Best Pictures #110: 2024 (97th) Academy Awards Best Picture Nominee: Dune: Part Two

 by A.J.

Best Pictures #110: 2024 (97th) Academy Awards Best Picture Nominee

Dune: Part Two

“Power over spice is power over all.”

Denis Villeneuve’s Dune: Part One (2021) was an incredible box office hit, pop culture phenomenon, and big winner at the Academy Awards, winning 6 of its 10 nominations at the 94th Awards. Dune: Part Two, the continuation of Frank Herbert's epic science fiction fantasy novel, was also a major box office hit though this installment earned a total of only 5 Oscar nominations (Picture, Cinematography, Production Design, Sound, and Visual Effects). I must admit that I was not caught up in the mania for Dune: Part One; it is without a doubt a technical achievement but I found it too serious to be any fun or have a sense of adventure–unlike David Lynch's maligned turned cult classic 1984 version, which is campy and strange and entertaining. I am happy to report however that Dune: Part Two does have a sense of adventure and entertainment in addition to its sense of grandeur and importance.

Perhaps I found this chapter of the new Dune saga more entertaining than Part One because I was already familiar with Villeneuve’s version of the world and characters of the desert planet, Arrakis, also called Dune. Or, perhaps it is because things like world building and the exposition of an intricate plot were the burden of Part One. With all of that out of the way, Dune: Part Two feels by contrast more focused and less esoteric. There is little talk of the mystical and powerful "spice", a thing so coveted and necessary for this interplanetary society that it is the crux of the entire plot. I would even go so far as to guess that someone who is entirely unfamiliar with the Frank Herbert novel, David Lynch version, or even Villeneuve’s Dune: Part One could watch this movie and not feel lost at all. Dune: Part Two is the story of an oppressed native people fighting colonial invaders and a young outsider who may or may not be–but almost certainly is–their prophesied messiah. The exotic sounding names and creatures and costumes are all just window dressing, which is how science fiction fantasy should be.

The cast of Part One returns with Timothée Chalamet playing Paul Atreides and Rebecca Ferguson as his mother, Lady Jessica, who is part of the mystical religious order the Bene Gesserit. There is no “previously on" or recap but the plot threads are easy to pick up. Paul and Lady Jessica have survived a betrayal and massacre of their entire royal house by the evil Harkonnens, who now control Dune. Paul and Lady Jessica are only welcomed, to a degree, into the society of the native Fremen because one of their leaders, Stilgar (Javier Bardem) believes Paul to be the messiah who will liberate Arrakis and turn the desert world into a green paradise. His daughter and Paul's love interest, Chani (Zendaya) is more than skeptical of the prophecy but she starts to have feelings for Paul. Their moments alone together–her teaching him to walk without rhythm, which still seems to have a rhythm, or her not believing Paul about the idea of swimming–are nice character building and emotional respites. Paul comes to believe that he is the messiah and whether or not this is because of a generations old plan by the Bene Gesserit becomes less important as Paul delivers on the promises of the messiah.

At many points in Dune: Part One I could barely see what was happening even though I had all the lights off in my house and the brightness settings on my TV turned all the way up. With Part Two I had no such problems–I did turn off all the lights in my house but this gave the movie a more theatrical feel instead of being a visual necessity. Perhaps this is because most of the action takes place in the desert daytime outdoors though even scenes in underground caves were also clear. Paul triumphantly riding the gigantic desert sandworm is an impressive sight though it is unclear how he makes it stop. The most visually stunning sequence however belongs to the world of the villains, a world that is not so much black and white as it is devoid of color. Baron Harkonnen's (Stellan Skarsgård) favorite and sadistic nephew Feyd-Rautha (Austin Butler) slaughters drugged fighters in a massive coliseum but one of them, an Atreides prisoner, puts up a real fight, to the blood thirsty delight of Feyd-Rautha. It is impressive that a scene so devoid of color can be so eye-catching. 

Other new cast members include Christopher Walken as the galactic emperor who set the betrayal of the Atreides family in motion and his daughter, Princess Irulan (Florence Pugh), who functions as an audience stand-in, getting filled in on information about the main plot. The increasing severity of Florence Pugh’s headdresses and face coverings throughout the movie cannot go without notice and feels like a joke by the costume designers. Both Walken and Pugh have little to do other than lend their screen presence, though hearing Walken talk sci-fi Dune speak in his unique voice is unintentionally funny 

In the novel Paul gets to be a bit annoying; he has all the bravado and swagger of a regular teenage boy multiplied by his privileged upbringing and discovery that he is the messiah. Thankfully, as played by Chalamet, Paul is a young man who harbors doubts about himself and his abilities. We know that the prophecy of the messiah was created by the Bene Gesserit to control the Freman; Lady Jessica knows this, Paul knows this, Chani knows it instinctually. Yet Paul and Lady Jessica rebel against their religious and political order and make the prophecy come true, so do they not fulfill the prophecy? Can people believe something enough to make it reality? These are surely questions that Frank Herbert meant to stir with his novel. They were absent or muddled in Dune: Part One but are here in Dune: Part Two adding an extra thematic layer that does not distract from the adventure. 

Though Dune: Part Two concludes the story of Frank Herbert’s Dune, it is actually the middle part of an intended trilogy (to be concluded with Dune Messiah, based on the second Dune novel, in 2026). As far as middle film installments of recent trilogies go, this one is pretty good. It ends with a feeling of “onto the next adventure!” instead of “come back next year for the ending.”

Nominees: Mary Parent, Cale Boyter, Tanya Lapointe and Denis Villeneuve, Producers

Director: Denis Villeneuve

Screenplay: Denis Villeneuve and Jon Spaihts; based on the novel by Frank Herbert

Cast: Timothée Chalamet, Zendaya, Rebecca Ferguson, Josh Brolin, Austin Butler

Production Companies: Legendary Pictures

Distributor: Warner Bros. Pictures

Release Date: March 1, 2024 (United States)

Total Nominations: 5, including Best Picture

Other Nominations: Cinematography-Greig Fraser; Production Design-Shane Vieau (set decorator), Patrice Vermette (production designer); Sound-Gareth John, Richard King, Ron Bartlett, Doug Hemphill; Visual Effects-Paul Lambert, Stephen James, Rhys Salcombe, Gerd Nefzer

Best Pictures #80: 2021 (94th) Academy Awards Best Picture Nominee: Dune (2021)

 by A.J. 

Best Pictures #80:

2021 (94th) Academy Awards Best Picture Nominee

Dune (2021)

 “Fear is the mind killer.”

Frank Herbert’s 1965 epic science-fiction/fantasy novel Dune has long been considered by many to be unfilmable. The fabulous documentary Jodorowsky's Dune details the attempt by cult filmmaker Alejandro Jodorowsky to adapt the novel. David Lynch’s 1984 version flopped on every front and, despite the cult following it has since built, seemed to prove the novel’s unfilmableness. Now, director Denis Villeneuve also proves that Dune is unfilmable, but in a different way. This version, co-written by Jon Spaihts, Denis Villeneuve and Eric Roth, adapts only half of the novel. However, it did succeed in creating a film that was a massive hit with critics and audiences. A sequel to adapt the rest of the novel was quickly greenlit. Dune (2021) is undeniably a great technical achievement but I was underwhelmed by the characters and story and suspect I only understood the plot and world of Dune because I had recently read the novel and had seen the David Lynch version.  

The plot, in its simplest form, is as follows: In the year 10191, the House of Atreides, led by Duke Leo Atreides (Oscar Isaac) is given charge of the desert planet of Arrakis, also called Dune, source of the spice-melange, a narcotic that makes space travel possible. The former ruling family, led by the evil Baron Harkonan (Stellan Skarsgard), springs a trap that sends the duke’s son, Paul Atreides (Timothee Chalamet) and wife, Lady Jessica (Rebecca Ferguson), a member of a mystical spiritual order, into the unlivable deserts of the planet only sparsely populated by the native Fremen people and giant sandworms. 

It’s no surprise that Dune received Oscar nominations for Sound and Visual Effects. The “thropter” aircrafts are particularly memorable and overall the visual effects blend CGI well with the practical elements of just about any scene. However, the Costume and Production Design nominations are more perplexing. The color palette is nearly monochromatic; everything is a shade of brown or beige or yellow. Many of the costumes are black, which doesn’t seem like a good color for the desert, and the interiors are large chambers that might be more impressive if they weren’t so empty.

Before arriving on Arrakis, Paul began having visions and may be the chosen one of ancient prophecies. Timothee Chalamet does a good job as the gifted but inexperienced Paul. Stellan Skarsgard, channeling Marlon Brando as Colonel Kurtz from Apocalypse Now–he even emerges from shadows with water dripping over his bald head–is plenty villainous as Baron Harkonen. Rebecca Ferguson and Oscar Isaac also give good performances, yet I wasn't especially attached to any of the characters. Though the screenplay takes its time with only half of the novel, the film still feels like it is trying to cram in and explain a lot, leaving little time for characters to breathe or intrigue to grow. 

There is enough of a quasi-conclusion that you feel satisfied when the credits roll, though it is clear that the story is not over. I suppose I will watch the sequel/continuation when it is made, but I’m in no rush. However, I don’t think I’ll rewatch this version of Dune before I do; Denis Villanueve’s Dune isn’t a place I would like to revisit. This is a serious, humorless film that not only takes itself very seriously but demands you take it very seriously as well. That is hard to do when so much about the world Frank Herbert created is kind of weird and even silly (in this version we do not see the rhythmless walk Paul and Lady Jessica must do to not attract the worm). David Lynch’s adaptation, for all its flaws, embraced that weirdness and never tried to be “cool.” It took itself seriously but never asked that of the audience, which allows it to be fun. David Lynch’s Dune is a place I have been to many times.  

Nominees: Mary Parent, Denis Villeneuve, Cale Boyter, producers

Director: Denis Villeneuve

Screenplay: Jon Spaihts, Denis Villeneuve, Eric Roth

Cast: Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Josh Brolin, Stellan Skarsgård

Release Date: October 22nd, 2021

Production Companies: Legendary Pictures

Distributor: Warner Bros. Pictures

Total Nominations: 10, including Best Picture

Wins: 6) Cinematography-Greig Fraser; Editing-Joe Walker; Original Score-Hans Zimmer; Production Design-Patrice Vermette (production design), Zsuzsanna Sipos (set decoration); Visual Effects-Paul Lambert, Tristan Myles, Brian Connor, Gerd Nefzer; Sound-Mac Ruth, Mark A. Mangini, Theo Green, Doug Hemphill, Ron Bartlett

Other Nominations: Adapted Screenplay-Jon Spaihts, Denis Villeneuve, Eric Roth; Costume Design-Jacqueline West, Bob Morgan; Makeup and Hairstyling-Donald Mowat, Love Larson, Eva Von Bahr

Jodorowsky's Dune Review

by A.J.

Jodorowsky's Dune may appear at first to appeal only to film geeks and the art-house crowd, however, this is the most delightful and engaging documentary I've seen in years. I think even non-cinephiles will feel the same. If you've never heard of a version of Dune directed by Alejandro Jodorowsky that's because it was never made, but despite that little fact it still managed to influence science-fiction movies for decades and, along with Stanley Kurbick's Napoleon, is referred to as the greatest movie never made. 

Alejandro Jodorowsky's most famous films are the confounding, psychedelic western El Topo and the equally confounding, surreal The Holy Mountain. Though neither had a wide theatrical release both films still managed to find an underground fan base. El Topo, released in 1970, found a cult following from midnight screenings, becoming the first "Midnight Movie." With a larger budget and a more psychedelic spiritual vision, Jodorowsky followed up with The Holy Mountain in 1973 which caught the attention of French producer Michel Seydoux. When Seydoux asked Jodorowsky what he wanted make next Jodorowsky said "Dune" even though he had never read the novel. 

Jodorowsky's previous films were highly experimental and avant-garde using striking, surreal images, purposely provocative imagery and themes, and a complete lack of explanation for what you are seeing. El Topo and The Holy Mountain are not condescending assaults on the audience (like, in my opinion, the later films of Jean-Luc Godard), rather, they present a challenging journey and invite you to take part. Scenes in these movies are close enough to being understandable to keep you watching, but far away enough to keep you intrigued. The numbers his movies give you don't seem to make sense, but in the end add up to something substantial. Would his big budget adaptation of a well-loved fantasy novel be more traditional? Even mainstream? No, absolutely not. 

The team of talent Jodorowsky assembled to visualize Dune is unparalleled. French comic book artist Jean "Moebius" Giraud and the dark surrealist H.R. Giger would draw the world of Dune. Dan O'Bannon, fresh off working on John Carpenter's Dark Star, would create the special effects. Pink Floyd would do the music. Salvador Dali would play the evil emperor of the galaxy and Orson Welles would play the evil baron. To say that the vision for Dune was ambitious is a gross understatement. Today this version of Dune could be easily created with CGI, but in 1975 the special effects technology would more than likely not have lived up to the vision. 

Jodorowsky had no problem straying from the plot of the novel. He wanted to make a movie that would give the audience the experience of taking LSD without actually taking the drug. The best part of Jodorowsky's Dune is Jodorowsky himself talking about this unrealized movie and how he assembled his team of artists. He has such passion and enthusiasm that it is easy to understand how he was able convince all these people to drop everything, move to Paris, and work on a movie that did not have studio funding. Dune, directed by Alejandro Jodorowsky, was turned down by every Hollywood studio, but the studios did take notice of the artists. 20th Century Fox would produce Dan O'Bannon's screenplay Alien and hire H.R. Giger to create the monster itself, which bore heavy similarities to the work Giger had done for Dune.

We get to see a glimpse of what all of those creative minds produced: a massive book of storyboards that tell the entire story of Dune as dreamed by Jodorowsky and his team. The sketches and drawings are truly a treat to see. They are equally mesmerizing and bizarre. Only two copies of that book exist today. I hope that some publishing house realizes what a wonderful piece of movie history and work of art still awaits to be seen. I know I would buy a copy. I want so bad to experience Jodorowsky's Dune.