Dune (2021 Review)
Dune Gets an Update Worthy of an Epic
To prepare my mind and body for the new Dune adaptation, I finally sat down to watch the 1984 version by David Lynch. It’s a movie that’s caused a chasm between science fiction fans for decades, and now I can finally take a side in this “ancient” feud as I firmly plant my flag on the side of those who hated it. I’m not here to talk about that calamitous reimagining of the Frank Herbert franchise though, because modern-day master of sci-fi, Denis Villeneuve, has answered the call of Arrakis to regale us with the tale of how Paul Atreides of House Atreides became the messiah, Muad’Dib. He brings with him his experience from films like Arrival and Blade Runner 2049 to craft a visually spectacular film that embraces the ultimate cinematic truth: show, don’t tell. While I could barely manage to get through the 1984 version, this reimagining is a thought-provoking and compelling introduction to what could be the next big cinematic sci-fi franchise.
Dune is hardly your typical science-fiction tale and instead blends elements of high fantasy to create a world in which science and magic coexist. The result is a universe filled with seemingly bottomless mythos, political plots, and, of course, spaceships. At the center of this intergalactic epic is young Paul Atreides (Timothée Chalamet), son of Duke Leto Atreides (Oscar Isaac) and the Bene Gesserit (space witches with a thing for eugenics) Lady Jessica Atreides (Rebecca Ferguson). His whole life has been spent preparing to take over for his father as the next great leader of House Atreides, but he’s filled with uncertainty over whether he has the moral character and ability to truly be a leader. An opportunity arises when House Atreides is ordered to the desert planet of Arrakis by the Emperor (of space, I guess) to oversee the mining of the invaluable mineral “spice”, which is imperative to space travel. Arrakis is a harsh and unforgiving planet where death lurks just beyond every sand dune. It is here that Paul Atreides will meet the indigenous Freman and will learn the truth behind his father’s words, “A great man doesn’t seek to lead; he is called to it.”
Villeneuve once more calls upon production designer Patrice Vermette to make the fantasy of Dune a reality for audiences. The two have collaborated on multiple productions in the past, and their partnerships have resulted in films that thoughtfully examine modern social climates and cultures to craft futures that embrace the melting pot the world is becoming. Dune threatens to be overburdened with lore before it even begins. So much so that Lynch found it necessary to take a Shakespearean approach with a narrator announcing what was going on and who everyone was before the movie even started. Vermette and Villeneuve scoff at the notion of “explaining” and instead work with Hans Zimmer and the sound department to create a “vibe” that conveys the vast majority of what audiences need to know about characters, cultures, and the Houses through mise-en-scene alone. House Harkonnen is a perfect example, as we’re introduced to these antagonists, music and sound design blend to create ominous tones twisting the darkness of their home planet into a nightmarish abyss threatening to consume the pale, rage-filled people serving their bloated, avarice fueled Baron who lounges like a prized hog as attendants see to his every whim. Before a single character even opens their mouth, it’s easy to tell the Harkonnen serve their own purposes and are willing to cut off their nose to spite their face.
This degree of thoughtfulness put into the production is nothing short of Oscar-worthy on all fronts. Every frame of Dune is filled with a purposeful beauty that serves the narrative without bowing to it. This is because Villeneuve isn’t just a creator of science-fiction, he’s a fan who draws upon his influences to create the kind of stories that geeks like him will enjoy. Though it might sound self-serving, it’s this personal stake that pushes Dune to see beyond Herbert’s words to the themes beneath them. Villeneuve draws inspiration from a number of classics to craft his vision, in which he sees Dune as the love child of Game of Thrones and Star Wars raised by Blade Runner. It’s clear that the crew poured their heart and souls into this “love child” and their meticulous efforts resulted in an awe-inspiring blend of cinematography and visual effects. However, it’s within the vast scope of this tale that we find Dune’s Achilles heel.
Dune is a daunting epic because of how sprawling it can be at times. That’s why Villeneuve split the tale of Paul Atreides into two parts (at least). This first installment finds an appropriate place to wrap things up, but it also ends on a cliffhanger that the audience won’t see resolved for at least a year or two. As annoying as two-part movies can be, there was no way to fit everything necessary to adapt Herbert’s work into a single film. Lynch tried exactly that and it was a narrative nightmare with absolutely zero character development. Thankfully, Villeneuve decided to skip the rambling internal monologues in the source materials, allowing the actors to express their internal motivations through expression and action. While this version doesn’t spread itself as thinly, it still feels intimidating during certain scenes with the wonder and questions it inspires. The only actually annoying aspect of the movie was how whiney and “emo” Chalamet came across at times. That might have been because he was surrounded by macho actors like Jason Mamoa, David Bautista, and Josh Brolin though.
If you’re still on the fence over whether or not to watch Dune, let me put it to you like this: I’m actually excited to see what happens next and to learn more about the characters and the worlds they inhabit. Unlike the Lynch version, this adaptation never pushes my suspension of disbelief too far and I didn’t roll my eyes once. Dune is a rich and complex tale that never overshadows its core themes or characters. It pulls back from the “details” to focus on connecting with the audience by drawing on modern equivalents of those elements. Over-exploitation of natural resources, oppressive classism, unchecked capitalism, xenophobia, bigotry, and ignorance are all present in Dune and all are carefully used to further the story of how Paul Atreides ascends to his role of messiah. Don’t worry though, because this film has plenty of popcorn to go with the stars I’m giving it.
