An absolutely stunning cinema!
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Let me begin by saying that if “Dune: Part 2” was released last year without delay, Oppenheimer would’ve had a formidable opponent at the Oscars.
The screenplay is one of the best I’ve seen in all commercial films, as the credit goes not only to Frank Herbert’s work, but also the scriptwriter’s adaptation and the director’s execution.
After a short monologue of Irulan that contextualizes the narrative, the movie continues with Paul’s adaptation to the Fremen life, divergence with his mother’s 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’s maniacal rise, the Bene Gesserit’s bloodline scheme, and Alia’s subtle influence through Jessica — and then we’re brought back to Paul’s 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’s destined ascension, most notably the war’s sudden halt and the Emperor’s 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’s biomechanical architecture, all contributing to the portrayal of the Harkonnens’ cruelty and eeriness.
The action sequences are also spot-on, as Paul and Feyd’s fateful duel is fluently choreographed and progressively captivating.
My favorite of all is Paul’s 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’s back, Hans Zimmer’s six-note theme erupts alongside the Fremen’s 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.)
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