or Michael Moriarty play the role, so that Jack's descent into madness would be more unnerving. In the novel, the story takes the child's point of view, while in the film the father is the main character; in fact, one of the most notable differences lies in Jack Torrance's psychological profile. According to the novel, the character represented an ordinary and balanced man who little by little loses control; furthermore, the written narration reflected personal traits of the author himself at that time (marked by insomnia and alcoholism), in addition to abuse. There is some allusion to these episodes in the American version of the film. In an interview with the BBC, King criticized Duvall's performance, stating the character is "basically just there to scream and be stupid, and that's not the woman that I wrote about." King's Wendy is a strong and independent woman on a professional and emotional level; to Kubrick, on the other hand, it did not seem consistent that such a woman had long endured the personality of Jack Torrance. King once suggested that he disliked the film's downplaying of the supernatural; King had envisioned Jack as a victim of the genuinely external forces haunting the hotel, whereas King felt Kubrick had viewed the haunting and its resulting malignancy as coming from within Jack himself. In October 2013, however, journalist Laura Miller wrote that the discrepancy between the two was almost the complete opposite: King is, essentially, a novelist of morality. The decisions his characters make – whether it's to confront a pack of vampires or to break 10 years of sobriety – are what matter to him. But in Kubrick's The Shining, the characters are largely in the grip of forces beyond their control. It's a film in which domestic violence occurs, while King's novel is about domestic violence as a choice certain men make when they refuse to abandon a delusional, defensive entitlement. As King sees it, Kubrick treats his characters like "insects" because the director doesn't really consider them capable of shaping their own fates. Everything they do is subordinate to an overweening, irresistible force, which is Kubrick's highly developed aesthetic; they are its slaves. In King's The Shining, the monster is Jack. In Kubrick's, the monster is Kubrick. King later criticized the film and Kubrick as a director: Parts of the film are chilling, charged with a relentlessly claustrophobic terror, but others