RELATED: 'Dune: Part Two’ Officially Announced, and It’s All Because of Desert Power So personally, I don’t know what your position on it is, but I love it. They are hints that these people were coming from Earth, and then they expanded into the galaxy. You have links with the Catholic religion, or Middle Eastern cultural elements. I love that Frank Herbert gives hints of Earth culture. Villeneuve has been obsessed with the book since he was a teenager, and had long harbored a dream to adapt it for the big screen. Played by Jason Momoa, the swordsman Duncan is a loyal right-hand man to Duke Leto Atreides and a trusted confidante to the Duke’s son, Paul.ĭefending the name, Villeneuve said that he loves the fact that writer Frank Herbert made the conscious decision to set his sprawling science-fiction novel in an elaborately designed fictional world that bears resemblance to our own. The filmmaker told Vulture in a recent interview that he “deeply” loves the name, which he said roots the character in a recognizable reality. It’s a film of discovery an invitation to get lost.ĭune screens at the Venice film festival and is released in Australia and the UK on 21 October, and in the US on 22 October.Dune director Denis Villeneuve sees the Duncan Idaho slander out there, and he isn’t having any of it. After that we’re on our own, wandering in the desert, wonderfully immersed.
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He has handed us a movie to map out at our leisure and figure out on the run: apparently spitting on someone is an gesture of respect, while walking sideways like a crab is the safest way to proceed. He has constructed an entire world for us here, thick with myth and mystery, stripped of narrative signposts or even much in the way of handy exposition. The drama is played out with relish by an ensemble cast (Rebecca Ferguson, Charlotte Rampling, Jason Momoa) and Villeneuve is confident enough to let the temperature slowly build before the big operatic set-pieces eventually break cover. In the meantime: good heavens, what a film. “This is only the beginning,” he is assured – and one dearly hopes this is true.
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The worms will swallow you whole if given half a chance, and poor Paul’s in a hole, wondering what he will do next. The sand blows and drifts like a living thing. Paul’s only chance is to embrace his disenchantment and carve out a new path, one that leads into the hills. Josh Brolin’s weapons master can’t save him, while Stellan Skarsgard’s bloated, floating baron is plotting a bloody revenge. “I’ve been set up to fail,” says the Duke when spice production has stalled and he realises how malign the forces behind him really are. Should this crash and burn at the box office, his story looks likely to remain incomplete. The Dune we have here covers only the first half of the book. Even Villeneuve finds himself unable to celebrate a victory just yet.
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David Lynch’s 1984 version was widely dismissed as a dud, while a TV miniseries that aired in 2000 appears to have since turned to dust. Alejandro Jodorowsky tried and failed to bring it to the screen. But the desert world of Dune has a knack for destroying those who come to tame it, just as the novel itself has claimed some high-profile casualties.