I was awed by this film, with mouth dropping open at the scenery, the use of light, the pattern of rock, the flowing yellow fabric of Lady Jessica’s dress in the desert wind, the explosive bombs dropping from spaceships, desecrating the landscape below and the story of betrayal, political play and intrigue.
There’s that absolute silence that again invites the audience to lean in, to then jump (there are so many jumps!) with explosive action, the audience gasping and twittering as the monsters prowl, purr and claw people apart.
Screenplay written by: Denis Villeneuve, Eric Roth and Jon Spaihts
Produced by: Mary Parent, Cale Boyter, Joe Caracciolo and Villeneuve
Executive Producers: Tanya Lapointe, Brian Herbert, Byron Merritt, Kim Herbert, Thomas Tull, Jon Spaihts, Richard P. Rubinstein, John Harrison and Herbert W. Gains
Director of Photography: Greig Fraser
Costume Designer: Jacqueline West
Composer: Hans Zimmer
Starring: Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Josh Brolin, Stellan Skarsgård, Dave Bautista, Zendaya, David Dastmalchian, Stephen Henderson, Charlotte Rampling, with Jason Momoa and Javier Bardem.
The film opens with, “Dreams are messages from the deep,” written across the screen. A thread that flows through-out the film lending that magical touch to a film that at its foundation, is political intrigue.
Based on the novel written by Frank Herbert, Dune(Part One) is a story of the desert, greed, vengeance, witches and blood.
I was reminded at times of the previous adaptation directed by David Lynch, Dune (1984), immediately taken back with the spit scene, the device used so well then and used again here like a nod of respect to the previous film. There’s also John Harrison’s 2000 miniseries, “Frank Herbert’s Dune.” And the 2003 sequel miniseries titled “Frank Herbert’s Children of Dune,” starring James McAvoy. However, I’m reviewing Dune(2021) without comparison, preferring to take the film as it stands.
It’s 10191. The House of Harkonnen has been mining spice from the desert sands of Arrakis for the last 80 years getting obscenely rich, while the people of Arrakis are given nothing by the Outsiders but violence and pain in return.
It’s a system that has worked well. So why does the Emperor decide to give The House of Atreides the right to move into the desert city and take over the mining?
House of Atreides is powerful. Too powerful.
‘When is a gift not a gift?’
The Duke’s son, Paul Atreides (Timothée Chalamet) has to learn about the politics of the Empire quickly. He’s been trained to fight by Gurney Halleck (Josh Brolin), he’s been counselled by his father, The Duke (Oscar Isaac), he has been shown The Path by his mother, Lady Jessica (Rebecca Ferguson).
So he trains, he listens to his father. And he dreams.
I liked the serious tone of, Dune, offset by the warmth of Paul’s friend, Duncan (Jason Momoa) and his father.
‘What do they say of Arrakis?’
‘To shower, you scrub your arse with sand.’
But mostly, Dune is a dark film. The waking life of Paul sometimes the stuff of nightmares with giant worms shifting the sand from beneath like the waves of an ocean, their massive mouths filled with teeth to suck anything that makes sound into their abyss; and the cruelty as the innocent are beheaded without actually seeing the gore – you don’t need to see the dead to know the deed is being done.
This is more about the foreboding build of tension that Denis Villeneuve does so well.
The film begins with the sound of a thudding heartbeat.
And here, Villeneuve’s trademark usage of the soundtrack is layered with the sound of different languages spoken and the silence of hands moving in sign language like the thread of the story pulled together into this web of intrigue from the Emperor and his games, the brutal Harkonnen made rich from mining spice, the mystery of the people of Arrakis and the dangerous power passed from Paul’s mother, Lady Jessica to her son.
What threw me was the introduction of hope into the film.
I enjoyed the desert aesthetic and tribal feel of the Arrakis people, but the hope of the people was pushed into dramatic territory and the build of tension began to fade.
But wow, I was awed by this film, with mouth dropping open at the scenery, the use of light, the pattern of rock, the flowing yellow fabric of Lady Jessica’s dress in the desert wind, the explosive bombs dropping from spaceships, desecrating the landscape below and the story of betrayal, political play and intrigue.
