Directed by Stanly Kubrick, based on a Stephen King novel a family heads to an isolated hotel for the winter where an evil and spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future.
Now I had the chance to see the film last night on the big screen at the oriental in October of 2015 for I was not even born till ’84 and I have to say it was ultimately thrilling but I not a fan entirely of Kubrick’s Shining, Specifically because Kubrick would not involve king in any process of the movie and ultimately changed the movie from the book drastically to a point where the book was unrecognizable from the movie. Directors often make the mistake of changing movies made from books as far as story lines go. Stephen King also didn’t like it for this matter and as knowing this and being on his side not many know the cap Kubrick put king through to ultimately tear a masterpiece into a successful film based on Jack Nicolsons and Scatman Crothers performances. I’ve always felt Shelley Duvalls character was out of place and annoying which is why I think her role as Olive Oil in Pope was perfect for her. I feel that Jack basically made the film and feel he was right for the role he could definitely portray a deranged man well, acting was spot on. But even though I feel the film was made wrong and dislike it because of misdirection the information from the book I still feel it was amazing to see the film in its original eliment on the silver screen 35mm once again I can thank Milwaukee Movie Talks Christopher House and Stephen Milek for the oportunity for myself and my fiance it was an experience I will never forget.
Because Danny Lloyd was so young and since it was his first acting job, Stanley Kubrick was highly protective of the child. During the shooting of the movie, Lloyd was under the impression that the film he was making was a drama, not a horror movie. In fact, when Wendy carries Danny away while shouting at Jack in the Colorado Lounge, she is actually carrying a lifesize dummy so Lloyd would not have to be in the scene. He only realized the truth several years later, when he was shown a heavily edited version of the film. He did not see the uncut version of the film until he was 17 – eleven years after he had made it.
Both Jack Nicholson and Shelley Duvall have expressed open resentment against the reception of this film, feeling that critics and audiences creditedStanley Kubrick solely for the film’s success without considering the efforts of the actors, crew or the strength of Stephen King’s underlying material. Both Nicholson and Duvall have said that the film was one of the hardest of their careers; in fact, Nicholson considers Duvall’s performance the most difficult role he’s ever seen an actor take on. Duvall also considers her performance the hardest of her life.
At the time of release, it was the policy of the MPAA to not allow the portrayal of blood in trailers that would be approved for all audiences. Bizarrely, the trailer for The Shining consists entirely of the shot of blood pouring out of the elevator. Stanley Kubrick had convinced the board the blood flooding out of the elevator was actually rusty water.
According to Shelley Duvall the infamous ‘Heere’s Johnny!’ scene took 3 days to film and the use of 60 doors.
For the scene in which Jack breaks down the bathroom door, the props department built a door that could be easily broken. However, Jack Nicholson had worked as a volunteer fire marshal and tore it apart far too easily. The props department were then forced to build a stronger door.
All of the interior rooms of the Overlook Hotel were filmed at Elstree Studios in England, including the Colorado Lounge, where Jack does his typing. Because of the intense heat generated from the lighting used to recreate window sunlight (the room took 700,000 watts of light per window to make it look like a snowy day outside), the lounge set caught fire. Fortunately all of the scenes had been completed there, so the set was rebuilt with a higher ceiling, and the same area was eventually used by Steven Spielberg as the snake-filled Well of the Souls tomb inRaiders of the Lost Ark (1981).
Tony Burton, who had a brief role as Larry Durkin the garage owner, arrived on set one day carrying a chess set in hopes of getting in a game with someone during a break from filming. Stanley Kubrick, an avid chess player who had in his youth played for money, noticed the chess set. Despite production being behind schedule, Kubrick proceeded to call off filming for the day and engage in a set of games with Burton. Burton only managed to win one game, but nevertheless the director thanked him, since it had been some time that he’d played against a challenging opponent.
There were so many changes to the script during shooting that Jack Nicholson claimed he stopped reading it. He would read only the new pages that were given to him each day.
The script was constantly changing on set, sometimes several times a day. The cast got very irritated by this, especially Jack Nicholson. Whenever the production team would give the cast copies of the script to memorize, Jack Nicholson would throw his away without even looking at it, as he knew that it was only going to change again.
Anjelica Huston lived with Jack Nicholson during the time of the shooting. She recalled that, due to the long hours on the set and Stanley Kubrick’s trademark style of repetitive takes, Nicholson would often return from a day’s shooting, walk straight to the bed, collapse onto it and would immediately fall asleep.
The throwing around of the tennis ball inside the Overlook Hotel was Jack Nicholson’s idea. The script originally only specified that, “Jack is not working”.
Stephen King, the author of the book on which the movie was based, was quite disappointed in the final film. While admitting that Stanley Kubrick’s visuals were stunning, he said that was surface and not substance. He often described the film as “A fancy car without an engine.”
Stanley Kubrick, known for his compulsiveness and numerous retakes, got the difficult shot of blood pouring from the elevators in only three takes. This would be remarkable if it weren’t for the fact that the shot took nine days to set up; every time the doors opened and the blood poured out, Kubrick would say, “It doesn’t look like blood.” In the end, the shot took approximately a year to get right.
Despite Stanley Kubrick’s fierce demands on everyone,Jack Nicholson admitted to having a good working relationship with him. It was with Shelley Duvall that he was a completely different director. He allegedly picked on her more than anyone else, as seen in the documentaries Making ‘The Shining’ (1980) andStanley Kubrick: A Life in Pictures (2001). He would really lose his temper with her, even going so far as to say that she was wasting the time of everyone on the set. She later reflected that he was probably pushing her to her limits to get the best out of her, and that she wouldn’t trade the experience for anything – but it was not something she ever wished to repeat.
Shelley Duvall suffered from nervous exhaustion throughout filming, including physical illness and hair loss.
On the DVD commentary track for Making ‘The Shining'(1980), Vivian Kubrick reveals that Shelley Duvallreceived “no sympathy at all” from anyone on the set. This was apparently Stanley Kubrick’s tactic in making her feel utterly hopeless. This is most evident in the documentary when he tells Vivian, “Don’t sympathize with Shelley.” Kubrick then goes on to tell Duvall, “It doesn’t help you.”.
The idea for Danny Lloyd to move his finger when he was talking as Tony was his own; he did it spontaneously during his very first audition.
Stanley Kubrick considered both Robert De Niro andRobin Williams for the role of Jack Torrance but decided against both of them. Kubrick did not think De Niro would suit the role after watching his performance in Taxi Driver (1976), as he deemed De Niro not psychotic enough for the role. He did not think Williams would suit the role after watching his performance on Mork & Mindy (1978), as he deemed him too psychotic for the role. According to Stephen King, Kubrick also briefly considered Harrison Ford.
One of Stanley Kubrick’s favorite films was Eraserhead (1977), directed by David Lynch. Kubrick cited the film as a creative influence during the making of The Shining and screened Eraserhead to put the cast and crew in the mood he wanted to achieve for the film.
The scene where Jack is chasing Danny through the maze took over a month to shoot. During the shoot, crew-members often found themselves lost and had to walkie-talkie for assistance.
Jack Nicholson ad-libbed the “little pigs” dialog towards the end of the film. He also ad-libbed the famous line, “Here’s Johnny”.
Stephen King did not know that “redrum” spelled murder backwards until he actually typed it. He loved the various connotations of the word. Red Rum was a famous racehorse in the 1970s.
For the scenes when we can hear Jack typing but we cannot see what he is typing, Stanley Kubrick recorded the sound of a typist actually typing the words “All work and no play makes Jack a dull boy”. Some people argue that each key on a typewriter sounds slightly different, and Kubrick wanted to ensure authenticity, so he insisted that the actual words be typed.
Every time Jack talks to a “ghost”, there’s a mirror in the scene, except in the food locker scene. This is because he talks to (an unseen) Grady through a shiny metal door.
To get Jack Nicholson in the right agitated mood, he was only fed cheese sandwiches – which he hates.
Stanley Kubrick had envisioned Shelley Duvall as his more timid, dependent version of Wendy Torrance from the very beginning. However, Jack Nicholsonafter reading the novel, wanted Jessica Lange for the role of Wendy, and even recommended her to Kubrick, as he felt she fit Stephen King’s version of the character. After explaining the changes he had made, Kubrick convinced him that Duvall was the correct choice, as she best suited the emotionally fragile Wendy he had in mind. Many years later, Nicholson told Empire magazine he thought Duvall was fantastic and called her work in the film, “the toughest job that any actor that I’ve seen had”.
The first of Stephen King’s books to be banned from school libraries because of the theme of wicked parents.
The color red is visible, either overtly or subtly, in nearly every shot of the film.
The scene towards the end of the film, where Wendy is running up the stairway carrying a knife, was shot 35 times; the equivalent of running up the Empire State Building.
Stephen King was first approached by Stanley Kubrickabout making a film version of The Shining via an early morning phone call (England is five hours ahead of Maine in time zones). King, suffering from a hangover, shaving and at first thinking one of his kids was injured, was shocked when his wife told him Kubrick was really on the phone. King recalled that the first thing Kubrick did was to immediately start talking about how optimistic ghost stories are, because they suggest that humans survive death. “What about hell?” King asked. Kubrick paused for several moments before finally replying, “I don’t believe in hell.”. King replied stating that there are people who believe in hell, and that they fear it more than death itself. This was tremendously effective in helping Kubrick understand the feel of the story.
Prior to hiring Diane Johnson as his writing partner, director/producer Stanley Kubrick rejected a screenplay written by Stephen King himself. King’s script was a much more literal adaptation of the novel, a much more traditional horror film than the film Kubrick would ultimately make. He was considering hiring Johnson because he admired her novel “The Shadow Knows,” but when he found out she was a Doctor of Gothic Studies, he became convinced she was the person for the job.
Much like the casting of the character Jack, Stephen King also disliked the casting of Shelley Duvall as Wendy. King said that he envisioned Wendy as being a blond former cheerleader type who never had to deal with any true problems in her life making her experience in the Overlook all the more terrifying. He felt that Duvall was too emotionally vulnerable and appeared to have gone through a lot in her life, basically the exact opposite of how he pictured the character.
There is a great deal of confusion regarding this film and the number of retakes of certain scenes. According to the Guinness Book of Records, the scene where Wendy is backing up the stairs swinging the baseball bat was shot 127 times, which is a record for the most takes of a single scene. However, both Steadicam operator Garrett Brown and assistant editorGordon Stainforth say this is inaccurate – the scene was shot about 35-45 times.
The shot of the tennis ball rolling into Danny’s toys took 50 takes to get right.
There was no air conditioning on the sets, meaning it would often become very hot. The hedge maze set was stifling; actors and crew would often strip off as much of the heavy clothing they were wearing as quickly as they could once a shot was finished.
Stanley Kubrick decided that having the hedge animals come alive (as they do in the book) was unworkable due to restrictions in special effects, so he opted for a hedge maze instead.
Neither Lia Beldam (young woman in bath) nor Billie Gibson (old woman in bath) appeared in another movie before or after this one.
The “snowy” maze near the conclusion of the movie consisted of 900 tons of salt and crushed Styrofoam.
Stephen King tried to talk Stanley Kubrick out of casting Jack Nicholson in the lead suggesting, instead, either Michael Moriarty or Jon Voight. King had felt that watching either of these normal-looking men gradually descend into madness, would have immensely improved the dramatic thrust of the storyline.
Steadicam operator Garrett Brown accomplished many of the ultra-low tracking corridor sequences from a wheelchair on which his invention was mounted. Grips would either pull backward or push forward the wheelchair, depending on the requirement of the shot
According to Stephen King, the title is inspired by the refrain in the Plastic Ono Band’s song, “Instant Karma” (by John Lennon), which features the chorus: “We all shine on”.
Despite his reported abuse of Shelley Duvall on set, director Stanley Kubrick spoke very highly of her ability in interviews and found himself quite impressed by her performance in the finished film.
The Timberline Lodge on Mount Hood in Oregon was used for the front exterior, but all the interiors as well as the back of the hotel were specially built at Elstree Studios in London, England. The management of the Timberline requested that Stanley Kubrick not use 217 for a room number (as specified in the book), fearing that nobody would want to stay in that room ever again. Kubrick changed the script to use the nonexistent room number 237.
During filming, Stanley Kubrick made the cast watchEraserhead (1977), Rosemary’s Baby (1968) and The Exorcist (1973) to put them in the right frame of mind.
During the scene where Wendy brings Jack breakfast in bed, it can be seen in the reflection of the mirror that Jack’s T-shirt says “Stovington” on it. While not mentioned in the film, this is the name of the school that Jack used to teach at in the Stephen King novel.
Stephen King got the idea for The Shining while his family were staying at the Stanley Hotel in Estes Park, Colorado. They were the last guests before it shut down for the Winter. He saw a group of nuns leaving the hotel, and it got him thinking that the place had suddenly become godless. The King family stayed in Room 217, the haunted room in the novel but Room 237 in the film; a fire hose also resembled a snake (which doesn’t appear in the film but does in The Shining (1997) TV mini-series), and King had already been playing around with a story idea about a boy with ESP, so he combined the two plotlines.
Outtakes of the shots of the Volkswagen Beetle traveling towards the Overlook Hotel at the start of the film were “plundered” by Ridley Scott (with Stanley Kubrick’s permission) when he was forced to add the “happy ending” to the original release of Blade Runner(1982).
Jack Nicholson suggested Scatman Crothers for the film. Crothers had a tough time on “The Shining” withStanley Kubrick making him do over 100 takes for one scene. Crothers’ next film was Bronco Billy (1980), directed by Clint Eastwood who was famous for generally only going with one take. Crothers broke down in tears of gratitude on his first scene in the film when he realized he wouldn’t have to do endless take after take again.
To construct the interiors of the Overlook Hotel,Stanley Kubrick and his production designer, Roy Walker purposely set out to make it look like an amalgamation of bits and pieces of real hotels, rather than giving it one single design ethic. Kubrick had sent many photographers around the country photographing hotel rooms and picking his favorite. For example, the red men’s bathroom was modeled on a men’s room in the Biltmore Hotel in Arizona designed by Frank Lloyd Wright, and the Colorado lounge was modeled on the lounge of the Ahwanee Hotel in the Yosemite Valley. Indeed, the chandeliers, windows and fireplace are nearly identical, so much so that people entering the Ahwahnee Hotel often ask if it’s “the Shining hotel”.
After Barry Lyndon (1975), Stanley Kubrick started researching his next project by reading a lot of recent books. His secretary could hear him throwing rejected books at the wall in his office. One day, he started reading Stephen King’s novel and, after a few hours, when his secretary hadn’t heard the familiar sound of a book hitting the wall, she knew he had found his next project.
The only shot in the film not achieved in-camera was the slow zoom in on the model of the maze, with the tiny figures of Danny and Wendy walking around at the center. To achieve this shot, a model of the maze was shot from six feet above. Then the small central section of the maze was built to scale next to an apartment complex. Actors Shelley Duvall and Danny Lloyd then walked about in the central section whilst the camera crew filmed it from the roof of the apartment building. The two shots were then simply composited together.
During the making of the movie, Stanley Kubrick would occasionally call Stephen King at 3:00 a.m. and ask him questions like “Do you believe in God?” Steven Spielberg had heard this story and asked Kubrick if it was true. Kubrick denied that it happened.
Most of the elaborate urban legends and conspiracy theories surrounding this film (ranging from it serving as a Holocaust metaphor to a confession that Kubrick helped fake the moon landings) were refuted byStanley Kubrick during his lifetime or later by the surviving cast and crew. For example, the famous “impossible corridors” are a result of set logistics, Kubrick wanted to shoot Danny on his big wheel in unbroken takes, so the hallways had to connect and the only way the crew could construct them to fit Kubrick’s vision meant mirroring the set to fit available sound stage space. The shadow of the helicopter in the opening shot was the result of a framing error.
According to Variety magazine, the film took almost 200 days to shoot. However, according to assistant editor Gordon Stainforth, it took much more, nearly a year. The film was originally supposed to take 17 weeks, but it ultimately took 51. Because the film ran so long, Warren Beatty’s Reds (1981) and Steven Spielberg’s Raiders of the Lost Ark (1981) were both delayed as they were both waiting to shoot in Elstree Studios.
The scene of Hallorann approaching the hotel in the snow-cat was shot in real snow approaching the real Timberline hotel in Oregon.
Stanley Kubrick wanted to shoot the film in script order. This meant having all the relevant sets standing by at all times. In order to achieve this, every soundstage at Elstree Studios was used, with all the sets built, pre-lit and ready to go during the entire shoot at the studios.
Scatman Crothers was friends with Jack Nicholson, and when he heard about the Halloran role, he asked Nicholson to talk to Stanley Kubrick about casting him.
To achieve the smoothness of the opening shots, cameraman Greg MacGillivray secured a wide angle Arriflex camera to the front of a helicopter, then balanced the blades to remove any vibrations. Even the shot where the camera comes down behind the car, passes it out, and goes over the edge is done via the helicopter.
When Steadicam inventor/operator Garrett Brown was hired to work on the picture, he was assured that there was no way the shoot would run over six months, as he had to be back in the United States in six months time to shoot Rocky II (1979). Six months into the shoot, less than half the film had been shot, and for several months, Brown worked one week in London on The Shining, one week in Philadelphia on Rocky, commuting by Concorde every Sunday.
During an interview for Britain’s The 100 Greatest Scary Moments (2003), Shelley Duvall revealed that due to her role requiring her to be in an almost constant state of hysteria, she eventually ran out of tears from crying so hard. To overcome this, she kept bottles of water with her at all times on set to remain hydrated.
The scene where Wendy is running and sees a room where a man in a bear costume is having sex with the former hotel manager was never explained in the movie, leaving the audience very confused as to why it was there. In the book, during a year at the hotel the manager had a secret homosexual affair with a party guest dressed in a dog costume, which is the closest explanation.
The scrapbook that Jack finds in the novel makes a brief appearance next to his typewriter when Jack tells Wendy never to bother him while he’s working.
Jack tells Lloyd in the bar that Danny once messed around with his work papers. This mirrors an event inStephen King’s life, when his son once started playing around with his writing notes. He felt like killing him.
Upon seeing the movie, Stephen King reportedly said “I think he set out to make a film that hurts people”.
Jack Nicholson claimed that the scene where Jack snaps at Wendy for interrupting his writing was the most difficult for him, as he was a writer in real-life and had gotten into similar arguments with his girlfriend. Being a Method actor he drew on his memories of those arguments and added the line “Or if you come in here and you DON’T hear me typing, if I’m in here that means I’m working!”
Despite receiving generally unfavorable reviews upon its initial release, the film is today regarded as one of the best horror movies ever made. In 2001, it was ranked 29th on AFI’s ‘100 Years…100 Thrills’ list. In 2003, Jack Torrance was named the 25th greatest villain on the AFI’s ‘100 Years…100 Heroes and Villains’ list. The film was named the scariest film of all time by Channel 4 in 2003, and Total Film had it as the 5th greatest horror film in 2004. Bravo TV placed it 6th on their list of the 100 Scariest Movie Moments in 2005. In addition, film critics Kim Newman andJonathan Romney both placed it in their all-time top ten lists for the 2002 Sight and Sound poll.
The making-of documentary shot by Vivian Kubrickshows that the hedge maze set, while nowhere near as large as the maze in the film (which was mostly a matte painting), was still large and complex enough to require a detailed map. In the commentary for her documentary, she notes that many crew members really got lost in the maze, dryly noting that it now reminds her of the lost-backstage scene in This Is Spinal Tap (1984).
The role of Lloyd the Bartender was originally to have been played by Harry Dean Stanton, who was unable to take the role due to his commitment to Alien (1979).
In the British TV spot for the film, Jack can be seen tearing through the second door panel, a shot that was never used in the final cut.
As he lived in England, Stanley Kubrick was not at all familiar with the “Heeeeere’s Johnny” line (from The Tonight Show Starring Johnny Carson (1962)) thatJack Nicholson improvised. He very nearly didn’t use it.
Despite the critical success of the film, it was nominated for two Golden Raspberry Awards: Worst Actress for Shelley Duvall and Worst Director forStanley Kubrick. It “lost” both awards.
Stanley Kubrick’s first choice to play Danny Torrance was Cary Guffey, the young boy from Close Encounters of the Third Kind (1977). Guffey’s parents apparently turned down the offer due to the film’s subject matter.
The Louisville Slugger baseball bat with which Wendy Torrance bludgeons Jack is signed by Carl Yastrzemski, Hall of Fame Red Sox player. AuthorStephen King is a huge Red Sox fan.
This film was shot in the same film studio that was used for Star Wars: Episode V – The Empire Strikes Back (1980). In fact, much of the same fake snow used for this film was used for the Hoth scenes.Stephen King visited the set of both films, and met director Irvin Kershner. This later became the basis for part of his book “It”. Kirshner had been nicknamed “Kersh”, and was directing the first Star Wars film to feature Yoda. In the Stephen King book “It”, there is a character named Mrs. Kersh, who is said to sound like Yoda when she talks. As well as countless other mentions of Star Wars in various King books.
One of the shots in the part where Jack is bouncing a ball against a wall took several days to film. This was because the shot entailed the ball bouncing from the wall onto the camera lens as it filmed. As Stanley Kubrick was so determined to get this precise shot, the camera kept rolling while the ball was continually hit against the wall in the hope of it bouncing back and hitting the lens. It took everyone on the entire unit having a go at it in between other shots before the shot was finally achieved after several days.
Stanley Kubrick originally wanted Slim Pickens to play the part of Hallorann but Pickens wanted nothing to do with the director, following his experiences working with him on Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964).
Stephen King has never understood why people find the film version of The Shining so scary.
When Jack uses an axe to break through the bathroom door, he shouts “Here’s Johnny”. This is probably a reference to the catchphrase of chat-show hostJohnny Carson. However an alternative explanation is that it is a reference to an incident that occurred in the 1960s when Johnny Cash used a fire axe to break a connecting “doorway” between two motel rooms that he and his band members were using while on tour, and then broke through one of the doors from the corridor to make it look as if a thief had broken in and trashed the rooms.
The famous opening scene was shot in Glacier National Park in Montana just north of St. Mary’s Lake. The road seen in the scene, Going-to-the-Sun Road, does actually close down during winter and is only negotiable by snowcat. Kubrick initially sent a second unit to the Rockies in Colorado, but they reported back that the area wasn’t very interesting. When Stanley Kubrick saw the footage they had shot, he was furious, and fired the entire unit. He then sent Greg MacGillivray, a noted helicopter cameraman, to Montana and it was McGillivray who shot the scene.
The maze was constructed on an airfield near Elstree Studios, by weaving branches to chicken wire mounted on empty plywood boxes. The maze was shot using an extremely short lens (a 9.8mm, which gives a horizontal viewing angle of 90 degrees) which was kept dead level at all times, to make the hedges seem much bigger and more imposing than they were in reality.
The film took over 5 years to complete.
Delbert Grady, the waiter/butler from 1921, spills Advocaat (a yellow liqueur) on Jack in the Gold Room, one of multiple instances where the color yellow gradually becomes more symbolically prevalent as the film moves closer to Jack’s madness and the Overlook Hotel’s resurrection.
Christopher Reeve and Leslie Nielsen were considered for the role of Jack Torrence.
In the party scene, Stanley Kubrick told the extras to mouth their words.
Approximately 5000 people auditioned for the role of Danny Torrance over a six-month period. The interviews were carried out in Chicago, Denver and Cincinnati by Stanley Kubrick’s assistant Leon Vitaliand his wife, Kersti Vitali. Aspiring actors were asked to send in photographs of themselves, and from the photographs, a list was made of the boys who looked right, who were then called in to interview. Vitali would then have the boys do some minor improvisation on camera, and Kubrick would review the footage, gradually narrowing the list down.
Saul Bass reportedly produced around 300 versions of the film’s poster before Stanley Kubrick was satisfied.
Along with Bound for Glory (1976), Marathon Man(1976) and Rocky (1976), one of the first films to use the recently developed Steadicam.
Wendy Carlos and Rachel Elkind wrote and performed a full electronic score for the film, but Stanley Kubrickdiscarded most of it and used a soundtrack of mostly classical music. Only the adaptation of the “Dies Irae” (“Day of Wrath”) melody (from the traditional requiem mass) during the opening credits, the music during the family’s drive to the hotel, and a few other brief moments (such as Halloran’s plane trip) survive in the final version. Wendy Carlos once noted that she’d like to see the original score released on CD, but there were too many legal snags at the time. As of 2005, Carlos’ score for the film has been remastered, and is a part of “Rediscovering Lost Scores Volumes 1 and 2”.
The movie’s line “Here’s Johnny!” was voted as the #68 movie quote by the American Film Institute (out of 100), and as the #36 of “The 100 Greatest Movie Lines” by Premiere magazine in 2007.
The film was released in the United States on star