Like the story of her life would later, her performance was probably misinterpreted at the time.
If Stanley Kubrick’s “The Shining” were a derivation of the centuries-old Gothic horror genre, Shelley Duvall was the ideal actor to portray a contemporary Gothic heroine. Wendy Torrance, the oppressed wife of the obstinate writer Jack (Jack Nicholson), was portrayed by Duvall, who passed away on Thursday at the age of 75. The couple has taken refuge in the Overlook Hotel with their young son, where they are employed as winter custodians.
However, a catastrophic event is currently underway. Driven by the weight of an unfathomable and ruthless past, the Overlook is less of a hotel and more of a haunted mansion. Wendy, a diminutive woman who is typically isolated within a complex, enigmatic structure, is nearly incarcerated. It would be more fitting to refer to the Overlook as a creature that imposes its monstrousness upon its inhabitants. In the end, Wendy is the one who effectively defects, not Jack.
The Gothic protagonist, a woman who is confined in the frightful haunted house, is compelled to demonstrate courage in the presence of danger, balancing strength with vulnerability to the malevolent forces that lurk around every corner. Without that tension, we would not be kept in suspense. In the film, Duvall’s eyes are wide, her hair is flat and scraggly, and it is difficult not to presume that she will die. Her primary objective is to safeguard her son, Danny, from his father, who, as we find out early on, had fractured Danny’s arm during an alcohol-induced rage. She has encountered this malevolent entity previously; however, it now wields an ax. It is a genuine and dreadful menace that she has observed in action.
The Wendy of Kubrick’s 1980 film is more fragile and terrified than the Wendy of Stephen King’s previous book. King objected, stating, “basically just there to scream and be stupid and that’s not the woman that I wrote about.” Duvall was nominated for a Razzie Award for worst actress, and numerous unfavorable evaluations of the film identified her as a flaw.
In recent years, her portrayal of extreme horror in “The Shining” has garnered critical acclaim; however, it appears that critics were unaware of the extent of its disturbing nature. There is an unusual quality to it. Her mouth is capable of drawing into a rosebud or opening wide to emit a cry, and her eyes are both large and heavy-lidded. Her impact is virtually that of a porcelain doll throughout the film, as she is driven by fear of shattering. It appears that she is hesitant to breathe and has difficulty speaking.
However, they are still completely capable of screaming. In 1980, Duvall disclosed to critic Roger Ebert that he was experiencing intricate emotions as a result of the filming process, likening it to the treatment of primordial screams. “In my character I had to bleed 12 hours a day, all day long, the last nine months straight, five or six days a week,” according to her. Nevertheless, she stated, “I returned home feeling extremely satisfied.” It had a profoundly calming effect. I would have been exceedingly miserable throughout the day.
Duvall had established herself in the film industry at a relatively young age by starring in films such as “McCabe and Mrs. Miller,” “Nashville,” and “3 Women,” all of which were directed by Robert Altman and characterized by a casual, improv-heavy style. In contrast, Kubrick was unyielding and precise, capturing numerous views and pushing his actors to their limits. David Hughes, the author of “The Complete Kubrick,” was informed by Duvall that the tension of the extended filming had significantly impacted her health. Her companion, Paul Simon, had also separated from her shortly prior to the commencement of production.
Additionally, it prompted skepticism regarding the extent to which residual stress from her experience influenced the production of “The Shining.” In 2022, her Razzie nomination was revoked; the organization stated in a statement that “we have since discovered that Duvall’s performance was impacted by Stanley Kubrick’s treatment of her throughout the production.” Duvall was once again the vulnerable woman living in apparent isolation in a small Texas hill country community, where she relocated in the 1990s. This was also thematically relevant. To what location had she disappeared? For what purpose? Who could have anticipated the spirits that still stalked her?
However, Duvall conducted an interview with The New York Times in April 2024, less than two months prior to her passing. One of the numerous topics that she addressed was “The Shining,” a film that still evoked challenging memories for her. However, she believed that the genuine root of the problem was the broader Hollywood system, which she believed had disregarded and disregarded her. Kubrick was not the genuine villain.
“How would you feel if people were truly nice, and then, suddenly, on a dime, they turn on you?” she inquired. “You would never be able to believe it unless it happens to you personally.” This results in your suffering, as you are unable to genuinely embrace it as the truth.
It is hardly a novel narrative for Hollywood heroines, who have a long history of being compelled to leave the industry by one or more monsters. Duvall mourned her existence in Hollywood, but she also confronted her fate in a manner reminiscent of a Gothic heroine. She may appear disheveled, but she is also resilient, as evidenced by the fact that she navigates her small community in a white Toyota 4Runner, despite her mobility issues. This was noted by post-Dr. Phil interviewers. Again, there was the conflict between vulnerability and bravery—the determination to continue without turning back. And further evidence that Shelley Duvall was an exceptional protagonist, as she was unable to seamlessly integrate into the pre-existing narratives of others.