This guest post by Rachel Wortherley appears as part of our theme week on Demon and Spirit Possession.
Two families in search of fresh start move into new homes: the Torrance family to the “Overlook Hotel” in Denver, Colorado, and the Lutz family to a beautiful Dutch-Colonial home in Amityville, New York. Unbeknownst to them, they will encounter horror in the form of demons and evil spirits attempting to destroy their “traditional” family dynamic.
Stuart Rosenberg’s The Amityville Horror and Stanley Kubrick’s The Shining focus on the prospect of renewal. Rosenberg’s film focuses on newlyweds George and Kathy Lutz (Josh Brolin and Margot Kidder) as they move into a new home with their three children and dog, Harry. There is one catch. The home’s previous inhabitants (two parents and their children) were killed by their son and brother. Audiences were also being presented a “tweaked” version of the nuclear family being that George is the children’s stepfather. It is noted that they have only recently begun to call him “George” rather than “Mr. Lutz.” George’s wish is for them to address him as “Dad.” The new marriage and their determination to make new memories inside a tainted house is George and Kathy’s attempt at growing closer as a family.
The Shining also begins similarly. Jack Torrance (Jack Nicholson), a schoolteacher turned writer, moves with his wife Wendy (Shelley Duvall) and son Danny (Danny Lloyd), to the “Overlook Hotel” where he is hired as the winter caretaker. While this is Jack’s opportunity to write in solitude, it is also an opportunity for their family to start anew–at least in the eyes of Wendy. Wendy reveals to Danny’s pediatrician that Jack, a recovering alcoholic, accidentally dislocated Danny’s shoulder in an attempt to pull him away from ruining important school paperwork. This unfortunate incident prompts Jack to quit drinking. As a result, Wendy forgives him and attributes it to being “just one of those things.” While the Lutz family in Amityville wants to create new memories, the Torrances want to erase their pasts. However, the memories within the walls of their respective households become imbued in the minds of the families, leading to madness and terror.
It should be noted that children and fathers appear to be greatly affected by the supernatural beings in their homes. Because of the innocence of children, the spirits readily reveal themselves. For example, seven-year old Amy Lutz in Amityville is seen conversing and playing with “Jody,” her imaginary friend who lives in the house. There is one pivotal moment when Amy sings “Jesus loves me” as her and Jody’s chairs rock back and forth. This suggests that the spirit is not evil, but in search of a companion. Jody also wants Amy to stay in the house “forever and ever,” presumably in the same ghostly state that Jody has taken. While Amy’s brush with the afterlife is playful and innocent, the same cannot be said for Danny Torrance.
Danny is a seven-year old boy who has the capability described as “shining.” He has terrifying premonitions and can telepathically communicate with others who “shine,” specifically the hotel chef, Dick Hallorann, who enlightens Danny to their capabilities. Danny’s gift materializes in the form of his imaginary friend Tony who Danny describes as “the little boy who lives in my mouth.” Tony appears to be a being that fosters Danny’s gifts, yet encourages him to conceal it from others, for fear of no one believing him. When Danny’s first premonition of blood cascading through the hallways of the Overlook Hotel occurs, Danny is unable to remember. Tony also appears when Danny is attacked by the demonic figure of the woman in the bathtub in the forbidden “Room 237.” It is also Tony who communicates the infamous word, “redrum” (murder spelled backward) to Danny to warn his mother of the pending murder that Jack wants to inflict upon their family, as well as the gruesome murders from the past. Wendy recalls that Tony made his first appearance after Danny’s incident with Jack. This suggests that Tony exists as a source of protection for Danny to shield his innocent consciousness.
While these otherworldly figures engage with children in a mild manner or as a scare tactic, they react entirely different with the fathers in the respective films. Rage and violent behavior are triggered within George and Jack. George, who desperately wanted the children to call him “Dad,” exclaims that Kathy needs to “discipline her children.” George’s physical appearance goes from strong to sickly. He sweats profusely, incessantly chops wood, and neglects work. The process of George’s descent into madness is a slower process whereas Jack’s descent appears to occur immediately. He also appears angrier than George. Kubrick goes from a casual scene when Wendy brings Jack breakfast in bed and he jokes about the ghosts in the hotel to a penultimate scene where Jack rages at her to never disturb him when he writes. This further suggests that while Jack wants to be with his family, he does not want to be “with” them. Sane Jack in the beginning of the film looks forward to the isolation of a large, empty hotel, yet this is impossible because his family is present.
The distance between Jack, his wife, and child is noticeable before his descent. Jack has minimal scenes with Danny and when sharing scenes, Danny is glued to Wendy. Jack barely interacts with him apart from instilling fear into Danny while in a trance-like state. In this scene, he simultaneously assures Danny that he would never hurt him while leering at him in a murderous manner. In comparison to George and Kathy’s marital bliss and passionate love scenes, Jack and Wendy appear too casual with each other. They almost seem like strangers. There is a sense that Wendy distrusts Jack. A scene that supports this occurs when Jack, screaming and crying in his sleep, awakens from a nightmare in which he murders and chops Wendy and Danny into pieces with an axe. As Wendy comforts him, a disheveled and traumatized Danny walks in with bruises on his neck–bruises inflicted by the ghostly woman in room 237. Remembering Jack’s drunken rage three years prior, Wendy immediately accuses him of abusing Danny.
As a result, Jack retreats in anger to the hotel bar where he encounters the ghost of Lloyd, the bartender. There he is satiated by alcohol while commiserating to Lloyd the complications of his marriage, specifically Wendy’s inability to forgive him for something that occurred “three goddamn years ago.” Unspoken anger and resentment clouds their marriage. In Amityville, George has the same nightmare and confesses it in tears to Kathy. The nightmare that Jack and George share signifies their innate fear—the possibility of destroying the family they, as men, have built.
The Lutz family manages to escape physically unscathed in the aftermath of their battle with the forces embedded within their house, whereas Wendy and Danny are the only two who escape their haunted home. A murderous Jack, wielding an axe, attempts to find his wife and son and ultimately succumbs to the bitter cold of Denver. Wendy is officially a single mother to Danny. However, a photograph from the Overlook Hotel in the 1920s depicts a smiling Jack with partygoers. He has found his new family.
Stuart Rosenberg’s The Amityville Horror (1979) and Stanley Kubrick’s The Shining (1980) are films that are released around the same time as family-centric films; specifically films that deal with the subject of divorce and single parenting. In Robert Benton’s 1979 film, Kramer vs. Kramer, audiences witness how a single father deals with raising his son in the absence of a mother, almost losing his child to the mother, and the mother ultimately granting him full custody. The parents also become civil toward each other. Audiences who are rooting for the father, played by the likeable Dustin Hoffman, gain a sense of satisfaction in the end. Meanwhile in its predecessor, Paul Mazursky’s An Unmarried Woman (1978), we watch how Jill Clayburgh’s character deals with a multitude of events: her husband divorcing her for a younger woman, teaching her teenage daughter to feel empowered, and having to start her dating life from scratch. While these images were progressive in its time, audiences were not shown the other perspective; the sometimes horrific nature of broken homes.
In Rosenberg and Kubrick’s respective films, outside forces attempt to help keep the nuclear family alive. In Amityville this materializes in the form of Father Delaney, who attempts to warn them about the house, yet is quelled by being struck mute and blind by the supernatural forces. This is reminiscent of the Catholic Church’s strict laws against divorce in favor of marriage counseling. In The Shining Dick Hallorann acts as a guardian to Danny. He comes to their rescue only to be cut down by Jack’s axe. Outsiders are not allowed to interfere. The family must deal with the uncomfortable and painful feelings within their household, as well as the aftermath. There lies the true test and the meaning of “forever and ever” as a family.
Rachel Wortherley is a graduate of Iona College in New Rochelle, New York and holds a Master of Arts degree in English. Her downtime consists of devouring copious amounts of literature, television shows, and films. She hopes to gain a doctorate in English literature and become a professional screenwriter.
