Over the past decade, Canadian filmmaker Denis Villeneuve has progressively evolved from directing intense, introspective human dramas like Incendies and Prisoners to narratives that have become ever larger in scale and scope, eventually going beyond the boundaries of our present world into the realm of science fiction. With the release of his tale of alien first contact, Arrival in 2016, Villeneuve joined the likes of Christopher Nolan, Rian Johnson and Ridley Scott as a director of intelligent sci-fi films, a term that was considered an oxymoron until Stanley Kubrick released 2001: A Space Odyssey in 1968. He followed up a year later with Blade Runner 2049, a courageous decision to direct a sequel to one of the most hallowed sci-fi films of all time. He then spent nearly three years producing, co-writing and directing a big-screen adaptation of Dune, Frank Herbert’s classic 1965 sci-fi novel that has long been considered unfilmable, due to the challenges of capturing all its complex themes of colonialism, geopolitics, gender politics, religious faith and planetary exploitation into a two hour film, and also the visual effects technology required to bring the world and denizens to life. Alejandro Jodorowsky tried and gave up in the 70s, celebrated auteur David Lynch released a flawed adaptation in 1984, then in 2000 it was adapted into a three-part mini-series, the contents better able to breathe within longer running time, but visually constrained by the small screen format.
Set nearly 20,000 years in the future, Dune depicts a human civilization that has discovered faster-than-light travel, allowing humanity to expand across the known universe under the rule of the ruthless and politically cunning Emperor Shaddam IV. The worlds of the Empire live within a complex political, religious and social construct, with great ducal houses granted royal decrees to manage and exploit the empire’s natural resources, under the management of an economic development corporation known as CHOAM. The main setting of the novel is the desert planet Arrakis, the only source of the precious spice known as melange, which confers extended life and enhanced mental capabilities to its users. It is through the use of melange that the pilot-navigators of the powerful Spacing Guild are able to guide starships through the gaps in time and space, effectively the lifelines of the galactic economy. And so the Empire has colonized and exploited Arrakis, with scarcely a thought for its native inhabitants, reclusive desert dwellers known as the Fremen who just wish to be left alone. When the novel was published, readers were quick to notice the parallels between Arrakis and the Middle East, spice and crude oil, CHOAM and OPEC, the Ducal Houses and Western oil companies, the Fremen and the Bedouin.
It is this multifaceted world that Villeneuve took on the responsibility for bringing to life, well aware of the high profile failures of the past. Villeneuve negotiated with Warner Bros. to spread the book over two films, the first one running at over two and a half hours, and agreeing that the second would be made only if the first one was financially successful. He then set about assembling a who’s who of highly acclaimed actors (rather than just A-list movie stars) to fill out the large cast of characters. After nearly three years, the film was ready, but then Covid hit. The studio made the right decision to delay the release by a year, correctly judging that this production needed to be seen in theaters to fully appreciate Patrice Vermette’s breathtaking production design, cinematographer Greig Fraser’s magnificent visuals and Hans Zimmer’s thundering orchestral score. Having seen it on IMAX yesterday, I would insist to any potential viewer that’s the only way to experience it and am determined to go back once again…it’s quite an experience.
To begin with, the casting is pitch perfect and is probably one of the most power-packed ensemble casts to have appeared in a feature film in recent years (aside from the MCU film series). Timothée Chalamet plays the lead character, Paul, heir to the House Atreides and son of Duke Atreides (Oscar Isaac) and his concubine Lady Jessica (Rebecca Ferguson). The Duke’s staff consists of the grim weapons master Gurney Halleck (Josh Brolin), swaggering swordmaster Duncan Idaho (Jason Momoa) and kindly mentat/strategist Thufir Hawat (Stephen McKinley Henderson)…all intensely loyal to House Atreides and mentors to young Paul Atreides. The rival to House Atreides for control of Arrakis is the brutal House Harkonnen, led by the colossally obese Baron Harkonnen (Stellan Skarsgård) assisted by his cruel nephew Glossu Rabban (Dave Bautista) and his twisted mentat Piter De Vries (David Dastmalchian). On Arrakis live the Fremen, with Javier Bardem playing Stilgar, the leader of one of the tribes and Zendaya playing Chani, a young woman of his tribe who goes on to feature prominently later on in the story. On Arrakis, the Atreides cohort meet Dr. Liet-Kynes, the Imperial planetologist who acts as liaison between the Empire and the Fremen, and who over the years, has “gone native”, now supporting planetary development and sustainability over mindless exploitation.
The first hour and a half of the film goes by quickly with every scene meticulously crafted and edited to serve as exposition, while also advancing the plot. The world-building is nuanced but nevertheless awe-inspiring, with every character and element being revealed in a manner that is organic with the plot. For fans of the novels who know what a crysknife, stillsuit, spice harvester, thumper or ornithopter is, it’s a thrill to see each of these realized on-screen. And of course, the most iconic creation of the novel is the sandworm, a giant species of worm native to the planet which can grow up to 400 meters in length. Given that this film is the first of a two-parter, Villeneuve teases the sandworm a few times in the film, but has kept the big reveal for Part Two. The final act slows down the pace considerably, as the action shifts from the high-tech Atreides’ operations center to the deadly solitude of the Arrakeen desert. For viewers unfamiliar with the novel, it’s important to manage expectations that this is a movie about politics and intrigue set in an eye-popping alien world, rather than an action-filled space opera.
A significant aspect of the story is the question of destiny vs. free will. All signs point to Paul Atreides being destined to become a great and powerful person; his bloodline and the childhood training imparted by his mother and weapons master have given him incomparable capabilities; in addition, the machinations of the Emperor have placed him in a dangerous situation on an alien world – a seemingly surefire catalyst to force his transformation from cossetted ducal heir to a leader of people. But it is still Paul’s choice to stay on Arrakis or to leave, and ultimately that decision which he, and he alone makes, leads him to fulfill his destiny. The is of course, the standard narrative template of any Bildungsroman, one that also plays out in Star Wars with Luke Skywalker.
The next few weeks will be critical as Dune opens around the world, its box office performance will determine if Warner Bros. greenlights the sequel to complete the story of the first book. The fact that they have allowed Villeneuve to open the film with the title card Dune: Part One is certainly promising!
Chronophlogiston 