In the end, Dennis Villeneuve is fine – his TV isn’t big enough to reproduce his “Dune,” but only because the scale of this lifeless Spice Opera is ridiculously larger than any screen of any size. Including his difficult times. Similarly, there is no story, let alone the warped first half, you can expect to support the huge thing that Villeneuve tried to build in these endless 155 minutes (someone mentioned that the way time is measured is different in Arrakis), or each The weight of a serious omen that a lens will hit. Although Villeneuve’s vision was surprising, he failed to see why Frank Herbert’s seminal science fiction work was worthy of this epic drama at first. This is the trap of making movies so big that even the director can’t see the set.
How big is the “sand dune”? We’re talking about the angular concrete slabs that are visible to the naked eye, the spaceships that seem to replace the entire ocean as they emerge from the Karadhan seabed, and the sandworms that are big enough to eat “Tremors” Graboid like poles. . Walnut. Even the tied-up kings Jason Momoa and Dave Bautista looked like desktop miniatures when placed in their background, as if cinematographer Greig Fraser had come up with a way to film both deep focus and tilt shift at the same time.
So why, despite having a vast unparalleled space, is seeing “Dune” in a movie theater equal to receiving a novelty check for $ 6? Why is the scope of Villeneuve’s dreams betrayed by the dull and superficial reality of him, so that the most astonishing effect of his film, as tactile and transmissive as in “Blade Runner 2049”, is felt more like an illusion? Why does this “sand dune” feel so small?
The first and most basic question is a script (attributed to the heavyweight trio of Eric Ross, Jon Spaihertz, and Villeneuve himself) that breaks down all the thunder and mess of a spice gatherer throughout Herbert’s novels, but very little content is extracted from them. . surface.
Although Dennis Villeneuve did not succeed in places where David Lynch and Alejandro Chodolski had failed, it is not surprising that his “sand dunes” were at least daunting, as “” Prisoner “,” Burning “and” Director of Coming “flocked to. this project, and I have such a deep affinity for stories that transcend periodic violence.
Unfortunately, it is true that all these adaptations are allowed because the original material is divided into two parts, breaking all of Herbert’s most resonant ideas (and psychedelic instability) about the twisted relationship between colonialism. This may never be achieved.