Reviews of Dune (1965) and related work
- Sequel: Dune Messiah (1969)
- Adaptation: Dune (1977)
- Documentary: Jodorowsky’s Dune (2013)
- Adaptation: Dune (1984)
- Version: Dune (2006)
- Adaptation: Dune (2000)
- Sequel: Children of Dune (2003)
Frank Herbert (writer).
The noble House Atreides is about to take over harvesting operations on the planet Arrakis, also known as Dune. The previous contractors betray them, trapping and destroying them with the aid of the Emperor of the known universe. An Atreides boy survives on the desert planet, the only source of a drug critical to the present state of post-AI galactic civilization.
Mysticist ecological planetary romance: A Gothic acid trip written as if it followed a lecture on Marco Polo, the spice trade, the silk worm and the Takla Makan. Richer, thicker, dirtier and superior in all respects to The City and the Stars (1956).
References here: The Incal (1980), The Metabarons (1992), Star Wars (1977), Armored Trooper Votoms (1983), “Coming of Age” (1988), “Loud as a Whisper” (1989), “Photon: The Idiot Adventures” (1997), Now and Then, Here and There (1999), Hellsing (2001).
‣ Dune Messiah (1969)
Frank Herbert (writer).
Read in 2020.
Pilgrims bring water to Arrakis on the Hajj.
Whereas the original novel charted Paul’s ascent along the hero’s journey, this is, at its heart, something more interesting, more central and much more rare: The hero at the apex, straining at hard limits, no longer able to progress. Indeed, this book was in part written before Dune, which is backstory and exposition. Like Odin in Norse mythology, Paul Muad'Dib reigns supreme by his wisdom even after he is blinded, but the powers of a hero do not suffice to protect his position in the long term, do not guarantee its use for good, and do not vanquish his enemies in the long run. Herbert pretty much pulls it off; there are only a few moments where supposedly superhuman schemers come off as banal and the whole thing reads a little too much like an allegory of Muhammad’s conquest of Arabia.
‣ Dune (1977)
Previously rated a 4.
Nobody has seen this.
Unlike in the novel, Leto is castrated and Paul is born from a drop of blod. This is also the version where Paul is killed but lives on in the galaxy’s collective consciousness.
Alejandro “Jodo” Jodorowsky’s version, with music by Pink Floyd and Magma (the latter working on the Harkonnens), visual concepts by Jean “Mœbius” Giraud, Chris Foss and H.R. Giger (the latter, again, working on the Harkonnens), special effects by Dan O’Bannon and starring David Carradine as Leto, Mick Jagger as Feyd, Orson Welles as the Baron Harkonnen, Salvador Dalí as the galactic emperor, and Dalí’s androgynous friend Amanda Lear as Irulan.
As usual, Jodorowsky put the weight on mysticism, injecting more Freud and surrealism than did Herbert. The 153-minute theatrical cut is superior, I’m ashamed to admit. It’s hard to believe in the universe painted here, but the inexperienced creative team went above and beyond to set the standard of mind-expanding science fiction film.
References here: On the Silver Globe (1988).
Seen in 2014.
A pity it doesn’t mention Gloria Swanson’s involvement. The director, Frank Pavich, apparently believes in tarot, and seems willing to overlook the cult vibe of Jodorowsky’s management style. Judging by what Jodorowsky eventually reused in The Metabarons (1992), the film would not have been entirely great.
David Lynch (writer-director).
This is the version with sonic weapons, cat milking, and sudden rain at the end. Despite such significant differences, it’s more faithful on the whole.
American director David Lynch’s version, with music by Toto, starring Kyle MacLachlan, Francesca Annis, Brad Dourif at his finest, Jürgen Prochnow, Max von Sydow, Patrick Stewart, and Sting as Feyd. Supposedly, Lynch wasn’t really interested in the project, accepting it mainly to fund Blue Velvet (1986), but it is also possible to view his Dune as a continuation of the mainstream career that started with The Elephant Man (1980).
According to the making-of featurette “Impressions of Dune” (2003), the failure of Dune supposedly convinced Lynch that the conventional high-budget production model wasn’t right for him. He certainly complained of not having final cut. He’s famous despite and because of mixing extreme weirdness with apple-pie Americana, of which this is neither.
The film misses or waters down a lot of what makes the book worthwhile, particularly ecology (Herbert’s most historically significant achievement), Paul’s sense of the future (artificial religion), the backgrounds of Fremen and Sardaukar, and the quaint sayings. Paul’s transformation of character doesn’t seem great enough in the film. The actual ecology is hardly plausible and there’s the same problem of royalism and SF detritus as in Nausicaä of the Valley of the Wind (1984), a similar film. Despite many flaws, it works. The cinematography, the repetition of lines from the past and future, and the eclectic casting all somehow come together. The result is uniquely meditative, preserving some of the profoundly human cultural density of the book by roundabout means. The effects shots vary a great deal in quality.
My favourite game for the Amiga was Dune II (1992), which may have helped make this film curiously enthralling the first time I saw it, which was before I read Frank Herbert’s original.
References here: On the Silver Globe (1988), Jupiter Ascending (2015), The Legend of the Galactic Heroes: The New Thesis – Encounter (2018).
‣‣ Dune (2006)
177-minute re-edit of the 189-minute “Alan Smithee” television version, partially reversing the Bowdlerization of the latter and removing some redundancy, but not going quite far enough in either respect. Worth watching as a supplement.
An adaptation of Dune Messiah (1969), not just of the sequel to that novel.