Completing one of the great film projects of my lifetime, Director Denis Villeneuve delivers a terrific part two to the "Dune" stories he began three years ago. Actually it was four years ago, we got delayed a year by Covid, and this film was delayed by six months due to the actor's strike. Maybe those were not bad omens but rather good luck charms. My original review of the first film was positive, but muted by some less than favorable comparison to the David Lynch version. As a film, "Dune Part One" is more successful, but less vibrant than I had hoped.
The biggest reservation I had about the first film, was the surface level storytelling of the Harkonnen adversaries. That flaw has been redeemed substantially by the story choices made with this film. To begin, Baron Harkonnen, played by Stellan Skarsgård, is more than a floating figure in the background. We finally begin to see the long game he is playing. The murderous political life of Geidi Prime is revealed, and when he indulgences in his vices, we get a significantly greater reason to have distaste for this fearsome antagonist. The complexity of the Harkonnen plot is extended when Feyd-Rautha's character appears on screen. Feyd is the figure actually being groomed to take over Arrakis and maybe a lot more. That he is the Baron's nephew does not eliminate the subterfuge that takes place in the family, and is an additional plot that the Baron ids cooking. I might be a little critical of how vociferously he is cheered by the crowd, especially when we see his murderous behavior towards his servants, but the culture seems to be a martial one , so maybe the actions are viewed in the same way the Spartans of ancient Greece might view their own behavior toward the weak.
Back on Dune, Paul and Jessica are finding their way into the Freman culture, which is frankly also brutal, but without being cruel. The Fremen are more fatalistic and many of them are fervent believers in the narrative that has been set out over thousands of years by the Bene Gesserit sisterhood. Fanaticism is very dangerous when mixed with messianic expectations. The fact that Paul's genetic background is leading to fulfillment of both Freman Prophecies and Bene Gesserit genetic manipulation, is probably an unexpected consequence of Jessica's disobedience in providing a son to the late Duke Leto. I liked the slow way that the prophetic arrival of a messiah is being introduced to the native population of Dune. It is much clearer in this version of the story that the Bene Gesserit have nurtured this mythology with the intention of using it. One of the differences in the film version and the original text, is the way that Chani is depicted in the context of this prophesy. She is something of a heretic by rejecting the story, and she turns the religious drive behind it, into a suspect of political proportions. It is her contention that adhering to the religious fundamentalism is what has held the Fremen down. The awkwardness of that attitude however is revealed as it is the prophecy that finally liberates the forces of the Freman as an army capable of being lead by the outsider Muad'Dib. It is also a little strange that she can accept Paul's prescience, but reject the description of that very thing in the stories of her people.
The slow take on the prophesy is not limited to Jessica and the Freman. Paul does his best to resist the call of becoming the Kwisatz Haderach. He has visions of the devastation his ascension to power will result in. Having followed his story, we want to see justice for House Atreides and revenge on the Emperor and especially the Harkonnen. It is clear that the Harkonnen are evil, and that at the very least the Emperor is a Machiavellian ruler with no moral compass except power. The problem is that it looks like Paul will fall into the same patterns, and do so for the sake of Fremen Paradise. In the end, Paul is not the hero of the story, he is an instrument of chaos, the likes of which will change the universe, the question is, will it be for the better? The sequence where Paul takes the Water of Life, is dramatically well played, but it is the moment when he confronts the Fremen Cavalcade that his threat becomes realized. It is both awe inspiring and frightening, a fact that he recognizes with his own words in the script. Screenwriters Villeneuve and Jon Spaihts have adapted Frank Herbert's novel in a more expansive way than was done with the David Lynch version. Having twice as much time, they still trimmed elements that are not essential for this story. The timeline in this film is different, and the easiest illustration of that is Jessica's pregnancy and the fact that Alia only appears in a flash forward for a brief few seconds.
There are still many production touches that I prefer in David Lynch's vision of the story, but the choices that Director Villeneuve makes are completely appropriate for his. I think the desert environments, the tents and Sietches of the Fremen, are vastly superior to what we have had before. The black and white palate of Giedi Prime is startling, but when we enter the halls of the palace, the slight color pops make it all much more intriguing, and there is a sense that the culture reflects the supposed black sun of their system.
It is easy for me to predict that this will be one of the top films of the year, since it is unlikely that anything comparable is likely to be released any time soon.
