Given the absolute majestic, expansive nature of Frank Herbert‘s 1965 novel, it makes sense as to why director Denis Villeneuve insisted that his story be told across a necessary 5 hour split. No doubt using David Lynch’s ambitious failure as something of a cautionary tale – the auteur continually rejecting his association with his own 1984 adaptation, which suffered as much through his own misunderstanding of the material as it did the studio insisting on a more accessible running time – Villeneuve has a grasp on pacing this epic slow-burn of a tale in a manner that honours the material and respects the audience’s patience and intelligence.
After the original film, Dune: Part One, suffered pandemic-related delays from its original 2020 release, before releasing in late 2021 to positive reviews and Oscar glory (it ultimately took home 6 Academy Awards out of the 10 nominations it earned), Dune: Part Two is similarly coming off the back of an original delay, this time related to the writer’s strike, finally unveiling its glory after almost-4 months.
Encapsulating the notion of being worth the wait – though purists are likely to flag missing characters and sequences from the novel – Part Two wastes no time in continuing on from its predecessor, with Timothée Chalamet‘s Paul (the actor effortlessly commanding), heir to the noble House Atreides, and Zendaya‘s Chani, a Fremen warrior native to the planet Arrakis, falling in with one another as he is brought in to her desert tribe. Though the original film understandably utilised Zendaya’s presence in their marketing, her appearance was minimal (to say the least), serving as mainly a narrator and a figure within Paul’s prophetic visions. Here, audiences can be rest assured that her role is substantial, with Chani emerging as the narrative’s moral center.
Given the world building Herbert created, Villeneuve is taking on no small task with both chapters of his Dune vision, but the director’s visual prowess, and his ability to utilise the collective talent he has on board effectively, allows this very human story to transcend the pillars of spectacularity it could so easily fall on. Part Two is perhaps a more action-driven effort overall, but Paul’s inner circle all representing alternate angles of war means the film centres itself thematically.
Paul is ultimately caught in the middle of his surroundings, unable to accept the horrid visions he has of the future, whilst Chani, his mother, Jessica (Rebecca Ferguson), Stilgar (Javier Bardem), the Fremen leader, and Gurney (Josh Brolin), his former weapon’s instructor, all express their own desires and how they are best served by Paul’s loyalty. It may come as a shock to some that Jessica and Gurney, arguably two fan favourite characters, are painted in a more sinister light here, but their motivations are clear and they are far from being billed as a simplistic villain in the most basic form of the word; Jessica, in particular, has the most interesting arc throughout as she attains the status of Reverend Mother in a bid to exploit the Fremen religion and realise Paul’s gifts in a stronger capacity than it would appear he cares for. Ferguson has such a captivating presence, and the change between her nurturing temperament and something more sinister proves intoxicating throughout.
Where the film is more black-and-white in its portrayal of villainy – and not just because there’s a sequence dedicated to these characters’ brutality in a monochromatic setting – is through the Harkonnen collective, overseen by Baron Vladimir (Stellan Skarsgård). Skarsgård’s performance is heavily tied to his character’s disgusting physicality, but he never submits to the type of theatricality it could have easily given way to; similarly, Dave Bautista as his brutish nephew Rabban displays a restraint throughout. The same can’t be said for Austin Butler. There’s been considerable hype surrounding the actor’s appearance in the film, and he definitely adheres to a more scene-chewing mentality as Feyd-Rautha, and, when he isn’t speaking, it’s quite effective. He does so much with his face that his monstrousness practically seeps out, and though not necessarily a slight on him as a performer, the vocal tone he has adopted for his speech proves far from menacing and, sadly, threatens to undo the imposing nature he quite naturally exudes.
Ultimately though, it’s a minor qualm within a bigger film that’s bleakly beautiful to witness, and manages a sense of naturality in its exposition-necessary narrative. Villeneuve is so masterful at making Dune‘s story appear comprehensible, both honouring the material the best he can for those familiar and creating an accessible point for the uninitiated; there’s certainly a political and topical relevance on hand too, with warfare, tribal destruction, climate change, and ill-equipped figures seeking power woven across the film’s dense 167 minutes.
Whilst a Part Three isn’t necessarily guaranteed – and this concludes in a way that’s satisfying enough should we not earn a continuation – Villeneuve and co-writer Jon Spaihts (Dune: Part One, Passengers, Prometheus) certainly lay the foundation, with the character of Alia – Paul’s sister who we briefly see as an adult in his visions (and just in case you aren’t aware who it’s portrayed by, I won’t spoil the cameo) and predominantly as a fetus communicating with Jessica – possibly being set up as a future protagonist, akin to the novel “Dune Messiah”. Her presence doesn’t clutter the film, but it’s a smart ploy on Villeneuve’s behalf to limit her presence and only tease her importance, with Part Two already a busy enough production; Christopher Walken (as a scheming emperor), Florence Pugh (as his analytical daughter), and Léa Seydoux (as a cunning seductress) all feeling the pinch of the stacked ensemble with limited screen time, but delivering regardless.
Doing justice to Herbert’s vision was always going to be no small feat, and though it makes sense as to why Hollywood left it alone following Lynch’s misinterpretation, this reinvigoration is perfectly in tune with Villeneuve’s unmatched ambition and creativity. Big, bold, and equally grim as it is amorous, Dune: Part Two inimitably balances its blockbuster psyche with an uncomfortable morality.
FOUR STARS (OUT OF FIVE)
Dune: Part Two is now screening in Australian theatres.
