It’s quite easy for movie adaptations to fall under the weight of source material. That’s doubly the case when your source material is Frank Herbert’s Dune; the author’s 600 page magnum opus has long been considered impossible to translate onto the big screen (the appendix on the ecology of Dune at the end of the book speaks for itself). The attempts that have been made to bring the behemoth book to life have lived on in infamy, whether it was Alejandro Jodorowsky’s concept that received its own documentary or David Lynch’s surrealist blockbuster flop, Dune has eluded Hollywood up until now.
Enter blockbuster auteur and lifelong Dune fan Denis Villeneuve: a director whose clear and precise vision has made his films extremely compelling and very much his own distinct voice. 2021’s Dune: Part One made it clear that Villeneuve was up to the task, providing a compelling adaptation of the first half of the original novel.
However, Dune: Part Two would prove to be the true test, as the second half of the novel involves all manner of high concept, spiritual journeys for characters, with odd glimpses into the bodies and minds of its cast. Add to that the large scale battles and the troubling commentary on different forms of power and how it can only be grasped with violence, and you have a second movie filled to the brim with content that seems almost impossible to put on film.
Thankfully, Villeneuve was more than up to the challenge, and delivers on all fronts — Dune: Part Two is a masterpiece. The sequel is an absolutely massive film that justifies what felt like a meandering pace for the first movie, creating a companion piece that is more ambitious, violent, and spectacular than its predecessor, which managed to set up all of these character arcs and set pieces beautifully.
Perhaps what Villeneuve does best with Dune: Part Two is using the relationship of Paul Atreides (Timothée Chalamet) and Chani (Zendaya) as a microcosm for the themes and struggles in this epic story. Paul finds himself mesmerized by Chani and the rest of the Fremen, with Chani herself slowly learning to trust Paul and teach him their ways. It’s a tragic love story that plays out exactly as you expect it to, but its done against such an epic backdrop that its hard to fault Dune for having a predictable story because of how well its told.
Paul’s struggle against his visions of a holy war is contradicted by his lust for revenge and, in turn, the power to see that revenge through. To tell this epic and tragic story, Villeneuve has gathered what feels like the best of the best in the movie industry, each facet of production working together in perfect tandem to fully immerse audiences in the world of Arrakis.
Cinematographer Greg Fraser returns, bringing a different sense of scale than his work on the first film, which is kind of hard to believe considering how big Dune Part One already was. Still, seeing Dune: Part Two in all of its IMAX format glory felt like something else entirely. There are scenes where I wasn’t sure where I should be looking as Fraser captures every gritty detail. From Sandworm riding sequences to surreal psychedelic trips through the future, the camera work of Dune doesn’t shy away from the high-concept ideas introduced in Herbert’s book.
It isn’t just the setting but also the characters that Fraser so expertly examines with his lens. Some impressive talent rounds out Dune: Part One’s already massive cast, with almost everyone form the first film returning along with some new faces such as Austin Butler as Feyd-Rautha Harkonnen, the sadistic nephew of Baron Vladimir Harkonnen (Stellan Skarsgård), Florence Pugh as Princess Irulan, and Christopher Walken as her father, Emperor Shaddam IV. While some have a larger role than others, each character has distinct purpose and all have their moment to shine.
I would even go as far as to say all the returning cast members improve even further beyond their already impressive performances in the first film. Picking up immediately after the events of Part One, Dune: Part Two gives the large cast so much more room to grow as characters. Rebecca Ferguson transforms from reluctant and greiving widow Lady Jessica into a fierce Reverend Mother loyal only to her son. Her complicated and morally apprehensive goals to turn the Fremen into fanatical followers of Paul leads to the darker moments of the film.
Zendaya, who barely had a role in the first film, practically becomes a co-lead this time around, bringing a strength and vulnerability to the character. As Chani, Zendaya reprsents the tragic outcome for the Fremen, as she, like the rest of her people, trust Paul in his decisions and how he chooses to use his influence as both a Duke and a figurehead for fanatical religion. I won’t go into detail about how that turns out, but I will say that Zendaya’s moving performance makes you feel the weight of Paul’s choices as much as Chalamet’s does.
Josh Brolin and Dave Bautista also show a different side to their brutish characters, bringing more humanity to their motivations, no matter what side they’re on in this galactic struggle for power. Butler as the new villain brings all of his range (both physical and vocal), and his chemistry with Chalamet makes every fight scene that much more engaging.
Then, of course, there’s Chalamet as Paul Muad’Dib Atreides. In Part One, Chalamet didn’t seem to fully be able to explore the character of Paul, making his development in Part Two feel almost overwhelming and even a little rushed at times. Paul’s prophetic journey could’ve easily turned viewers off to the film, but Villeneuve and co-writer Jon Spaihts’ screenplay makes every tragic story beat hit like a ton of bricks.
Chalamet perfectly portrays Paul’s torment and eventual embrace of his title as Lisan al Gaib. When Hans Zimmer’s electric and haunting score hits with the visual of Paul surrounded by thousands of frenetic followers, you will grasp Villeneuve’s intentions of adapting Herbert’s scathing commentary on messiah figures and heroes in the best way possible. The harrowing message isn’t in spite of the spectacle, but because of it. For that reason alone, Dune: Part Two is a monumental film. It’s one you should watch on the biggest screen possible. – Ernesto Valenzuela
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