Dunes

Top surrealistic space-fantasy Dune (1984) is the magnificently cinematic cosmic fairy-tale that genre-thieving Lucas’ clearly wanted STAR WARS to be. Although other directors tried to film Frank Herbert’s novel before (see Ridley Scott’s attempt), and since, David Lynch’s great masterpiece; sadly, “they tried and failed” and their stains became a warning. DUNE’s operatic strange sci-fi eclipses nearly all previous space-opera movies, including Fred Wilcox’s classic FORBIDDEN PLANET (1956), as when the seemingly limitless hyper-science of alien tech on the Krells’ planet Altair 4 is compared with later desert-world Arrakis’ hidden powers. Yet both psychological and philosophical mysteries about invisible forces (see also Jedi check-lists) are revealed by romantic innocence; when Duke’s heir Paul (Kyle MacLachlan, perfectly cast) contrasts with that of (mad?) scientist Morbius’ daughter Altaira. Fathers die, sometimes violently, but offspring usually survive... and might evolve.

“The sleeper must awaken!”

After reading Max Evry’s book A MASTERPIECE IN DISARRAY - a very good compilation of interviews with behind-the-scenes commentary and a great treasury of anecdotes, new interpretations, and reminiscence - I found it an excellent, if repetitive tribute; although its binding proved rubbishy when the hardcover fell apart halfway through my first reading. 

Then I re-watched the studio’s extended TV edition of DUNE (1988), with its clunky comic-book styled intro, and sometimes annoying narration. But even this flawed DVD release, that Lynch himself disowned (“I did not say this. I am not here.”) looks and feels wonderfully superior to John Harrison’s TV remake mini-series (2000). Presented in 4:3 ratio, the 158m. DUNE edition includes a spitting scene inspired by Frank Herbert's eco-aware novel, that fully demonstrates the mythic and vital currency of water. While extra scenes of character development, or depth, are welcome, some of the effects are repeated, a few miniatures are misused in this longer storyline resulting from clumsily revised edits, and additional footage of the Fremen lacks their blue eyes. It remains the best indication that a proper Director’s Cut from Lynch would certainly improve DUNE, much like Zack Snyder’s 4-hour JUSTICE LEAGUE was better than Whedon’s truncated ‘Josstice League’ of 2017.

What never fails to impress me about DUNE, in any of the studio’s cuts, is the picture’s fabulously bizarre atmosphere, strengthened by excellent use of sound effects, and peculiar details like the stunningly animated personal force-fields that are uniquely designed visuals. Of the Harkonnen villains, the diseased, insanely ranting, and almost-campily perverse, floating fatso Baron (Ken McMillan’s edgy psycho performance remains quite definitive) strives to embody the ‘most horrible man in the known universe’, and suceeds where all manner of Darths failed. Although the film's special effects might be polished a bit too shiny if redone by today's standards, following 40 years of technical advancements, the sheer wealth of artistic oddities in Lynch’s extravagantly imaginative DUNE ensures its lasting appeal. As a visionary fusion of quirky SF and grandiose fantasy with such a timeless quality, it seems to me that no mega-budget remake can hope to match it.

I enjoyed both of Denis Villeneuve’s remake movies, but even if combined they never equal the genius level of creativity that benefits Lynch’s original. Yes, the two-part adaptation is undeniably spectacular and vividly stylised SF; including more words, dialogue lines, and Fremen culture references, lifted directly from books of this genre franchise; plus the most cleverly designed ornithopters (like dragonflies), so far. 

And yet, this director also commits obvious mistakes (like bagpipes, for starters). Worst of all though is that he glaringly omits all but a token presence for the Guild Navigators, whose ghastly mutant appearance, and their space-folding powers, so energised the mixed-genre content of Lynch’s movie. This lapse by Villeneuve is unforgiveable because the complete lack of any Guild creatures excludes a major part of DUNE’s pulp-SF themes, simply to focus upon the less fantastic characters’ emotional baggage, and sundry cultural aspects in the world-building scenario. 

So, a messianic Muad’Dib (Tim Chalamet) wins screen-time for a bigger speech, that’s passionately delivered, but also a theatrical exemplar of grandstanding, to unite tribal Fremen freedom-fighters under his banner for a war-of-the-worlds plot that’s rather too boringly dystopian. I would always prefer to see a spectacular new vision about folding space. Giving actors more stuff to do was, ultimately, the downfall of superhero movies in the last 20 years. Villeneuve’s version of DUNE weakens the future possibilities for most blockbuster sci-fi beyond STAR WARS and STAR TREK franchises. Double-DUNE could and should have been a lot better than it is. As it stands, in the latest batch of classic-SF adaptations, even Goyer and Friedman's TV series FOUNDATION - amusingly resembling an Asimovian DR WHO - proved superior as epic space adventure and planetary romance.