Dune is a faithful adaptation of the first half of Frank Herbert’s novel, which elevates its source material and begs for a sequel.
This is only the beginning.
Since the release of Frank Herbert’s massively-influential 1965 sci-fi novel, there have been several attempts to adapt "Dune" for film and TV. For a while, it seemed as though the only live-action projects that would ever see the light of day were David Lynch’s much-maligned 1984 film and Syfy’s 2000 “Frank Herbert’s Dune” miniseries. That was until the announcement came in 2017 that filmmaker Denis Villenueve would be helming a new, two-part movie series based on Herbert’s book. Over four years later, Villenueve’s vision has finally been realized, and it’s well worth the wait.
“Dune” centers around the planet Arrakis and it’s vitally-important resource “spice,” which is described by the planet-native Fremen as “the sacred hallucinogen that prolongs life.” Not only is spice sacred to the Fremen, but it’s also the key to interstellar travel, making it the most valuable resource in the galaxy. The Harkonnens, seeking to harvest Arrakis’ precious resource, have subsequently oppressed the Fremen for centuries before being replaced --- by imperial decree --- by the Atreides.
Unsurprisingly, “Dune” is visually immaculate. Villenueve has made a name for himself as a filmmaker whose attention to sweeping cinematography and affinity for scope on a massive scale defines his movies. Villenueve’s past work on science fiction projects like “Arrival” and “Blade Runner 2049” have served him well, affording him the skills required for such a gargantuan undertaking as this film.
The film’s visual resonance and scope go hand-in-hand, simultaneously astounding and affronting viewers with each new frame. No better is this combination on display than when watching the iconic sandworms engulf entire sections of desert like cake pops. Villenueve uses the “shark-from-Jaws'' approach to the galaxy’s most fearsome predator, adding to the tension and allure surrounding a creature so revered by the people who share its native home.
Deserving of just as much praise as Villlenueve is production designer Patrice Vermette, who has worked on several of Villenueve’s past films. The design language of “Dune” feels wholly unique and distinguished from anything previously seen on the big screen. In a world where movie-goers are more than accustomed to giant sand-monsters and ornate spaceships, Vermette and Villenueve put their own spin on sci-fi tropes with ornithopters, stillsuits and sandworms that would put any “Star Wars” monster to shame.
“Dune” is “Star Wars” meets “Game of Thrones” in the best way possible. The first act does well to introduce the audience to the essentials of the plot without overloading on lore and semantics. A certain level of space-politics is required --- this is a Dune movie after all --- but it’s presented in a way that is neither confusing nor sleep-inducing. Even if the subtleties of the tensions between Houses Atreides, Harkonnen and the Fremen are lost on some viewers, there is enough thorough characterization and exposition to not leave audiences grasping for straws when the fighting eventually breaks out.
Timothée Chalamet’s Paul Atreides is established early as someone special in this world, although he and audiences will have to wait until the sequel to learn just how Paul fits into this story. Chalamet’s performance is commendable, as he manages to shoulder much of the film’s emotional and ideological burden without becoming a full-blown hero in 155 minutes. The majority of the film is seen from Paul’s perspective, forcing audiences to exist in the same unknowing state as the protagonist, which adds to the mysterious front that “Dune” puts up.
The entire ensemble cast give well-rounded performances that inject life into the world that Villenueve has created. Rebecca Furgeson, Oscar Isaac and Javier Bardem bring all the professionalism and gravitas to their roles that one would expect, but the true show-stopper is Stellan Skarsgård as Baron Vladamir Harkonnen. Skarsgård’s character is the closest thing the film has to a central antagonist, and his utterly menacing turn as the spice-obsessed Baron is a highpoint.
Even though “Dune” is currently streaming on HBO Max, it’s a film that exists to be seen in a theater. Its massive scale cannot be fully appreciated on a laptop screen or, god forbid, a cell phone. Watching “Dune” on an iPhone is akin to walking over hot coals in a fireproof suit. Watching this movie on streaming is a disservice to any movie-goer, while watching it in a theater is possibly the best experience at the movies this year.
“Dune” will almost undoubtedly leave audiences wanting more, given that the film is part one of a two-part saga. It ends without much resolution, gazing at something just beyond the horizon, implying that what awaits will be an even grander epic than what just transpired. That being said, “Dune” offers more than enough to keep audiences entertained and intrigued without giving them all --- or hardly any ---answers about what they’ve just seen. If you really want to know exactly what’s going on, read Frank Herbert's book while you wait for “Dune: Part Two” which is slated to be released in October of 2023.
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