Attribution: Illustration by Michael DiMilo
Desert Storm: Review of Dune: Part Two
By Geoff Carter
The long-awaited—and latest—star-studded mega-production of Dune has finally landed. Of course, this is hardly news. The hype surrounding the second installment of this science-fiction saga has been so constant and ubiquitous, it’s became as annoying as the popcorn container with the mouth of a sandworm as its opening. The question is whether the wait—and the hype—is worth it.
Frank Herbert’s beloved classic created a world steeped in such historical and cultural detail that accurately recreating it on the screen has been—to say the least—difficult. David Lynch did a version in 1984, before the days of CGI, and—while the film has some great moments, it does not come close to convincingly recreating Herbert’s universe to the degree that Denis Villeneuve’s newest version does. A miniseries, Frank Herbert’s Dune, aired in 2000. The series received a fair amount of critical praise but still was unable to translate the majesty and grandeur of the novel to the small screen.
The latest version, directed and co-written by Denis Villeneuve, is nothing short of spectacular. The first installment, Dune: Part One, was released in 2021 and introduced the desert planet of Arrakas in its full beauty and majesty, spice (the most valuable resource in that universe), and a complex society of high priestess oracles, royal houses, and sandworms, the gigantic terrors of the desert.
The second installment was released this year and continues the story of Paul Atreides (Timothy Chalemet’s) quest for revenge after his family is betrayed and murdered by a conspiracy headed by their archenemies the Harroken, a vicious rival house bent on controlling the spice industry. To give even a cursory overview of the intricate web of intrigues and deceit between the royal houses, the psychotronic relationship between spice and navigators (and time and space), the native Fremen of Arrakis and their culture, and the Bene Gesserit—a secretive matriarchal organization whose members are dedicated to using their formidable powers to lead the world down an enlightened path would take pages to explain. The above description only scratches the surface of the Dune universe—the Duniverse?.
While the intricate structure and innumerable backstories of this epic present huge problems in translation to the silver screen, Mr. Villeneuve has somehow managed to tell the story in large part through striking visuals. He and his crew have created a visually stunning depiction of a completely foreign reality with breathtaking grace and beauty. From the spectacular cinematography to the fantastic production design to the incredible special effects, and especially to the brilliant acting, Dune: Part Two far exceeds expectations.
Dune, parts one and two, are part action film, part revenge story, and part political intrigue, and part war story (on a planetary and Shakesperean level), and part melodrama. It’s also part—a big part—brilliantly imaginative visual storytelling. It has all the elements of a great action film like Mad Max: Fury Road or any of the never-ending Marvel universe makes, remakes, reimaginings, sequels, prequels, and origin stories.
While the latest incarnations of the Marvel universe seem somewhat limp and formulaic (or downright bad), the breathtaking action sequences of Max and Dune are built on underpinnings of relatable and believable humanity. The audience cares about Furiosa, Max, Paul, and his mother—the main characters of Mad Max and Dune because there is a depth and breadth to the characters that is lacking in Madame Web, Deadpool, or many of the other superhero comic book epics. And, honestly, the story of Peter Parker is compelling, but how many times do we have to see it? We know, dudes. We know.
Dune: Part Two opens as Paul and his mother find refuge from the Harkonnen assassins with the Fremen, the native people of Arrakas. Bent on avenging his father’s murder and the theft of his house, Paul and his mother Lady Jessica (the superb Rebecca Ferguson) join the Fremen in their attacks against the Harkonnen, their colonial oppressors.
Lady Jessica, a member of the Bene Gesserit, a mysterious sisterhood who possess powers of the mind, is compelled to drink the water of life which nearly kills her. She becomes a revered reverend mother and uses her influence to persuade the Fremen that Paul is Lisan al Gaib, a preordained leader of the Fremen. Chani (Zendaya), a Fremen warrior, scoffs at the prophecy, maintaining it is only a tale designed to control the Fremen. After the Harkonnen destroy Sietch Tabr, a Fremen stronghold, Paul is obliged to travel south and meet up with Lady Jessica, who has been cultivating the fundamental Fremen people.
Keeping track of all the royal houses, the Fremen, the Bene Gesserit, the navigators, and the Emperor Shaddam IV (Christopher Walken), his daughter Princess Irulan (Florence Pugh) and their tangled plots of intrigue and murder is a daunting task which Villeneuve has wisely split into two feature-length films, a strategy which worked extremely well for Peter Jackson’s fantasy epic The Lord of the Rings. HBO’s rendition of the Game of Thrones series also gave ample time for plot twists, character development, and endless exposition. Denis Villeneuve was somehow able to manage to contrive a believable and comprehensible version of this epic in about four hours of running time.
Some parts of Frank Herbert’s book, as in LOTR or GOT, were cut out or changed, but Villeneuve and his cohorts managed to preserve the essence of the story, partly through plot and dialogue, but also through tone and mood. The evil Baron Vladimir Harkonnen (Stellan Skarsgard), a man so obese that he has to be supported by suspensors that float his body place to place. Draped in a flowing black robe that trails him like the body of a slug, Villeneuve manages to create the essence of the Baron’s character with a few deft strokes.
Lady Jessica, brilliantly portrayed by Rebecca Ferguson, resembles nothing so much as a tightly wound spring of tension. Caught between the needs of her family, the Bene Gesserit, and later the Fremen fundamentalists, she is constantly playing dangerous and deadly games in an effort to protect those she loves. Ferguson is able to convey this complexity of emotional shrewdness almost solely through her eyes and facial expressions—a palette reflecting pain, hope, and ambition.
Dune: Part Two is a treasure of cinematic delights. The beauty and grandeur of the production design (check out the emperor’s ride or the monochromatic sun of one world), the incredible cinematography (the desert almost becomes a character), and the incredible cast are simply brilliant. Chalemet’s Paul grows seamlessly from a bewildered youngster into a hardened warrior and leader throughout the the two movies. There is not one moment in this arc that is not believable. Zendaya is wonderfully cast as the no-nonsense and shrewd Chani. The supporting cast, including Christopher Walken, Florence Pugh, Josh Brolin, Lea Seydoux, Oscar Isaac, Austin Butler, Charlotte Rampling, and more is nothing short of spectacular.
Even if you’re not a devotee or even a sci-fi, Dune: Part Two is an excellent movie. Thoughtful, stylish, beautifully shot, and boasting incredible special effects (try the sandworm popcorn), it is a treat for any fan of the cinema.