King can say he did ‘The Shining’ his way

Over the past year, Bangor horror master Stephen King has voiced dissatisfaction, both publicly and privately, with some of the adaptations of his works for film and television. (That’s what happens when you don’t say no often enough.)

In King’s eyes, one such miss was Stanley Kubrick’s 1980 film “The Shining.” While the film certainly delivers on the chills, it’s most memorable for Jack Nicholson’s two hours of scenery chewing. King’s novel was used largely as an outline. Its characterizations and back story never checked into the Overlook Hotel in Kubrick’s fever dream.

So when ABC, with checkbook in hand, asked King what TV sweeps blockbuster he wanted to create for 1997, he opted to scratch an 18-year itch and remake “The Shining.” The network suits said, “Sure, Steve, here’s $23 million. Knock yourself out.”

And so he did, serving as executive producer and writing the teleplay for the ABC miniseries “The Shining,” which airs 9-11 p.m. Sunday, Monday and Thursday.

As his recent miniseries on ABC have proven, and as “The Shining” demonstrates, King’s adaptations come out much stronger when he’s actively involved (e.g. “The Stand”) than they do when he just sells the rights (e.g. “The Langoliers”).

King reteams with “The Stand” director Mick Garris to put back in some of the little things that Kubrick neglected, like plot and believable characters.

King’s miniseries features Steven Weber (“Wings”) as Jack Torrance, Rebecca DeMornay (“The Hand That Rocks the Cradle”) as his wife, Wendy, and Courtland Mead as their 7-year-old son, Danny. In supporting roles are reliable veteran actors Melvin Van Peebles, Pat Hingle and Elliott Gould.

“The Shining” begins as the story of a family beset by a familiar demon: alcohol. Through flashback and dialogue, the background is well-established in Sunday’s first segments.

When the miniseries opens, writer Jack Torrance, an alcoholic who has done some ghastly things to his wife and son, has been sober for five months and is trying to stay on the wagon through the support of his family and Alcoholics Anonymous. A failure in life, Jack wants to prove himself worthy to his loving wife and son and to the ghost of his domineering father (unlike later spirits, this ghost is metaphoric).

With the help of a wealthy friend, Jack gains the job as the winter caretaker of the Overlook Hotel, a majestic structure with a checkered past nestled high in the Rockies. He hopes this will be a chance for his family to heal and grow close again and for him to finish his play. It seems like a good idea at the time.

Unfortunately, Danny has “the shining,” a kind of psychic ability. The winter guests of the Overlook — who live on a spirit plane — take a liking to him immediately. Through Monday’s episode, they attempt to harness his abilities by taking over an earthly vessel of their own, the none-too-stable Jack. Before long, the snowbound Torrances find themselves cut off from the outside. (Like the song says, “you can check out anytime you want, but you can never leave.”)

Before long, Jack is more of a menace to Wendy and Danny than he ever was before. Thursday’s final segment is a harrowing battle for the souls of the Torrances.

“The Shining” was actually filmed at the Stanley Hotel in Estes Park, Colo., where King stayed 23 years ago. The hotel inspired King to write the novel. As shot by Garris, it becomes a spooky character on its own.

The new “Shining” has one long, slow buildup, with just a few bumps in the night over the first four hours. But the payoff in the last two hours makes it worthwhile. King knows how to do scary, and he does it well in the conclusion.

In the 18 years since the first “Shining,” special effects have come a long way. King takes advantage of that, including some great makeup jobs on the Overlook’s older residents. (Talk about a party that’s gone on too long.)

DeMornay is the highlight of the cast. Her Wendy is a strong, resourceful woman. Even while being stalked by the man she loves, she struggles to lead him away from her son. She’s a marked improvement over Shelley Duvall, who offered a weak-willed Wendy in the original film.

Weber faces an unenviable task, following Nicholson in a role that he made his own. He is whiny far too often. And in the depths of madness, he is a model of restraint compared to Nicholson. But Weber’s Jack does come across as a loving husband and father, which explains why Wendy and Danny are willing to ride out tough times with him, and his Jack gets a measure of redemption in the end.

Mead is such a sweet-faced innocent that viewers will want him kept safe. He’s believable as a child with a special gift which he doesn’t really feel comfortable with. Plus he does trances really well.

Van Peebles, as psychic cook Dick Halloran, is the highlight of the supporting cast, providing a voice of wisdom to an unsure Danny. Hingle and Gould make the most of small roles, but there’s just not enough of them. King himself makes a cameo appearance on Night 3, showing off some of his musical abilities.

Although it’s pokey at times, Stephen King has created the definitive version of “The Shining.” Nicholson’s “Here’s Johnny” will always be remembered, but King has finally brought his novel to film.