By: Harrison Ferger
“When religion and politics travel in the same cart, the riders believe nothing can stand in their way. Their movements become headlong – faster and faster and faster. They put aside all thoughts of obstacles and forget the precipice does not show itself to the man in a blind rush until it’s too late.”
― Frank Herbert, Dune
When Frank Herbert was asked about the response to Paul Attrades following the release of “Dune,” he was disappointed. What many saw as another great story of a savior from the outside, Herbert saw as a great warning. He felt so strongly about this that his follow-up book, “Dune Messiah” was a huge departure from its original. It’s a dark, political book with a scathing look at leadership and power. It is quite an uneven book because of this quick turn, but its ideas and characters are powerful and unique. So with this knowledge, Villeneuve wisely synthesizes these large themes and ideas of religion, politics and the “white savior” complex into a visual love story wrapped in a sci-fi war epic.
“Dune: Part Two” is as colossal a film as you have ever seen, yet focused enough to find your way through the “sand.” It is not a traditional sequel, as it works directly as an extension of “Dune: Part One,” following Paul, played by Timothee Chalamet who may have just given his best performance yet, as he deals with the fallout of the massacre of his family and the prophecy that has been set before him in the desert. Villeneuve takes a slow approach to the opening of his film. Basking in the burnt-orange atmosphere of Arrakis. Allowing us, like Paul, to become more aware of the environment and its power. Through the lens of Greg Fraiser, we see both the biblical scope and the human mind and heart; which is mostly seen through Zendaya’s Chani.
Chani becomes the figure of most of Villeneuve’s changes. Moving from docile follower in the book, to full-on skeptic. What emerges is a delicate balance between a story of young love and a fear of fundamentalist worship of a “false prophet,” which is seen through the eyes of Stilgar, played by Javier Bardem, who’s ideas of Paul that began humorous, slowly grow to be terrifying. Small moments between Paul and Chani are powerful and express a quiet love that has galactic consequences. These moments of human connection only raise the stakes of triumph and heartbreak between the two. A weight that we see on the face of Paul, as he seemingly comes closer to the path that seems all too predetermined.
The theology behind the Abrahamic religions is ever present in both Herbert and Villeneuve’s “Dune”. While both are not anti-spiritual (I would argue the opposite,) they are heavily distrustful of “religious extremism.” An extremism that you can find in all major religions, that can use the plight and faith of the masses to manipulate and distort into power and violence. A topic that Villeneuve covered in one of his lesser seen works, “Incendies”, which is a film that looks at a family that has been destroyed by the Lebanese Civil War. “Incendies” feels more of a connection to “Dune” than any of his other science-fiction works. In Dune the manipulation is played through the second (and third) woman that is pulling at Paul, his mother Jessica. Jessica’s duty to the all-powerful Bene Gesserit exposes something dark and twisted in this game of power. The roots and path that has been laid before Paul, and all the major characters, is made to feel unavoidable. We see and feel the generations of planning and manipulation that have led to this moment. A moment that is not built on certainty, but on pride. The pride to declare oneself, the Messiah.
What began as interpersonal turmoil boils over into intergalactic warfare. Only the IMAX screen can dare hold the scale of these battles backed by another roaring score from Hans Zimmer, whose original score for the first part has only grown on me. From the ride of the worms, to the single combat of great fighters, these moments of violence are effective and precise. Each moment feels unique and calculated in the direction. Using the environment and diversity to its advantage.
The environment is honestly the strength of Villeneuve that separates him from his contemporaries. It is also why he is so perfect for this story. The “Black Sun” of Gidi Prime reveals a hellscape in which the camera switches to black-and -white film stock. We see how this planet has shaped young Feyd-Rautha, played by Austin Butler (minus the Elvis’ accent,) who works as a mirror to Paul. Following in a similar story of fate and manipulation. But where Paul fights it, Feyd desires it. The hedonistic planet serves as a chilling vision of what happens when a society is driven by pleasure and not the mind. This attitude works into the strange and impactful performance from Butler, who works as a great test for Paul.
Other newcomers include; Florence Pugh as the emperor’s historian and daughter Princess Irulan and the Emperor himself, Emperor Shaddam, played by Christopher Walkin. While their scenes are good, they feel on the outskirts to what is central to Arrakis and Gidi Prime. The real standout comes from Lea Seydoux as Lady Margot. Helping to establish the hand of the Bene Gesserit in the life of Feyd. How they disguise their manipulation and secure bloodlines for their choosing and power.
Though we see and learn so much information, Villeneuve never overwhelms us with needless dialogue, instead he relies on the strengths of the visuals and the actors, in particular Timothee Chalamet. Chalamet’s performance is dynamic, as it moves to the rhythm of the internal struggle he faces. The pull of his love for Chani and the desire of revenge and power shows him move from tender to terrifying. Much like Paul himself, the role that feels perfectly designed for Chalamet and may be the role that attaches to him for decades to come.
Villeneuve concludes the film much like the book, climatic, yet open-ended. Beckoning for more story to be told, which I’m sure will come by way of “Dune: Messiah” in a couple years. But what we do have is a complex and powerful film. A story of loss and power, love and manipulation. A film that reminds us to fear the “Messiah.”
Rating: 4.5/5
Companion Film:
Incendies – Denis Villeneuve
Dune: Part One – Denis Villeneuve
Video Essay Form: