Movies from This Year I Finally Saw: Dune Part 2
The desert is beautiful in exactly the way that means it’s something that can kill you. It’s vast, and terrifying, and gorgeous. The only thing that compares is the sea; but the sea is totally alien, and to survive there, we need to bring tiny islands of our world with us to survive. The desert allows no such vessels, it demands that we join it, live as it does.
My Dad grew up on the edge of the low desert, I spent a lot of time as a kid there. I mention all this so that I can tell this story: when we watched the 2001 Sci-Fi channel version of Dune, the first time the Fremen arrived on screen my Dad burst into laugher; “Look how fat they are!” he roared, “they’ve never been in the desert a day in their lives!”
He did not say that when we watched the new movies.
And so yes, I finally saw the second half of Dune. I liked it. I liked it a lot. I think this has to go down as the new definitive example of how to turn a great book into a great movie (the examples for how to turn “decent-but-not-great” and “bad” books into great movies remain Jurassic Park and Jaws, respectively.)
It’s vast, it’s grand, it looks great, the acting is phenomenal, it’s fun, it’s exciting. It’s the sort of movie where you can list ten things about it at random and someone is likely to say “oh yeah, that was my favorite part.”
Denis Villeneuve has two huge advantages, and wastes neither. First, this is the third attempt at filming Dune, and as such he has a whole array of examples of things that do and don’t work. Second, he even has an advantage over Frank Herbert, in that unlike the author of the book, Villeneuve knows what’s going to happen in the next one, and can steer into it.
It’s immediately obvious that splitting the book into two movies was an even better idea than it first looked. While stretching a book-to-movie adaptation into two movies has become something of a cliche, Dune is different, if for no other reason than when they announced that they were going to make two films, literally everyone who’d ever read the book correctly guessed where the break was going to be.
But in addition to giving the story enough room to stretch out and get comfortable, the break between movies itself also turns out to have been a boost, because everyone seems more relaxed. The actors, who were all phenomenal in the first part, are better here, the effects are better, the direction is more interesting. Everyone involved clearly spent the two years thinking about “what they’d do next time” and it shows.
It looks great. The desert is appropriately vast and terrible and beautiful. The worms are incredible, landing both as semi-supernatural forces of nature but also clearly real creatures. All the stuff looks great, every single item or costume or set looks like it was designed by someone in the that world for a reason. The movie takes the Star Wars/Alien lived-in-future aesthetic and runs with it; the Fremen gear looks battered and used, the Harkonnen stuff is a little too clean, the Imperial stuff is clean as a statement of power, the smooth mirrored globe of a ship hanging over the battered desert outpost.
The book casually mentions that Fremen stillsuits are the best but then doesn’t talk more about that; the movie revels in showing the different worse protective gear everyone else wears. The Fremen stillsuits looks functional, comfortable, the kind of thing you could easily wear all day. The various Harkonnen and Imperial and smuggler suits all look bulky and uncomfortable and impractical, more like space suits than clothes; the opening scene lingers on the cooling fans in the back of Harkonnen stillsuit’s helmets, a group of soldiers in over their heads trying to bring a bubble of their world with them, and failing. In the end, those fans are all food for Shai-halud.
Every adaptation like this has an editorial quality; even with the expanded runtime we’re playing with here, the filmmakers have to choose what stays and what to cut. Generally, we tend to focus on what got left out, and there’s plenty that’s not here (looking at you, The Spacing Guild.) But oftentimes, the more interesting subject is what they choose to leave in, what to focus on. One detail Villeneuve zooms in on here is that everyone in this movie is absolutely obsessed with something.
Silgar is obsessed that his religion might be coming true. Gurney is obsessed with revenge at any cost. The Baron is obsessed with retaking Arrakis. The Bene Gesserit are obsessed with regaining control of their schemes. Elvis is obsessed with proving his worth to his uncle.
Rebecca Ferguson plays Jessica as absolutely consumed with the twin desires for safety and for her son to reach his full potential, whatever the cost. She has a permanently crazed look in her eyes, and the movie keeps it ambiguous how much of that is really her, and how much is PTSD mixed with side-effects of that poison.
At first, Paul is a kid with no agency, and no particular obsessions. He’s upset, certainly, but he someone who’s adrift on other people’s manipulations, either overt or hidden. You get the sense that once they join up with the Fremen, he’d be happy to just do that forever. But one the spice starts to kick in, Timothée Chalamet plays him as a man desperately trying to avoid a future he can barely glimpse. When reality finally conspires to make that future inevitable, he decides the only way forward is to sieze agency from everything and everyone around him, and from that point plays the part as a man possessed, half-crazed and desparate to wrestle him and the people he cares about through the only path he can see that doesn’t lead to total disaster.
My favorite character was Zendaya’s Chani. Chani was, to put it mildly, a little undercooked in the book, and one of the movie’s most interesting and savvy changes is to make her the only character that isn’t obsessed with the future, but as the only character who can clearly see “now”, a sort of reverse-Cassandra. While everyone else is consumed with plots and goals and Big Obsessions, she’s the only one that can see what the cost is going to be, what it already is. The heart of the movie is Zendaya finding new ways to express “this isn’t going to work out” or “oh shit” or “you have got to be fuckin’ kidding me” with just her face, as things get steadily out of control around her. It’s an incredible performance.
Chani also sits at the center of the movie’s biggest change: the ending.
In the book, Chani and Jessica aren’t exactly friends, but they’re not opposed to each other. The story ends with Paul ascending to the Imperial throne, with the implicit assent of the Spacing Guild and a collective shrug from the other great houses, and the story’s point-of-view slides off him and onto the two woman, as they commiserate over the fact that the men in their lives are formally married to other people, but “history will call us wives.”
Then, Dune Messiah opens a decade later after a giant war where the Fremen invaded the universe, and killed some billions of people. It’s not a retcon in the modern sense of the word exactly, but the shift from the seeming peaceful transition of power and “jihad averted” ending of the first book to the post-war wreckage of the opening of the second is a little jarring. Of course, Dune Messiah isn’t a novel so much as it’s 200 pages of Frank Herbert making exasperated noises and saying “look, what I meant was…”
Villeneuve knows how the second book starts, and more important, knows he’s going to make that the third movie, so he can steer into it in a way Herbert didn’t. So here, rather than vague allies, Jessica and Chani stand as opposing views on Paul’s future. The end of the film skips the headfake of a peaceful transition, and starts the galactic jihad against the houses opposed to Paul’s rule, and then the movie does the same POV shift to Chani that the book does, except now it’s her walking off in horror, the only person convinced that this will all end in flames and ruin. (Spoiler: she’s right.)
It’s a fascinating structure, to adapt one long book and its shorter sequel into a trilogy, with the not-quite-as-triumphant-as-it-looks ending of the first book now operating as (if you’ll forgive the comparison) an Empire Strikes Back–style cliffhanger.
It’s also a change that both excuses and explains the absense of the Spacing Guild from the movie, it’s much easier to light off a galactic war in one scene if there isn’t a monopoly on space travel that has a vested interest in things staying calm.
Dune is a big, weird, overstuffed book. The prose is the kind that’s politely described as “functional” before you change the subject, it doesn’t really have a beginning, and the end kind of lurches to a halt mid-scene. (And it must be said that it is significantly better written than any of Herbert’s other works. Dune started life as fixup of serialized short stories; the novel’s text implies the influence of either a strong editor or someone who gave a lot of productive feedback. Whatever the source, that influence wouldn’t show up for any of the sequels.) It’s a dense, talky book, with scene after scene of people expositing at each other, including both their conversation and respective internal monologies.
Despite it’s flaws, It’s a great book, and a classic for a reason, mostly because whatever else you can say about it, Dune is a book absolutely fizzing with ideas.
This is a book with a culture where computers are outlawed because of a long-ago war against “Thinking Machines”, and a guild of humans trained from birth to replace computers. There are plenty of authors who would have milked that as a book on its own, here it gets treated as an aside, the name “Butlerian Jihad” only appearing in the appendix.
Taking that a step further, the guild of analytical thinking people are all men, and their counterpart guild—the Bene Gesserit—are the scheming concubine all-woman guild. And yeah, there’s some gender stereotypes there, but that’s also the point, it’s not hidden. They’re both “what if we took these stereotypes and just went all the way.”
The book is constantly throwing out new concepts and ideas, tripping over them as it runs to the next. Even the stock mid-century science fiction ideas get a twist, and we end up with things like what if Asimov’s Galactic Empire was a little less “Roman” and a little more “Holy Roman”. And that’s before we get to the amount of word-building heavy-lifting done by phrases like “zensunni wanderers.”
And on top of all that, Herbert was clearly a Weird Guy (complementary.) The whole book is positively bubbling over with The Writer's Barely-Disguised Fetish, and while that would swamp the later books, here the weird stuff about politics or sex or religion mostly just makes the book more interesting—with a big exception around the weird (derogatory) homophobia.
And this is where I start a paragraph with “however”—However most of those ideas don’t really pay off in a narratively compelling way. They’re mostly texture, which is fine in a sprawling talky novel like Dune, but harder to spare room for in a movie, or even in two long ones.
An an example: Personal shields are another fun piece of texture to the setting, as well as artfully lampshading why this futuristic space opera has mostly melee combat, but they don’t really influence the outcome in a meaningful way. You can’t use them on Arrakis because they arger the worms, which sort of explains part of the combat edge the Fremen have, but then in the book it just sorta doesn’t come up again. The book never gives the Fremen a fighting style or weapons that take advantage of the fact their opponents don’t have shields but are used to having them. Instead, the Fremen are just the best fighters in the universe, shields or no shields, and use the same sorts of knives as everyone else.
The movies try to split the difference; shields are there, and we get the exposition scene at the start to explain how they work, but the actual fights don’t put a lot of effort in showing “the slow blade penetrates”, just sometimes you can force a blade through a shield and sometimes you can’t.
Visually, this does get gestured in a few ways: those suspensor torpedoes that slow down and “tunnel” through the shields are a very cool deployment of the idea, and the second movie opens with a scene where a group of Harkonnens are picked apart by snipers but never think to take cover, because they usually don’t have to.
And this is how the movie—I think correctly—chooses to handle most of those kinds of world-building details. They’re there, but with the volume dialed way down. The various guilds and schools are treated the same way; Dr Yueh turning traitor is unthinkable because he’s a trusted loyal member of the house, the Suk School conditioning is never mentioned, because it’s a detail that really doesn’t matter.
As someone who loves the book, It’s hard not to do a little monday-morning quarterbacking on where the focus landed. I’d have traded the stuff at the Ecological Testing Station for the dinner with the various traders and local bigwings, Count Fenring is much missed, I’d have preferred the Spacing Guild was there. But it works. This isn’t a Tom Bombadil/Souring of the Shire “wait, what did you think the book was about?” moment, they’re all sane & reasonable choices.
It turns out letting someone adapt the book who doesn’t like dialoge is the right choice, because the solution turned out to be to cut basically all of it, and let the story play out without the constant talking.
And this leads into the other interesting stylistic changes, which is that while Dune the book is deliriously weird, Dune the movies are not. Instead, they treat everything with total sincerity, and anything they can’t figure out how to ground they leave out.
I think this is a pretty savvy call for making a Dune in the Twenties. Most of the stuff that made Dune weird in the 60s has been normalized over the last few decades of post-Star Wars blockbusters, such that we live in a world where Ditko’s psychedelic Dr. Strange has starred in six different big budget movies, and one of the highest grossing movies of last year co-starred a talking tree and a cyborg raccoon. There’s no out-weirding that, the correct answer is, ironically, to take a cue from George Lucas and shoot it like it’s a documentary about a place that doesn’t exist.
So most of the movie, the fights, the worms, gets shot with total seriousness, and then Paul’s powers get visually reduced to the point where the movie is ambiguous about if he can really see the future or not. Even something as out-there-bananas as Alia is stripped down to the minimum, with the story’s timeline being compressed from multiple years to a couple of months so that we don’t have to figure out how to make a toddler with the mind of an adult work on the screen.
Which brings me to the last topic I want to cover here, which is that David Lynch’s Dune hangs over this movie like a shadow. It’s clear that everyone making this movie has seen that one. This is almost always to this movie’s benefit, both in terms of what’s there and what isn’t.
To wit: if anyone could have made something as very-specifically weird as “toddler with the mind of an adult” work, it was Lynch, and he didn’t, so the new movie stays clear. The look of both the Atreides and the Harkonnens owes more to the Lynch film than it does to the book, and there are any number of other aspects that feel like a direct response to that movie—either copy it, or get as far away as possible.
I picture Villeneuve with an effects pedal labeled “Lynch”, and he’d occasionally press on it.
I really, really liked these two movies. They’re far better than the Lynch film both as an adaptation of the book and as movies in their own right. But I really hope that pedal gets a little more of a workout in Dune Messiah.
You know, I really, really, really wanted to hear Christopher Walken say “Bring in that floating fat man—the baron!” I can hear it!
This means that the music video for Weapon of Choice is a prequel, right?
A final thought. Lynch’s Dune opens with Princess Irulan looking the camera dead in the eye and explaining the premise of the film, a sort of sci-fi Chorus asking for a muse of fire, but clunkier. Denis Villeneuve’s first part—correctly—does away with all that and just starts the movie.
Before this second movie came out, I joked that the real power move would be to open the this film with Irulan narrating (“The beginning was a dangerous time”,) to act as the ‘previously on Dune’ recap.
Reader, you cannot possibly imagine my surprise and delight when that actually happened.
Tuesday linkblog, absurd hardware edition
I have just learned about the Mind Killer Dual Distortion pedal from Acorn Amplifiers; let me quote you the copy in full:
Seemingly crafted by the hands of the Kwisatz Haderach, the Mind Killer by Acorn Amplifiers is a dual distortion device that guarantees to deliver total obliteration in the form of huge gain tones to any rig. Featuring two separately stomp-able distortion circuits in series, each with their own bass boost and clipper diode toggle switches, the Mind Killer offers a mélange of stackable crunch tones in a single stompbox.
The two knobs are labeled SPICE and LIFE!! Incredible. They also have a TMA-1 Fuzz which has a truly excellent red light in the center.
Is this the thing that finally pushes me to learn guitar? No, but it’s close.
And, in case you missed it, a Marine was in a training flight in an F-35 over South Carolina this weekend, got into trouble, ejected. The pilot was okay, but the jet was in stealth mode and on autopilot, so now they don’t know where the plane is?
This is the funniest possible way for the 21st century american military to screw up. I am in love with the mental image of a bunch of FBI guys standing around the pilot’s bed in the hospital asking, “So, son, did the plane give you any idea where it was headed next?”
(They have found some debris now, but they had to ask for help looking for it, which is even funnier. Guess those cloaking devices really do work!)