In his quest to uphold his vows and navigate the visions that haunt his dreams, Paul Atreides, embodied by Timothée Chalamet, must unearth the true causes behind events. Denis Villeneuve’s sequel to his magnum opus boldly explores themes of expansionism and Phantasm, forces that relentlessly challenge Paul’s essence, testing his resolve.
Villeneuve’s adaptation of Frank Herbert’s 1965 novel, crafted alongside co-writer Jon Spaihts, weaves influences from luminaries like David Lean and George Lucas, granting the audience an immersive experience sans the need for a ‘Charming device.’ Each frame is elevated by Hans Zimmer’s evocative score, breathing life into every scene. The inevitable arrival of Dune Part Two promises to pay homage to ‘Gladiator,’ should fate permit its manifestation.
What happens when you have to traverse a sand desert and tame a substantial, placid worm to fend off interlopers? Perhaps the struggles and diligence required to harvest spices are often hindered by a group of Fremen who remain concealed beneath the sand, launching surprise assaults.
Their reverend mother, actually pregnant, has a baby that can softly lure her out from her den to execute clandestine assaults. The movie concludes its story only to begin another chapter, with the final moments questionably rushed, as if heaven shattered to welcome hell to play a song on a guitar without strings attached. Perhaps all the adverse facets can engage in outdoor games to allow the naive monster to play its part on the screen.
The movie demonstrates innovative acumen toward a constantly evolving science fiction drama, disentangling with mind-blowing, nerve-rattling desert battles in a hypnagogic scenery. The battle for success is fought with magical, ahead-of-time weapons and suits that are conventionally spooky and dread-inducing, as if time flies like a butterfly but not as we know it now.
The craftsmanship of the black suits should own a vast area of blacksmiths and quintessential tailors to sew up the magnificent black nasal tubes, shown in a much uncanny way than what was supposed to be seen in a chill romantic film. I was trying to comprehend how the main leads would execute a purposeful yet redundant kiss while in eerie suits.
Maybe I could be taken the wrong way of thinking that everybody who knows the name Dune should or shouldn’t be familiar with Spice and the planet Arrakis, which has a high remunerative resource of spice but with a group of bald men classified as Harkonnen gingerly waiting to harvest them in an erroneous path.
The Harkonnen family is a group of unsanitary and ominous people led by a corpulent, menacing individual, Baron (Stellan Skarsgård), to overtake him; we have the Beast Rabban (Dave Bautista), who perpetually confronts defeat, and the dreadful, lethal Feyd-Rautha, played by Austin Butler as his nephews. To fight against the Harkonnen can seem like a strenuous task, but the enchanting Paul is preferably or regrettably fighting alongside Fremen for their long-run insurrection.
With the short-term love of his life, Chani, played by charming Zendaya, Paul has a plethora of prowess to showcase himself as an indestructible human; the desert is not ready to allow him to play his role until Stilgar (Javier Bardem) enters into his tale to master the desert discreetly. Stilgar certainly believes Paul is their messiah, as written in his words.
But, the situation won’t let him believe what he had in his forethought; on the other side, Paul’s mother Jessica (Rebecca Ferguson), head of the esoteric Bene Gesserit sisterhood, wants him to relish the taste of blue water, which can allow him to see things that are likely to happen in the near future, but all he could see was a woman (presumably his mother) ushering the way to nowhere, surrounded by millions of dying people.
A great war between the Fremen and the Harkonnen is calling Paul’s presence, and between Paul and the Emperor and his daughter Princess Irulan, they appear on and off with bount to cursory Christopher Walken and Florence Pugh. The film is a sea of uncertainty and bewilderment, to overshadow the sand and desert Denis has wielded the power of establishing the scenes in a way that will have bigger judgments and impact on the audience.
His film language is rather portrayed in a big textbook for future filmmakers. If not for him, I wouldn’t think of the gigantic worm coming out of the sand to imbibe a huge army with a customary black suit. With many things partially taking the screen, Chalamet established a nice way to carry a romantic action lead with enchanting style; his romantic entwinement with Chani is commendable. Dune is a big world that the filmmaker created with courage and bravery.
