well, beyond the mozartkugeln that appear in the film' s opening sequence. while the individually foil - wrapped bonbons (featuring a cameo of the composer) typify mozart' s enduring appeal, writer dan matthews moves beyond biographical broad strokes to explore how mozart achieved his superstardom - and has managed to retain it some 250 years later - what led the supremely accomplished musician to become a member of the secretive freemasons society, the import of his magic flute masterpiece and the circumstances of mozart' s early death .
the story begins with the composer' s father leopold with whom mozart conducted a passionate and tortured correspondence. it is leopold who knows mozart' s secrets. and there is another voice: that of the music itself. music is the key to unlocking the emotions of mozart, starting in this film with the great piano works. without this key, how can we ever understand the emotions that gave birth to some of the most beautiful sounds the world has ever heard? the first great phase of mozart' s brief life was that of the travelling child prodigy - gifted as a performer and writer of music - who grew into the genius who, working within the restrictions of his time, began to rewrite the musical rules .
minuets 1 - 6 by wolfgang amadeus mozart for solo piano (1762 - 1789) k. 1 / k6. 1e k. 4 k. 2 k. 94 / 576b k355 / k6. 576b
mozart, pffft... sissy music for wimps and little girls to weep over! give me wagner and a full horn of mead, bloody up to the elbows with the glory of slaughter ...
still, while there has been plenty of speculation about masonic allegory in mozart' s opera, one of its messages seems fairly clear. the story introduces a mysterious brotherhood, supposedly headed by an evil man. but by opera' s end, the brotherhood turns out to be benign, and the leader seems like a pretty decent fellow. perhaps that was mozart' s way of saying that freemasonry may not be the ominous force some folks think it is .
in act two, the queen of the night (soprano anna kristiina kaapola) lets fly with one of mozart' s most treacherous arias ,
der hoelle rache
—
hell' s revenge .
elizabeth carecchio hide caption
a little late in replying to you, obviously, but in choosing mozart as your hero, you' ve demonstrated to me, at least, a very admirable quality about yourself, in that all of mozart' s music is so filled with a genuine love of humanity that i suspect the same thing resides in your heart, and that this is a big reason you are so able to connect with his achievements. everyone knows that mozart was unparalleled in his musical genius, but do you know what he himself said about that? he said ,
love. love is the soul of genius .
and, considering what he proved within his short life, i think we should take him at his word .
so, while mozart' s drama fell into the general category of
magic opera
— works based on folk tales, with plenty of stunts, scene changes and spectacular stage effects — it was also a political statement in disguise. mozart and schikaneder crammed all kinds of veiled masonic symbolism into the magic flute, and people have been trying to figure the whole thing out for more than 200 years. (maybe, in his next novel, brown could have robert langdon decode the opera for us? )
mozart showed amazing talent from early in childhood. already competent on the keyboard and violin, he started composing from the age of five and performed before european royalty. at 17, he was enlisted as a court musician in salzburg, but grew restless of this and decided to travel in search of a better position, always composing abundantly. the requièm mass in d minor was composed in vienna in 1791 and was left unfinished when mozart died on december 5th 1791. a completion dated 1792 by franz xaver süssmayr was delivered to count franz von walsegg, who had anonymously commissioned the piece for a requiem mass to commemorate the february 14th anniversary of his wife' s death. a facsimile sheet of music from the dies irae movement of the
requiem mass in d minor
( k. 626) in mozart' s own handwriting. it is located at the mozarthaus in vienna .
after developing an interest in classical music, beethoven was, for many years, my musical hero. at the same time, i was being told
sooner or later, there will be mozart .
i resisted him and his music until i was given two recordings - his 26th and 27th piano concerti, and one of his wind concerti. suddenly, beethoven took a back seat. oh, if only mozart had lived to beethoven' s age, how much richer our own lives would now be. while bach composed some absolutely thrilling short pieces, my overall taste in his music is limited .
take a quick look at the latest fiction bestseller list, and you' ll find a familiar author topping the charts. it' s dan brown with his latest blockbuster novel, the lost symbol — a grimly portentous book with an interesting connection to mozart' s shrewdly playful opera, the magic flute .
then go and invert mozart or beethoven, reverse, upscale, hop step and jump the music and wow - - - you' d be a musical genius - - - - only you wouldn' t! !! !! because you' d be doing nothing more than rearranging someone elses genius... .
music is and has always been a matter of preference when placing one composer over / beneath another. putting them into a top three list really equates them when considering them against all the other composers that have been or will be. unless you gave mozart a third placing because his music has
too many notes .
; - p
the length could have been shortened! three hours of bad acting and constant reminders of how shitty fashion used to be in 1700' s is overkill. but, wonderful telling of mozart' s personal life and accomplishment. were those love letters his words, verbatim? how charming, not only was he a musical genuis, but a true romantic .
on world of opera, host lisa simeone presents mozart' s the magic flute in a buoyant performance from the 2009 aix - en - provence festival. it features conductor rene jacobs and the academy of ancient music, along with tenor daniel behle as tamino and soprano anna - kristiina kaapola in the famously high - flying role of the queen of the night .
mozart gave the queen of the night one of the most treacherous arias in all of opera :
der hoelle rache
—
hell' s revenge .
it' s heard in act two, as the queen (soprano anna - kristiina kaapola) is asking her daughter pamina to murder sarastro, and includes four, famously stratsopheric, high f - naturals .
an enlightening and enveloping reconstruction of wolfgang amadeus mozart' s (1756 - - 1791) life. masterfully written and directed, every aspect of the film has been given thorough thought in order to ensure an accurate historical reconstruction. inspirational performances from the main actors and actresses foster captivation, while regular narrative interjections from the popular composer and conductor charles hazlewood brings an insightful, educational dimension .
mozart' s opera is in two acts, set in an unspecified time and place. as act one opens, we see a young prince, tamino, running for his life from a terrifying serpent. he' s rescued by three ladies who serve the local ruler — the queen of the night. they go off to tell the queen about the young stranger they' ve encountered .
but there was another facet to mozart - the adult thinker aware of the bigger picture, passionately attached to the progressive values of the enlightenment - impressively well - read, a speaker of most european languages (even a little english), an austrian catholic, a freemason and above all a composer at the height of his formidable powers, determined to succeed in the most difficult and lucrative area of all - opera .
opera lovers have long been in the same position when it comes to the magic flute. both mozart and the opera' s librettist, emanuel schikaneder, were devoted freemasons, at a time when the masonic order was frowned upon by the authorities and mistrusted by the public. its meetings were mysterious to outsiders and the order was believed to be connected to the principles of the enlightenment, so established political leaders were a little nervous about it. the emperor of austria even restricted the number of masonic lodges allowed to operate in the country .
meanwhile, pamina endures trials of her own. she again has to escape the rapacious monostatos. she must also refuse her own mother' s order that, to restore their family' s power, she must murder sarastro. (this command from the queen of the night is delivered in one of mozart' s most famous arias — complete with four high f - naturals that seem to defy gravity, not to mention vocal chords .) to top it off, pamina is falsely led to believe that tamino has rejected her. at one point she' s on the brink of suicide, but is rescued by the three boys .
i have the strong impression that
pure composing facility
counts for a very great deal in your estimation of these chaps, and also that you' re too prone to letting books tell you what your opinions should be. did music history have its hands over its ears for the entirety of the 19th century? because if influence over subsequent composers counts for anything, beethoven is greater in that regard than either bach or mozart. but this is apples and oranges, as they say. all three men were clearly the summit of their eras, and in that respect all were the greatest. anything beyond that is useless quibbling, and missing the point of the music .
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beethoven lives upstairs - 1992 [ greek subs by vas mous. ] _ arc. avi
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yeah, uh huh... you must have been damn well gassed when you posted that piece of horse manure .
bach... is not a brook, but an ocean .
- beethoven
leopold was clearly not the only person able to perceive the depth and profundity of amadeus' s genius. he was hailed far and wide by men and women of letters, and most conspicuously by franz joseph haydn who, writing to leopold, said ,
i declare to you before god that your son is the greatest composer i know, either personally or by name .
i like the simplicity and clarity that charles hazlewood explains music. i absolutely love it. many thanks .
mr. kanamori, a teacher of a 4th grade class, teaches his ...
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2x marx at the piano in a duet chico marx was known for shooting the keys of the piano. as part of the act he would play passages with his thumb up and index finger straight  like a gun. a charming example of his keyboard flamboyance is found in the film a night at the opera. read more > >
romans 1: 16 for i am not ashamed of the gospel, because of the power of god, and those who believe in it... .
there' s a chopin movie with hugh grant. never seen it though. you can search for it in imdb if you want. there' s also that beethoven movie a few years back with ed harris but i didn' t really like the looks of the preview. it sounded like a pink love story movie. i stayed clear of it. but if you' re interested there are loads of books with composer biographies .
ken russell has made numerous, but rather curious films about composers, including
the music lovers
( about tschaikovsky) ,
mahler
, and
lisztomania .
however, since they' re by russell, these films may be viewed as actually having more to say about russell himself than they do about the composers. on a more serious level, there was an excellent documentary that came out about 5 years ago about khachaturian, entitled, coincidentally ,
khachaturian .
yd
chopin: a song to remember is by far my favorite chopin film. not historically accurate, but quite artistically put together as a film. beethoven: immortal beloved. music is first rate. perahia recorded several pieces for this. the filmmakers did a lot to connect music, imagery, and dramatic elements - so if you know about some beethoven history it would give an added dimension to the film. beethoven lives upstairs. this is more of a kids movie. schumann: song of love. liszt: rêves d' amour
made a liszt. need new handel' s for soler panel & alkan foil. will faure stein on the way to pick up mendels' sohn. josquin get wolfgangs schu with clara. gone chopin, i' ll be bach
. it focuses more than anything in chopin' s relationship with george sand. saw it ages ago so i can' t really state a solid opinion about it, though i' m not a fan of hugh grant .
beethoven: immortal beloved. music is first rate. perahia recorded several pieces for this. the filmmakers did a lot to connect music, imagery, and dramatic elements - so if you know about some beethoven history it would give an added dimension to the film .
must add that it' s not historically accurate, but i think the only reason for that is to make it more' poetic'. i find the ending scene quite touching by the way .
by concentrating on precision, one arrives at technique, but by concentrating on technique one does not arrive at precision .
the music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. there' s also a negative side. (hunter thompson )
if documentaries are ok than there is a wonderful one about rachmaninoff called
the harvest of sorrow
you can actually watch it one youtube but make sure you do not watch the one that is in english and japanese at the same time .
how about
the magic bow
with stewart grainger as paganini. worst film ever? thal
spring symphony (1983)  a more accurate biopic than the 1947 hollywood version (and nastassia kinsky looks better as clara than katherine hepburn). urltoken
i remember watching that and thinking she is never going to get her clothes off in this .
lisztomania is absolutely hilarious. gotta love the scene where wagner turns into a vampire and attacks liszt (it' s subtle symbolism), to say nothing of the opening scene with, um, the metronome. you wouldn' t expect anything less from a film with ringo starr as the pope .
there was a strange one i saw on brahms about his relationship with women' but for women' i think it was called or something like that. copious amounts of nudity... . .
never look at the trombones. you' ll only encourage them. richard strauss
i was just wondring wether anyone has a link were you could watch england my england online... i absolutly adore purcells music. i am from the netherlands, but don' t yet have a credit ard so ordering the movie is potentially problametic. . perhaps someone know were i can find it here? much greetings beckey
there' s also that beethoven movie a few years back with ed harris but i didn' t really like the looks of the preview. it sounded like a pink love story movie. i stayed clear of it .
, and it is not a
pink love story movie
! give it a chance. harris is superb .
i remember watching that and thinking she is never going to get her clothes off in this. wrong again thal .
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fantasia in d minor - a score for solo piano k. 397 / 385g 1782
sonata for piano four - hands in d major - a score for piano with four hands k. 381 / 123a (1774 )
piano concerto no. 23 in a major - a score for solo piano k. 488 (1786 )
flute quartet in a major - a score for flute, violin, viola and cello k. 298 (1787 )
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when the queen of the night finishes her furious aria, sarastro (bass markos fink) follows it with a musical and dramatic mirror image, singing
in diesen heil' gen hallen
—
in these holy halls .
it' s a restful number, featuring some of the opera' s lowest notes .
papageno (daniel schmutzhard) is less than thrilled at his first encounter with papagena (sunhae im), his future wife. elizabeth carecchio hide caption
papageno (daniel schmutzhard) is less than thrilled at his first encounter with papagena (sunhae im), his future wife .
the lost symbol features the same, somewhat unlikely central character as brown' s previous bestseller, the da vinci code — the heroic symbologist robert langdon. in the earlier book, langdon was found decoding timeless legends of the knights templar. in the new novel, he' s again tracking the age - old mysteries of an ancient order. this time, it' s the freemasons — a fraternity famous for secret rites and rituals, which in the novel threaten to bring down the entire u. s. government .
of course, writing about masonic ceremonies can be a little bit dicey. the only people familiar with them are masons — and they' re all sworn to secrecy. so the rest of us are kept guessing as to how much actual fact might be present in dan brown' s fiction .
tamino falls asleep, and wakes up to meet papageno — a funny - looking man dressed in colorful feathers and playing the panpipes. papageno says he' s the queen' s bird catcher. the two characters have virtually nothing in common. when papageno simply describes himself as
a man ,
tamino is skeptical. still, the two quickly develop a bond .
after tamino and papageno finish sizing each other up, the ladies return and show tamino a picture of pamina, the queen of the night' s daughter. tamino takes one look and falls in love. but pamina has been captured by sarastro, the queen' s arch enemy, who is described as an evil fiend. when the queen of the night arrives in person, with her signature clap of thunder, she asks tamino to rescue her daughter. she gives him a flute with magic powers, and sends papageno along to help, with a magic instrument of his own — a set of chimes .
the scene changes to the realm of sarastro, where pamina is being held. she' s alone with the treacherous monostatos, who seems intent on raping her. just then, papageno wanders in. he and monostatos scare each other half to death, and monostatos runs off. papageno leaves with pamina, to look for tamino .
meanwhile, three mysterious young boys have guided tamino to a temple with three doors. one of them, marked
wisdom ,
opens to reveal the temple of the orator. tamino asks about pamina, and the orator tells him that she' s still alive. but to find her, tamino must first join the temple' s holy order .
tamino plays his magic flute, and in response he hears papageno' s panpipes. papageno appears with pamina, and they' re both running from monostatos. he' s about to catch them when the mighty sarastro appears. he reprimands monostatos for his evil designs on pamina, and monastatos slinks off. sarastro then offers pamina and tamino the chance to be together. but first, he says, they must endure rituals of purification, and they' re led into the temple .
act two begins near a temple that' s surrounded by palm trees. after a brief processional, sarastro and his priests say that tamino will be permitted to undergo the trials required to join their brotherhood. he will then be allowed to marry pamina. papageno also wants a wife, and may also undergo the trials, though he' s more than a bit reluctant .
by the end of the opera, both pamina and tamino have faced trials of fire and water, and have survived them together. papageno finally earns a wife — his female namesake, papagena. she turns out to be a real peach, though she first appears to papageno as a wrinkled hag who claims to be only
eighteen years and two minutes
old. the queen of the night and her ladies make a desperate attempt to bring down sarastro' s temple, but they' re defeated amidst frightening storms and the queen vanishes into darkness .
as the opera ends, sarastro' s mysterious but apparently benevolent order has prevailed, granting all power to beauty and wisdom .
the documentary room 237 has been called a
diy mashup
of the many theories put forward over the years as interpretations of stanley kubricks' s 1980 horror classic, the shining. and there is good reason for viewers to puzzle over the film 33 years after its release: the shining tends to be opaque, even though its corridors are well - lit. i recently found what is arguably the most exhaustive examination of how kubrick adapted stephen king' s novel into the script he wrote with diane johnson. click below to read the post and see how kubrick took king' s novel and made movie history !
unlike kubrick' s famously unrealized biography of napoleon, the shining got made. stanley kubrick wrote and directed the shining with the intention of turning out a blockbuster, after the lush but relatively financially unsuccessful barry lyndon. the shining, more than any other of his films, has inspired hundreds of thousands, if not millions, of words devoted to finding the meaning behind the film, even though, or, especially because, kubrick himself was reluctant to discuss possible interpretations of his films, leaving it to the viewer to make up their own mind. (allow me to say that i do not favor any of these theories over any other. i don' t want to get pilloried in the comments !) none of which stopped blogger jonny53, whose epic post (it took me almost 12 hours to read) is certainly the most exhaustive shining analysis on the internet. it will definitely, as jack torrance promised wendy ,
bash your brains in ,
( with exacting attention to detail, of course). prepare to go through the looking - glass, people .
the problem with criticism of the shining is that almost every interpretation tends to go off the rails at some point, i. e. , the film is really about native american genocide, or kubrick' s guilt over faking the moon landing :
this one is no different. jonny53' s final conclusion seems to be that the numbers in the film point us towards 12 / 24 / 11, which apparently was the date of the mayan apocalypse back in the 70s, before cooler heads prevailed and it was moved to the far more accurate date of 12 / 21 / 12. he does make the excellent point that most of the people who have put forth interpretations of the film over the years have never actually read the novel, and that what kubrick did with the novel, and what he did with all of the novels he adapted to the screen, was to alter the content so that the story would be cinematic rather than literary. this is a challenge facing all filmmakers who are adapting someone else' s work (or even their own, from a different format) .
i can’t think of any other movie where reading the source novel was so enlightening... many writers skim the surface when trying to compare the novel with the movie and then simply give up. you absolutely cannot have a thorough understanding of stanley kubrick’s shining without looking at what he did to stephen king’s story. ignoring the novel is crazy... [ he ] didn’t randomly alter things from the novel as many readers think. he’s inverted them .
in the novel they’re brought to the overlook in a red vw and have a yellow snowmobile up at the hotel. in the movie they’re brought to the overlook in a yellow vw and have a red sno - cat up at the hotel. they' re also saved in a red sno - cat. in the movie jack throws his yellow ball and in the novel danny plays with his red ball. stanley kubrick didn' t just change the colors, he inverted the colors stephen king uses in the novel for these major props. look once at the vw in the opening credits of the movie; you’ll never forget that yellow color. ask anyone who’s seen the film, they will be able to tell you what color the vw is. ask anyone who’s read the novel and they probably won’t .
in the novel, the scrapbook containing the overlook' s sordid past is a major plot device, and jack becomes obsessed with it and possessed by it. in the movie, it' s seen only in passing, but has the same effect. when jack discovers the scrapbook, he loses interest in writing anything but that one phrase, and becomes obsessed with doing the
duty
of hotel caretaker, even if that means killing his wife and child. this is how, according to jonny53, jack
shines
the apparitions of lloyd and grady: he has seen them before, in the newspaper clippings in the scrapbooks. but we barely see the scrapbook, an element from the novel kubrick made subtly cinematic and almost subliminal without the heavy exposition of the novel, in which the provenance of the scrapbook is related in exacting detail .
even better for kubrick, who was always playing games with the viewer, the first - time viewer will probably interpret lloyd and grady as ghosts, even though kubrick has made his
ghost story
about anything but, at least according to jonny53. to him, it' s a film about esp and telekinesis (note the number of calumet cans behind jack and halloran' s heads, respectively, while they are
shining .
) the first scene occurs precisely: 27 minutes into the film, and the second precisely: 27 minutes from the end of film, in the us version: the parallel edits jonny53 finds in the shining are remarkable. jack torrance has four more cans than halloran, meaning he
shines
more, which is why halloran isn' t able to predict his impending death at the hands of jack :
it goes on and on. in the novel, wendy is a smart, independent blonde; in the film, she is shelley duvall' s mousey doormat; in the book, there is no hedge maze, but rather hedge animals which move constantly; in the novel, the overlook hotel wants danny for his power, but in the film, the hotel has no power at all, only a sort of
shining
which affects the whole torrance family, even though danny is the only one to know about it. in the film, both jack and wendy have the power of
shining
( jonny53' s basis for this is the line, delivered by halloran ,
but there are other folks, though mostly they don' t know it, or don' t believe it .
) visually, kubrick shows us this by subtly giving the characters telekinesis, even if they themselves aren' t aware of it. they can move furniture, and even make chairs appear and disappear at will (also note the scrapbook in the foreground) :
for many viewers, the question of whether or not we are dealing with the traditional cinematic supernatural is answered in the scene where jack is released from the freezer, evidently by the ghost of grady, the former caretaker. this is never made totally explicit (in the novel, we see that it is a ghostly grady who leaves a drink and mallet for him outside the door, while in the film, the opening of the door is deliberately ambiguous) :
jack and dick hallorann both have the same supernatural ability. it’s no stretch of the movie' s reality to see that jack also “shines” when he’s locked in the storeroom. it’s obvious that his ability to supernaturally move things (telekinesis), and not the ghost of delbert grady, is what unlatches the storeroom door releasing him... this is what the shining is about, people with an unusual ability. there’s no law that says stanley kubrick can’t change, or hide from the audience, which cast members have this special ability, and just exactly what that ability is .
in the novel, halloran lies in order to get up to the overlook. in the movie, he always tells the truth (which means, if we believe what he says to his friend larry durkin, that ullman can
shine ,
since he called halloran and told him to get up to the overlook .) this is a very out - there theory, but is actually somewhat confirmed by the deleted scene cut by kubrick a week into the film' s u. k. run. for any shining fanatic, or anyone interested in how a master filmmaker took a classic novel and adapted it into a classic film, this is required reading. i personally think jonny53 goes off the rails at the end with his theory that kubrick is subliminally encoding the date of the impending mayan apocalypse (that' s called apophenia), but jonny53 has done all fans of the shining, and moviemaking, a great service with his incredible eye for detail .
the best theory movie on the shining that i' ve seen was
kubrick' s gold story
. it' s about american currency switches off the gold standard .
kubrick was' ait starting out, cut his teeth on some ok no - budget work, then got good fast. his reputation has also improved over time .
people deify him and put out documentaries like this, where every little drip of information is assumed to be motivated by his genius, then they use every drip to prove said genius. it' s like when people use the bible to prove the infallibility of the bible .
sk was most certainly one of the great directors, but i totally disagree with the notion that the quality of filmmaking is worse off now than it was then .
nonsensical conspiracy theory run amuck. maybe room 237 was intended as a parody. entertaining yes, based on any fact no .
i saw this at sundance and more than half the audience walked out before they could hear the theory that kubrick helped nasa fake the moon landings and the shining was his secret confession. i stayed through the whole thing, fascinated that this even got into the festival, and as a reward i got to hear the real truth behind the shining: it is a movie that was meant to be watched backwards .
it was really a documentary on the online community of kubrick conspiracy theorists which to me actually was interesting. on the way out i heard another audience member say ,
once i realized they were crazy i actually enjoyed the film .
maybe that is the secret of room 237 ...
i saw it at afi and afterwards they actually did a screening of it backwards & forwards simultaneously, overlayed .
i' m surprised people didn' t catch on right away. room 237 was pretty funny right from the start and got more so as it went along. i was wondering if the interviewees were upset when it came out and they realized they weren' t being taken seriously .
i' ve read the reason there weren' t any moving hedge animals in the film (as were in the book) was because kubrick just wasn' t satisfied with the cgi technology at the time that would be required to create them .
as for these overanalyses, you could probably find people who will dissect twilight or the hangover and come up with a comparable amount of nonsense .
like i said, this blogger goes off the rails, as do all of these other theories. the interesting thing to me was how kubrick changed the source novel .
i get the impression kubrick cares more for the shot than continuity. i keep finding myself responding to discontinuities by noting that the composition of one or more shots involved would be compromised by adhering strictly to spacial continuity. i imagine a process where you do a take; then some element of the background bothers you so you fix it and continue. then in editing you feel free to choose the best takes because you know people won' t notice the discontinuities. you try it out on people .
i feel the movie is about schizophrenia. this is reflected in wendy as women' s intuition, a staple of cinematic devices. and danny represents innate childhood imagination and it' s suppression, which is also a fairly common observation. (my son is a tiger literally 75% of the time. i saw an art show of 5 year olds recently and about 10% of the paintings could sit along art in galleries and sell for thousands of pounds, assuming the painter could be constructed as the possessor of a career, history, development, personality, genius, godly vessel, madman, etc. i just realised how old - fashioned the art world is. and similarly, how old - fashioned this sort of critique is, which reads literally * everything * as an intentional act of often hidden communication. )
clarification: jack' s schizophrenia and psychosis, ie. hallucinations. which is contextualised and reflected ...
the esp theory makes a lot of sense. except that in an interview with michel ciment (linked to by another nofilmschool article) stanley kubrick is asked :
so you don' t regard the apparitions as merely a projection of his mental state ?
- to which he replies :
for the purposes of telling the story, my view is that the paranormal is genuine. jack' s mental state serves only to prepare him for the murder, and to temporarily mislead the audience.
mozart decoded is a 2008 documentary about the life of wolfgang amadeus mozart produced by sullivan entertainment . the film was made as a follow up to sullivan entertainment ’s magic flute diaries and uses a lot of the same visual material . the program premiered on december 20 , 2008 on a-channel in canada . 
mozart decoded is a 2008 documentary about the life of wolfgang amadeus mozart produced by sullivan entertainment. the film was made as a follow up to sullivan entertainment ’s magic flute diaries and uses a lot of the same visual material. the program premiered on december 20, 2008 on a-channel in canada.
mozart decoded is a 2008 documentary about the life of wolfgang amadeus mozart produced by sullivan entertainment. the film was made as a follow up to sullivan entertainment ’s magic flute diaries and uses a lot of the same visual material. the program premiered on december 20, 2008 on a-channel in canada.