DUNE (2021)
Long delayed, and coming after multiple prior adaptations that never quite hit the mark, this latest excursion to the desert world of Arrakis has been somewhat anticipated. There were several good omens during the wait. Director Denis Villeneuve was a fan of the material. His work on science fiction thriller Arrival proved he had the chops to delivery a narrative involving precognition, and other big concepts, without laborious dialogue. The film itself would be allowed to breathe since the plot would be split into two chapters. But would other pitfalls be avoided? Could the story be executed faithfully in a modern blockbuster? Would the characters have emotional depth and charisma, or would it be another Blade Runner 2049? With part two being give a green light the results are certainly worth examination.
Dune itself is a complicated story, although it appears to follow the hero's journey archetype on the surface. But like the deep desert it holds more complex layers. The broader strokes have been copied in everything from Star Wars to Avatar. But the original book covers many secretive clans, along with many conspiracies, and many science fiction concepts. It deals with facing (or avoiding) destiny, rivalries between noble houses and guilds, and even the evolution of our species into the far future. It's a feudal fantasy world but it contains space travel, nuclear weapons, and mind expanding drugs. Which is another way of saying that this is not the easiest source material to adapt for the big screen. Even in two parts or more.
Other versions of the story have faced this problem in different ways. Alejandro Jodorowsky's outlandish 1970s version didn't get made at all, although it makes for a good documentary. David Lynch faced studio interference and called the experience 'mostly a nightmare.' On television it was given a meagre budget so the results are occasionally worse looking than some of the video-game versions. But here we are, with all the time and money that can be afforded a project like this. The ship carrying heighliners are gargantuan, the spacing guild costumes are beautiful, and the dragon-fly shaped aircraft are tangible. There's a bleached low contrast style to the whole thing, but it's a grand spectacle in line with the novel cover art of old.
In the far future, the Emperor of the known Universe decides to give the rule of planet Arrakis to Duke Leto of House Atreides (Oscar Isaac). From this desolate world the addictive 'spice' Melange is harvested. It's a drug on which the galactic economy depends, as it allows ship navigators to fold space and time. However this is not a benevolent decision, as the former rulers House Harkonnen are well aware. Leto's bitter rival Baron Harkonnen (Stellan Skarsgård) must leave the world and its riches, setting the stage for betrayal and revenge. Meanwhile religious leader Gaius Helen Mohiam (Charlotte Rampling) moves in the shadows, manipulating events to her own end.
There are a lot of moving chess pieces involved, some which have been streamlined more than others. Our protagonist Paul (Timothée Chalamet) must contend with all of this as his family moves to their new home. But as a product of manipulated bloodlines he's also beginning to have visions of becoming a leader, and starting a war which will engulf the worlds of the imperium. Will future events push him towards this eventuality, or is this a fate he can make for himself? It's this basic arc that prevents all of this from becoming another Phantom Menace. With so many houses, guilds, churches, and rulers pulling strings it would be easy for this to get bogged down in the details. But the surface of the story remains, so it can be watched as an adventure story.
On the other hand perhaps some more scheming could have been worked into this adaptation. Smaller roles like that of physician Doctor Yueh (Chang Chen) and human computer Piter de Vries (David Dastmalchian) should have been expanded, given the running time. The Baron's plot and the role his nephew Rabban (Dave Bautista) will play also need more focus. Religious manipulation of the masses and the engineering of a saviour are mention briefly (and bluntly) while long stretches are spent developing atmosphere rather than world building. Again, it prevents this from ever being alienating to a wider audience, but there is still a lot of exposition at times.
Perhaps a better mix can be found in an extended cut? Or maybe the second movie will develop more of these elements. Beyond all the mechanics and ecology this is still a gripping, if sometimes distant feeling, first half. The glittering dunes of Arrakis and the oil soaked surfaces of a Harkonnen medical chamber lend it a lot texture. The sweeping music of Hans Zimmer is immersive, if not so memorable. For all the faulty editing and bizarre inclusions in David Lynch's attempt, the characters were often afforded more screen presence. Here there are moments from military advisors Gurney Halleck (Josh Brolin) and Duncan Idaho (Jason Momoa) that lend it some charisma, while other parts of the ensemble are too fleeting or, ironically, too cold.
Ultimately this does handle a difficult premise well, even if there are areas that could be improved. Showing instead of telling goes a long way to avoiding awkward dialogue, or stilted inner monologues. Introducing different languages and using psychic visions where necessary improves the storytelling, in sequences that could become unwieldy on screen. The visual elements in general are very strong, but it's working against human elements that should be stronger. As a result it's hard to say whether this will be something that has a popular impact, in the same way something the The Fellowship of the Ring did. Time will tell if there is any clamouring for part two, or further adaptations of Frank Herbert's vast storyline as a whole.
3/5
BONUS REVIEW
NOBODY (2021)
Elsewhere let's take a look at a simple story, told in a straightforward fashion. Hutch (Bob Odenkirk) is an ex-CIA 'auditor', which means he used to have a bloody line of work. But he gave it all up to become an ordinary family man. You know how this is going to go down, you've seen this all before. There are shades of John Wick here, along with all kinds of associated action movie tropes. Hutch has a boring work routine and his love life has faded. He commands no respect with his boss and father in-law Eddie (Michael Ironside). This is a story that quickly gets to the point through a cute montage of mundane everyday life. Before this all gets spoiled by a burglary, which is of course is kind of what Hutch needed anyway.
There are a few false starts thanks to a red-herring early on, but before you know it there are Russian mobsters and brutal fight sequences. Things escalate very quickly from drunken thugs on a bus to warehouses full of burning dollar bills. There's nothing too flashy but the execution is fun in that same nuts and bolts kind of way. There are no deep characters, but it gets by thanks to the basic nature of all these ingredients. The budget is low, and the style is low. The content is exactly what is advertised. Your mileage will vary, but it's mostly dependant on Odenkirk's affable persona. It also helps that his dad, (Christopher Lloyd) his old boss, (Colin Salmon) and many other cameos give it some added charm.
The only major flaw is that is lacks the manic energy of the director's earlier work. Ilya Naishuller made those Biting Elbows music videos and Hardcore Henry after all. Occasionally elements of flair do creep in, and there are some fun moments amongst all the standard action fare. But perhaps the gimmicks had run their course, and that's okay. A quirky moment with a pet cat and a random gangster karaoke scene will have to do. The results are nothing special but they are enjoyable. There's a comfy atmosphere to all of this, and it's done without erratic unreadable action or hokey over the top dialogue. Sometimes that's enough.
3/5
