Dune II review: epically awesome and awesomely epic

This is one of those rare films that simply must be seen in IMAX.

It's a breathtaking, epic spectacle. 

The art direction alone is worth the price of admission, IMHO.

Visually on par with Lawrence of Arabia and other classics, this is a hyper-serious take on the ttale of a messiah created by a bunch of space nuns, trapped in a neo-feudal nightmare galaxy of murder, intrigue, betrayal and fanaticism. 

If anyone was going to make gigantic mile long sand worms believable, it's Denis Villeneuve. 

Dune II is faster paced and more of a roller coaster than the first installment (which proceeded at a rather stately pace) and it kept me hooked from beginning to end, despite being familiar with the books. 

It's a stunning triumph, a visual feast, and the most impressive film I think I've seen in a very long time. In terms of visual impact, it's up there with the original Star Wars, 2001: A Space Odyssey, The Matrix, or The Lord of the Rings. It's a little less emotionally affecting than the modern classic LOTR, but still highly enjoyable, immersive, and easily the visual equal. 

Herbert was concerned with how people can be manipulated to believe collective myths (such as ideologies). Ideologies are enormously powerful, capable of uniting millions of separate individuals into a gestalt organism that can accomplish great, or terrible, things. Nation states, empires, religions, political ideologies are essentially collective organisms, and human history is littered with their deeds. 

Dune I and II effectively convey the wastefulness and paranoia of a feudal universe, where every royal is constantly on guard, wary of assassins, while the masses are little more than cannon fodder. Chaff for the gestalt grinders. 

The Bene Gesserit genetic experiment to create the ultimate human leader is a crucible through which the Atreides, Harkonen and Corrino must pass. These machinations drive the entire plot, and most of the foreground players are merely pawns of it, causing untold bloodshed and suffering while they play their parts. Why exactly are they trying to create this ultimate ruler? I don’t remember the book providing an answer, but it might be to escape the feudal trap. 

Paul is initially sympathetic, but as he grows in power he finds his actions constrained by the role he must play. The film also states flat out that horrible crimes lie in his future, and the death of billions. 

The script is smart and faithfully brings to screen Frank Herbert's sci-fi classic. There are a few on the nose lines, which might have been mandated (it's a complicated scenario Denis Villeneuve has to set up, executives might have insisted on more clarification); the only other quibble I have is that there were some changes to the story, additions and omissions, that I didn't really understand the reason for, and after awhile the sheer weight and scale of the film can feel a little crushing. Everything here is BIG; even door openings are epic. 

The acting is top notch. It's not a character film, it's an epic, and it doesn't delve as much into Paul's inner world (for example) as it might, but you'd need 9 hours to bring all the inner life from the books to film. As it is, you get all the information and character context you need to understand what's going on. 

The music is immersive, powerful and compelling; as usual from Hans Zimmer, it also made me wonder if I came out with hearing damage. 

Denis Villeneuve has crafted an epic sci-fi art film in a class of its own. He has an undeniable eye for scale, like Gareth Edwards, and he merges that with top tier material; the production design here–the ships, the costumes, the sets—are as close to perfect as fallible humanity is likely to get. I can't find anything to criticize. They're unique, unlike anything else in sci-fi. 

I can't recommend this film highly enough. Don't wait for it on streaming, see this in the theatre, in IMAX if possible. Take ear plugs as a precaution, it will be LOUD.

I can't wait for Dune: Messiah. 

Oh yes: the movie is too long. But all movies these days feel too long to me. 

Jodorowsky's Dune: "You can't make a masterpiece without madness."

So says Jodorowsky, the infectiously enthusiastic focus of the new documentary, Jodorowsky's Dune. 

He and his vision were at the heart of a quixotic 1970's effort to produce Frank Herbert's labyrinthine novel. Supported by an elite team of 'spiritual warriors' that Jodorowsky assembled, they'd create an epic without ever reading the source material.

Details.

Jodorowsky has the kind of irrepressible passion and sense of wonder needed to sell a crazy project to Hollywood. Think Reading Rainbow but with everyone on LSD. This is a man who can present a series of static storyboards in such an enthralling way you feel like you've seen the film.

No wonder he was able to put together such a talented crew.

And what a team it was: he brought together leading artists such as Moebius, Dan O'Bannon (pre-Alien), H.R. Giger (also pre-Alien), and Chris Foss. He's got taste.

That being said, I am dubious about the choice of Dali to play the Padashah Emperor. But who knows? If anyone was going to get a great performance out of Dali, it was Jodorowsky. He has a knack for inspiring people. He got great work out of his dream team, from character designs (Moebius) to ships (Foss) and architecture (Giger).

Visually, there isn't much middle eastern influence as I'd have expected, but it's wonderful stuff regardless.

Of course, Jodorowsky decided to rewrite the ending of Dune. That's just the way he rolls. And why not? He didn't read the book anyway. He has an endearing penchant for new age themes and stories where the human spirit triumphs over all. Cosmic stuff. Good vibes. That sort of thing. Just with lots of sex and explosions along the way.

Many of the ideas he injected into Dune, like the miracle child's immaculate conception, would pop up in his later work. Reuse, recycle. Nothing wasted. Dune was the spring board that launched his future.

Ultimately the major studios rejected his ambitious film project, possibly because of Jodorowsky's eccentricity, it's wild scope, and even crazier cost.

But Jodorowsky is not a man to be kept down. The weight of the universe couldn't do that, and undaunted, he channelled all that imagination and work into comics, producing the sci-fi acid trip The Incal with Moebius. It confirms Jodorowsky as one of the most wildly imaginative writers out there. Of course it doesn't always make sense. Who cares? It's more fun than a barrel of drunken flying monkeys on laughing gas. It'll blow your mind.

He has some outrageously funny quotes ("I was raping Frank Herbert") that only he could get away with and still seem endearing.

More about Moebius and Dune can be found here, including more storyboards.

By the end of the film you really wish he'd made his movie. But The Incal is a pretty amazing consolation prize, deserving of a film of its own, if it could be trimmed down and rejigged to make sense to a mainstream audience that wasn't stoned. It's filled with his groovy, positive spiritual concepts, the same sort of ones he brought to Dune.

He's all about the collective unconscious and dreams.

Jodorowsky gets even more cosmic with his next work: Metabarons, illustrated by Juan Giménez. It contains many elements from Incal, only weirder. Same goes for Technopriests. They're both beyond epic. The scope of his imagination is truly breathtaking. There can be no doubt that Jodorowsky is still in touch with his inner child, and a sense of unbridled enthusiasm and uninhibited creativity suffuses his work.

The collapse of the Dune film left Dan O'bannon broke and sleeping on a friend's couch. That's where he wrote Aliens. It must have been some couch. He hired an artist he met while working on the Dune project to design the xenomorph: H.R. Giger.

The rest is cinema history.

O'Bannon went on to write the whacky Lifeforce (1985) about hot naked space vampires, the B-17 sequence of the Heavy Metal movie (the only memorable bit), Blue Thunder (1983), Total Recall (1990), Alien vs. Predator (2004), and Invaders from Mars (1986). He also directed the cult classic Return of the Living Dead in 1985.

H.R. Giger worked on a number of films, but is best remembered for Alien and his atmospheric and disturbing paintings that tortuously merge human bodies with cybernetic parts. He's also known for referring to himself in the third person.

Foss' art graced the covers of an entire generation of sci-fi novels. He worked on the 1980 Flash Gordon film, and illustrated The Joy of Sex, although there are no spaceships in it.

The documentary finishes with some inspirational comments by Jodo, as he's known to his friends.

I left feeling uplifted.