An absolutely stunning cinema!
Print Edition
Let me begin by saying that if 鈥淒une: Part 2鈥 was released last year without delay, Oppenheimer would鈥檝e had a formidable opponent at the Oscars.
The screenplay is one of the best I鈥檝e seen in all commercial films, as the credit goes not only to Frank Herbert鈥檚 work, but also the scriptwriter鈥檚 adaptation and the director鈥檚 execution.
After a short monologue of Irulan that contextualizes the narrative, the movie continues with Paul鈥檚 adaptation to the Fremen life, divergence with his mother鈥檚 belief, and sprouts of love with Chani.
Just as I thought that the story will follow the path of Avatar, the audience are pulled out of the main plot to explore other aspects of the Dune universe: Feyd-Rautha鈥檚 maniacal rise, the Bene Gesserit鈥檚 bloodline scheme, and Alia鈥檚 subtle influence through Jessica 鈥 and then we鈥檙e brought back to Paul鈥檚 arc through Gurney Halleck.
Although a lengthy second act, the story is compact, the development intricate, and the pacing thoroughly controlled. However, the final act is a dip compared to the meticulous lead-up, as everything seems in a hurry of wrapping up for Paul鈥檚 destined ascension, most notably the war鈥檚 sudden halt and the Emperor鈥檚 quick surrender.
Furthermore, Villeneuve maintains his high standard for aesthetic design, whether the utilitarian machinery, exotic costumes, or the panoramic long shots.
What stood out for me the most was the triangular colosseum at the monochromatic planet of Giedi Prime: a dark sun hovers above waves of colorless spectators, as black blood is spilled upon white sand. Never have I thought the ink-painting-style fireworks could go so well along HR Giger鈥檚 biomechanical architecture, all contributing to the portrayal of the Harkonnens鈥 cruelty and eeriness.
The action sequences are also spot-on, as Paul and Feyd鈥檚 fateful duel is fluently choreographed and progressively captivating.
My favorite of all is Paul鈥檚 worm ride, a perfect segment in length, editing, performance, and visual. Little words were spoken, so suspense is built solely through character reaction, the sound of roaring sand, and the fastening tempo of shot-cutting. As Paul steadies himself on the worm鈥檚 back, Hans Zimmer鈥檚 six-note theme erupts alongside the Fremen鈥檚 cheers. Chani gasps, Stilgar is dumbfounded, and the Lisan al Gaib has risen.
I also like how the centripetal topic of prophecy versus free will is depicted in the film. Interestingly, the movie approaches this heavy subject with comedy. Those who were laughed upon as superstitious turned out to be completely right in the end!
(Xu Qinghe is an 11th grader at the Sierra Canyon School.)
- About Us
- |
- Terms of Use
- |
-
RSS - |
- Privacy Policy
- |
- Contact Us
- |
- Shanghai Call Center: 962288
- |
- Tip-off hotline: 52920043
- 娌狪CP璇侊細娌狪CP澶05050403鍙-1
- |
- 浜掕仈缃戞柊闂讳俊鎭湇鍔¤鍙瘉锛31120180004
- |
- 缃戠粶瑙嗗惉璁稿彲璇侊細0909346
- |
- 骞挎挱鐢佃鑺傜洰鍒朵綔璁稿彲璇侊細娌瓧绗354鍙
- |
- 澧炲肩數淇′笟鍔＄粡钀ヨ鍙瘉锛氭勃B2-20120012
Copyright 漏 1999- Shanghai Daily. All rights reserved.Preferably viewed with Internet Explorer 8 or newer browsers.
