Why Dune Matters
‘Men must want to do things of their own innermost drives. People, not commercial organizations or chains of command, are what make great civilizations work’
– Frank Herbert (Children of Dune)
As a fan of Frank Herbert’s best-selling book, and of the SF genre in general the latest theatrical release of the movie based on his work was a big deal. A ‘big deal’ considering that I am not much of a moviegoer (even before the chaos of the present times) and as someone who has become increasingly disenchanted with what Hollywood has put out for the best part of a decade, the Dune movie reawakened, at the time for inexplicable reasons, a newfound interest. This was a year ago, and having watched the film on the big screen (twice) I am glad to say that I was not let down.
Dune is considered by many to be the greatest SF book of all time (SF is an abbreviation of speculative fiction, which tends to encompass science fiction (Si-Fi); some purists of the art tend to prefer one over the other. I have opted for SF, which incorporates the sub-genre of ‘hard’ science fiction). Having read the book around four years ago, I found it to be powerful, complex, multilayered, and in parts a captivating work.
Though not the best SF book I have ever read. Dune’s prominence in the world of SF and is beyond dispute: it packs so much information that extends from science, religion, politics, culture, and ecology to name the notable ones. Having sat through only around half of David Lynch’s 1984 adaptation of Frank Herbert’s book, the sheer magnitude of the task that awaited any who wished to capture the world that Frank Herbert created seemed daunting. For Dune is an SF of the mind, as well as of the external world. If one looks into the planetary politics, mysticism, the ‘science’, and the world there is so imagination to live up to. One that the previous theatrical adaption failed.
One of the problems with SF and virtually anything that involves fantasy, is the ability of film creators to live up to what readers weave in their minds, as they delve into the story. The fantastical reality created by cinema, with the aid of modern technology, despite the expanding scope and magnitude often tends to be a weaker reflection of what the human mind can conceive or, as I found out the night before, dream.
Yes, the very night before I started writing this, I had a dream (or two): vivid ones, too vivid, and too exciting. Its contents, I’ll leave out here, but one of the things it got right better than anything else I have seen on-screen (and felt) was the world-building. Without getting carried away, if ‘Dreams are messages from the Deep’, then Denis Villeneuve’s Dune‘s message for the film industry is that certain elements of film, and underlying that, storytelling, have and will always remain sacred. Elements that must be respected and preserved, despite the zeitgeist of the times.
What Dune Gets Right
Going into Dune the first time I was filled with a degree of movie-goer enthusiasm that I hadn’t felt since days of The Fellowship of the Ring, almost 20 years ago. I guess this isn’t saying much as a fan of the genre, notably the Hard SF variant. (As SF is the only type of non-fiction I read). Yet my enthusiasm for latest Dune’s entry to the big screen was partly fueled by a certain hope that it should succeed. And it did.
Frank Herbert’s work is considered an SF and literary masterpiece, whose impact on culture is vast. Starting with the first novel: Dune (1965), and the works that followed in its wake, have had an enduring cultural effects on the genre. It may not too hyperbolic in calling Dune the ‘SF Bible’: a book, and those that followed it, and later spin-offs that have inspired other notable books, movies, video games, and other forms of art in science fiction and beyond.
It is interesting to note that the news of its theatrical release gave the Hollywood weary yours truly a revitalized interest in film. And I mean all film. In this essay, I will explain in what ways Dune lived up to my expectations, and in certain other (minor) ways it does not, and why Dune as a movie, one that has been lauded by some as “Once in a generation”, matters for reasons that go beyond the world of major motion pictures. I will outline elements of story telling that the movie got right, especially in relation to everything else that is going on in Hollywood, particularly in the SF genre. Dune (2021) is good because it is different. It chose to be different.
World Building
Much of the praise that has been directed towards Dune has understandably centered on the world-building. Dune is a spectacle. From the water world of Caladan to the short glimpses of Gedi Prime and Salusa Secundus, to the desserts and dunes of Arrakis, Dune is a visual treat. A world that is brought to life by exceptional sounds, (this is a must for theater viewing), and special effects that just seem real. The idea of world-building in Dune is taken to a deeper level in that Villeneuve presents distinctions between the major Houses that make up the Imperium in terms of their respective cultures.
The noble House Atreides is built on loyalty and respect to the reigning Duke Leto and his compassionate leadership. Which is contrasted to the unscrupulous villainy of the Harkonnens, led by the inhuman Baron Harkonnen, supported by the brutish Raban Harkonnen. The shaved antagonists of House Atreides-whose cruelty and Machiavellianism have been noticeably toned down for the theatrical adaptation (notably Baron Harkonnen’s sexual proclivities)-is a foil to the nobility of the good guys, whose fall is portended from the very beginning. The other major house that did not get a feature in the movie is House Corrino: the ruling family of the Imperium.
One of Villeneuve’s masterstrokes in the movie was his choice to provide a short glimpse into the Corrino military world of Salusa Secundus. Described in Herbert’s work as “a hell world”, the scene where Sardaukar legions are being prepped for the oncoming battle was one of the most memorable moments in the movie. The unsettling chant that plays in the background, reminiscent of certain oriental guttural sounds, that was blasted on-screen, conducted by a wraith-like drill instructor, standing atop an obsidian tower-the same sounds that accompany the start of the movie, with the message about dreams-was a powerful moment.
As Sardaukar legions are amassed below, we witness what seems like a blood ritual. As priestesses (based on their outward femininity) dressed in black robes, orderly make their over, what seems like a massive alter, that is flowing with veins of water and blood; as the stripped corpses of, what seems like fallen men, lay arranged on top. Whose blood it seems, feeds the larger pool below.
The priestesses fill their bowls with blood from the pool, and move forward orderly in a line, anointing the Sardaukar warriors. Whilst their anointing hands hold, what appears to a Christian mind, a black rosary, or a twisted version of it. At one point we are given an overview shot, with what looks like dozens of these slaughtered men, arranged in order over a massive alter, sacrificial style, with the rain gushing over the entire setting. This scene was powerful, unsettling, and in a certain way, spiritual. More could be said about the world-building but this scene alone is enough.
Characters
As vast and believable as the world-building is, it does not take anything away from the main focus of the movie: the characters. The characters are solid. Played by a top cast of actors, who are not only good in terms of being a great fit for their respective roles but who are also current, in terms of their recent big-screen exploits. Those who have reviewed the movie positively have lauded praise on Rebecca Ferguson (Lady Jessica) and to some extent on Sharon Duncan-Brewster (Lyet Keynes). And rightly so. The women are portrayed strongly.
The stand out for me however is Timothée Chalamet who plays the protagonist Paul Atreides. Having never seen a movie featuring this actor before, his casting to play the 15-year-old I pictured in the books was a good fit. Chalamet, for me, played his role near perfectly. I am not a film critic or a person who knows much about professional acting, but Chalamet had something that made his role, not only as Paul Atreides, but as the future Muad’Dib, Mentat, and Messiah, believable. Chalamet’s on-screen presence: a combination of innocence, curiosity, impulsiveness with an aura of potentially limitless power is captured well by the young actor. If it must be mentioned, the fact that Chalamet is Jewish (on his mother’s side) with his dark, lean features, and long hair harkens back to the Messiah himself.
Cinematic Intent
Having read and watched some of the reviews, and the relative box office performances of other movies that were released around this time, one of the things that stood out were the question of appeal: Does a movie like Dune be able to capture the interest of a wide (or wider) range of moviegoers? A subject that was of pressing concern for the producers, given that the movie had to win back a substantial sum of the production costs for the second part to be greenlit by studios. Whilst that hurdle has been overcome, the fact remains that Dune is not a blockbuster. Not in the way soulless corporate crash grabs like the sequel Star Movies have been. This is disappointing, but sadly not unexpected. For it tells us something about the state of culture today.
But credit for Denis Villeneuve, who as director, and as one of the screenwriters, and as one of the executive producers (along with Brian Herbert) did, what seems like his best, to stay faithful to the source material. Not only in terms of the world, the story, the atmosphere, and the characters but also the broader message the film tries to communicate. In a time when Hollywood movies are riddled with woke narratives that value the ideologies of gender, race, and sexual orientation, seemingly above anything else (besides money making-for which they cannot be blamed), this adaptation of Frank Herbert’s book is not a breath but a gust of fresh air.
Dune is a story about a young man. His journey, his struggles, his setbacks, his calling, his mission. It is a story about growing, learning, and becoming. Whilst much of these elements will (hopefully) be engaged further in Part II, Dune Part I, is a movie about a boy with immense potential who must face and overcome the trials of life, in order to become the man he was meant to be. It is a story that we have heard many times before, one that parallels the Campbellian archetype. However, it is one that stands apart in politically correct times: where notions such as “female empowerment”, “diversity and inclusivity” and “dismantling patriarchy” have come to pervade the Western psyche. With predictably unfavorable effects on the artistic enterprise. Dune, however, is a remarkable standout.
Leaving aside the gender-swapped, and racebended Liet Kynes-the actor, who to her credit plays the part really well-and one-two many scenes involving Chani (via flash-forwards), the movie keeps its focus on the Atreides family. Dune, whilst a story set in the distant future, is a world that is governed by a Neo-feudal system of noble families (kind a like GOT), with each of the main factions being represented by these political families, who in turn govern their fiefs, which correspond to entire planets. Including the main antagonists of the movie, the unsavory Harkonnens, who rule over Gedi Prime, governed by a ruthless elite built on blood ties.
The central focus of the story revolves around the relationship between Paul and his parents: His father and his mother. This is important. You see, we live in a time in Western culture (particularly the Anglo- American world) where men and masculinity in general, are viewed negatively, ignored, or actively suppressed. Being viewed as harmful to both men and women. From feminists who are generally uncomfortable with traditional masculine roles, to social constructionists who deny the relationship between biological sex and gender. Which seem to view traditional masculinity and femininity, and what underlies them, biologically determined male and female sex roles as unpalatable.
In the world of Dune, there is less ambiguity about gender roles. The men are rulers, leaders, and fighters. The women are mothers, daughters, and in instances witches, who hold great power. It is a world where the importance of being male and female remain key. And the producers thankfully never lose sight of this. This is not to say that the females are powerless damsels in the distress. From Lady Jessica being a mother and concubine to being pregnant (her ‘mistake’ in producing a son rather than a daughter) are central to the plot. And later Chani, who becomes the partner of Paul, and the implications it carries in his quest to liberate the Fremen and its galactic implications, are noteworthy. Frank Herbert’s book is from a different time. A less complicated period, one that is more believable and relatable.
What Dune Gets ‘Wrong’
I partly thought about omitting this section, but. What I didn’t like about the movie (besides that it wasn’t over 6+ hours) is that certain segments of the story got too much attention, whilst others got too little. The dream sequences, which are important to the story, whilst well managed, seemed to linger on a bit too long. Especially the parts involving Chani. I understand this move was aimed to give Zendaya a presence in the movie, which lacked ‘the girl’ element. But this was somewhat overdone, though the screenwriters got it right in emphasizing the romantic connection between the two. A rarity in modern times as movies focus increasingly on portraying “independent women” who “don’t need men”. At this point, another Dune-inspired SF that features a sand world comes to mind.
The next quibble is the lack of time spent on the bad guys. The Harkonnens are cruel and vile, in different ways, and more could have been done to portray the contrasting familial dynamics of the two Houses. The nobility of Atreides to the cruelty of the Harkonnens. But given its PG-13 rating (too low given the source material), there was only that much the screenwriters could do. But some insight into the worlds governed by the bad guys would have been great. When Gurney Halleck tells Paul of the brutality of the Harkonnens-understandable given his time in Gedi Prime-this could have been followed by glimpses into the dark reality of the world ruled by the Harkonnens.
The biggest disappointment of the movie, which is not actually a disappointment, since it was pretty spectacular, was the attack on Arrakeen: the main city of Arrakis. Whilst this is arguably one of the most challenging scenes in the book, it was also the climactic moment of the movie. The success of this attack by the combined Harkonnen and Corrino forces brings about the downfall of House Atreides. And for me, more could have been done. For starters, the scenes that revolved around this surprise attack could have been longer. Around 10 minutes at least.
If there was one area where Denis Villeneuve could have strayed a bit from the source material was to add more flesh to the battles, with greater emphasis on the combat in different set pieces. Importantly by engaging the command and control aspects of far future warfare. In a movie of this scale, light could have been shed on the unprepared, but progressively better prepared Atreides forces. Who despite being caught by surprise, rise up to engage the first wave of Harkonnen forces in a more competitive way. Only to be overwhelmed by the Sardaukar, who provide the finishing blow.
More could also be done to differentiate the transport and attack vehicles of the Harkonnen and the Sardaukar. In the ensuing battles, the few, very short ones that we were able to witness, the two factions tended to get lost in the shadow and confusion. I would also have liked to view the battle from the alternating perspectives of the Harkonnen and Sardaukar, notably their leadership. In the book, Baron Harkonnen orders specialized artillery to be used on retreating Atreides forces, and the carnage that followed would have been a (tragic) spectacle. Also, speaking of new material, not in the book, screenwriters could have shown Duke Leto marshaling his men in the face of insurmountable obstacles in a last-ditch effort against the Sardaukar, until his betrayal and capture. But hey that’s just the warrior in me. Am I right fellas?
The Spirit of Dune
One of the things that makes Dune special is that it remains true to itself. The movie is about telling a story and telling it well. There is, for the most part, no agenda, unlike many Hollywood movies today; whose storylines are burdened by the need to advance politicized narratives on gender, race, and sexual orientation. Here we can thank the origins of Dune. Whilst the story is set in a different time (the far future), its origins lie in the past (the more conservative 1960s). So the story is less constrained by the politically correct demands of the present times. Hence it is able to go ahead with positive portrayals of men, and, more realistic portrayals of women.
The relationship between Duke Leto Atreides and his son, Paul, the future leader of House Atreides is well managed. The idea of heritage and lineage, concepts that are virtually unheard of in modern storytelling as far as the big screen is concerned, is artfully portrayed. A point which is driven home, following (spoilers) the tragic death of the Duke, with the mantle of leadership passing to his son. Signified by the ring: an heirloom of leadership that is passed from father to son. Having lost my father, over a year ago now, the moment when Paul and his mother Jessica embrace to mourn the loss is something that hit home. The moment where Duncan Idaho kneels before the new Duke, on the knowledge of his father’s passing, swearing his fealty to the new leader, with his mother looking on, was another powerful moment.
Whilst much has been made of the female characters in the movie, and arguably more to come in the next, where Chani and Alia’s roles become more prominent, Dune is a movie about men. Specifically, it is the story about how a boy, who is gifted from birth, chosen, one might say, who grows to fulfill his vast potential by overcoming evil and adversity, however imperfectly.
This is what makes Dune a great movie. A movie that is not of the times, but much needed. Whilst much has been made the need for positive representations of women; what many men, particularly in the West, wish to see are solid, powerful, and realistic portrayals of men: Men who seek to learn, grow, fight, and wish to fulfill our great potential to make the world a better place. However idealistic it may sound, the world needs heroes. If not in reality, at least in fantasy. Dune is a gateway to both.
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