Warning: contains slight spoilers for “Dune: Part 2.”
Yep, you probably saw this coming. “Dune: Part 2” is sheer genius. What more can I say? After Denis Villeneuve’s phenomenal success adapting the first half of Frank Herbert’s novel to the big screen, it was basically a given that he would direct an equally impressive sequel. But he went far beyond that. “Dune: Part 2” is not just a rehash of what made Part 1 so good. It stands on its own, and in some parts is even better than its predecessor. In fact, I’d even go as far as saying it’s better than Frank Herbert’s original book. But I’m getting ahead of myself.
Part One ended in disaster: the noble House Atreides, rulers of the desert planet Arrakis, has been wiped out by their archenemies, the Harkonnens. The Duke’s heir, Paul Atreides (Timothée Chalamet) and his mother, Jessica (Rebecca Ferguson) have escaped into the desert, seeking refuge with the indigenous population, the Fremen. It was a cliffhanger which so many viewers of Part One wanted an immediate resolution to; unfortunately, it was not possible. Any attempt to compress the entirety of the 687-page novel into one movie is bound to fail. David Lynch found out the hard way with his panned 1984 adaptation. But the wait for a sequel was worth it.
The movie’s opening scene is mesmerizing. Black-clad troopers wade through a blindingly ochre landscape, gliding effortlessly upwards onto surreal rock formations. From that scene alone, the film makes it clear that like Part 1, it will dazzle you with its visuals. If you thought this movie was going to be two and a half hours of Timothée Chalamet prancing around the Sahara, think again. Villeneuve’s creativity shines through as we discover a myriad of new locations.
The moody blackness of the water stockpile in the Fremen hideout; the industrial landscape of Geidi Prime, under its black-and-white sun; and the minimalistic lushness of the Emperor’s palace, reminding me of the aestethics of the Japanese shogunate … and even the familiar sand dunes of Arrakis take new shape, especially in a scene where Paul sinks into a strikingly lavender sandstorm while trying to ride a sandworm. And then there’s the action; a combination of slick choreography, dazzling special effects and sound design that will keep even people who know the plot of “Dune” (like me) on the edge of their seats. In many ways, the battle sequences in this film hit harder than its predecessor; they’re more violent, dramatic and heart-stopping.
The acting, too, is a highlight of the movie. The glittering ensemble cast from the first movie make a glorious return, and with such a concentration of star talent, it’s no surprise that “Dune: Part 2” may have some of the best acting of the year. Once again, Chalamet gave a stunning performance as the main character. Paul Atreides has moments of humorous awkwardness as he tries to learn the Fremen ways, giving off a charming, relatable appearance. But as the film goes on, Chalamet performs a masterful transformation as Paul is forced to bear the weight of massive responsibility and angst on his shoulders. Chalamet perfectly nails the indecision and terror Paul faces as the Fremen’s supposed messiah, and the dark effects that being in that position does to Pauls’ mentality.
Rebecca Ferguson performs a similar transformation; going from the kind mother seen in Part One to something unexpectedly sinister, a Fremen leader and religious figure who increasingly sees Paul’s powers as the only way out. The other Fremen leader, Stilgar (Javier Bardem), gave an equally effective performance that was partly hilarious and partly utterly compelling in his blind devotion to Paul. Stilgar was instantly memorable, and will no doubt be the face of many memes to come.
Among the villains, Baron Harkonnen (Stellan Skarsgård) and Rabban (Dave Bautista) reprised their roles well. But the true-scene stealer was Feyd-Rautha (Austin Butler). A violent, sociopathic gladiator, Butler gave a masterful performance, mixing derangement and intimidation with pure villanous coldness. The Emperor (Christopher Walken), however, was a bit of a miscast role. Walken barely had any lines and lacked the intimidation factor one would expect from the ruler of the universe. His daughter, Irulan (Florence Pugh) also felt a bit flat, but was given a fair bit of characterization for a character barely mentioned in the book. But those are small potatoes compared with the talent from everyone else.
The real star of the film, without any doubt, was Chani (Zendaya). Zendaya was one of the star attractions for Part One, but we saw little of her in that film. But now, in Part 2, she truly gets a chance to show off her phenomenal acting skills. Chani is not just Paul’s love interest; she is a powerful protagonist in her own right, a tough warrior with her own dreams and desires, determined to forge her own path in the world. Zendaya portrays this masterfully, especially in a few wordless sequences where her facial expressions and body language speak volumes.
Chani, as a character, barely even exists in the original book. The lack of strong, female protagonists was one of Frank Herbert’s greatest flaws (though he corrected this in later “Dune” sequels). So what Villeneuve and Zendaya have done with her is truly special. They elevated Chani, and her relationship with Paul, to the forefront of the film; perhaps it is now even the film’s most important aspect. All of the factors that made the book great—the fierce battles, Machievellian plotting, and philosophical ruminations—are still there. But the emotional impact of Chani’s journey with Paul brings the movie a step up. It gives the viewers an emotional glimpse into these characters, and makes the events of the movie seem more real.
The emphasis on Chani also allows Villeneuve to focus more on one of the original book’s themes—the dangers of blind messianism and the critique of the “white savior.” As Frank Herbert famously declared, “Beware of heroes. Much better [to] rely on your own judgment, and your own mistakes.” But this part of the book is frequently swept under the rug; especially in the 1984 movie where Paul is played as a stereotypical action hero, a righteous savior come to liberate the helpless Fremen.
As if to combat this misinterpretation, Villeneuve’s film thoroughly challenges the very concept of Paul as a “white savior.” Unlike in the book, the Fremen don’t instantly believe the “prophecies” and submit to Paul. There is always simmering tension between Stilgar, who believes that Paul is the prophesied “Lisan al-Ghaib,” and Chani, who doesn’t. Through Paul and Chani’s relationship, we get to fully see the implications of this constant tug-of-war, and how Paul increasingly finds himself trapped in the middle, unable to escape. On a larger scale, Villeneuve creates a distinction between the secular northern Fremen and religious southern Fremen, a distinction that shows that the Fremen aren’t a simple-minded orientalist stereotype, but rather a complex society not easily willing to accept the “prophecies” that are being planted among them.
This makes the intensifying fervor of Paul’s devotees just as frightening for the audience as it is for Paul. An entire culture and people are being transformed by the arrival of an outsider; a process that the movie clearly shows is terrible and sinister.
“Dune: Part 2” is the sci-fi experience of the year, a spectacle of the imagination and a labor of so much love and talent. But it is also an experience that will remain with you. The plot is not as complex or as confusing as you may fear, but the movie isn’t afraid to ask tough questions, either. Part 1 may have been a phenomenal achievement by itself, but it is Part 2 that will make Frank Herbert’s creation into an unforgettable landmark of cinema.
