- #CHILDREN OF DUNE BOOK VS TV HOW TO#
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Zendaya is an apt, a better than apt, Chani. Oscar Isaac is noble as Paul’s dad the Duke Rebecca Ferguson both enigmatic and fierce as Jessica, Paul’s mother.
#CHILDREN OF DUNE BOOK VS TV HOW TO#
Timothée Chalamet leans heavily on callowness in his early portrayal of Paul Atreides, and shakes it off compellingly as his character realizes his power and understands how to Follow His Destiny.
Villeneuve’s massive cast embodies Herbert’s characters, who are generally speaking more archetypes than individuals, very well. The higher mystics in the “Dune” universe have this little thing they call “The Voice” that eventually became “Jedi Mind Tricks.” And so on.
The novel’s influence is huge, particularly with respect to George Lucas. But, by the same token, there may not be any reason for you to be interested in “Dune” if you’re not a science-fiction-movie person anyway. It’s not, if you pay attention, and the script does a good job with exposition without making it seem like EXPOSITION. If you’re not a “Dune” person these listings sound like gibberish, and you will read other reviews complaining about how hard to follow this is. Throughout, the filmmaker, working with amazing technicians including cinematographer Greig Fraser, editor Joe Walker, and production designer Patrice Vermette, manages to walk the thin line between grandeur and pomposity in between such unabashed thrill-generating sequences as the Gom Jabbar test, the spice herder rescue, the thopter-in-a-storm nail-biter, and various sandworm encounters and attacks. And while Villeneuve has been and likely remains one of the most humorless filmmakers alive, the novel wasn’t a barrel of laughs either, and it’s salutary that Villeneuve honored the scant light notes in the script, which I suspect came from Roth. Herbert’s own vision corresponds to Villeneuve’s own storytelling affinities to the extent that he apparently did not feel compelled to graft his own ideas to this work.
#CHILDREN OF DUNE BOOK VS TV MOVIE#
(The filmmaker says it’s half but I believe my estimate is correct.) The opening title calls it “Dune Part 1” and while this two-and-a-half hour movie provides a bonafide epic experience, it's not coy about connoting that there’s more to the story. Or, I should say, two-thirds of the book. But I can’t deny that he’s made a more-than-satisfactory movie of the book. To say I have not admired Villeneuve’s prior films is something of an understatement. Which yields something called “the spice”-that’s crude oil for you eco-allegorists in the audience-and presents multivalent perils for off-worlders (that’s Westerners for you geo-political allegorists in the audience). Wherever Earth was, the people in this scenario aren’t on it, and the imperial family of Atreides is, in a power play we don’t become entirely conversant with for a while, tasked with ruling the desert planet of Arrakis. As many of you are aware, “Dune” is set in the very distant future, in which humanity has evolved in many scientific respects and mutated in a lot of spiritual ones. The new film adaptation of the book, directed by Denis Villeneuve from a script he wrote with Eric Roth and Jon Spaihts, visualizes those scenes magnificently. Yeah, the prose is clunky and the dialogue often clunkier, but I liked much of it, particularly the way it threaded its social commentary with enough scenes of action and cliff-hanging suspense to fill an old-time serial. But for some reason-due diligence, or curiosity about how my life might have been different had I gone with Herbert and Heinlein rather than Nabokov and Genet back in the day-I read Herbert’s book recently.
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As a pretentious twentysomething film buff, not yet professional grade, the only thing that mattered to me was that it was a Lynch picture. When David Lynch’s 1984 film of the novel, backed by then mega-producer Dino De Laurentiis, came out I didn’t read it either. As a pretentious teenager in the 1970s, I didn’t read much sci-fi, even countercultural sci-fi, so Dune missed me.
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