The confidence that viewers place in a film director’s new professional adventure, with greater sympathy if one works on its analysis, depends on what he has shown in his previous projects. If he has had good manners, we are interested in what he offers us in the future; even if he has screwed up but honestly: we give him another chance to lend him our scarce time; always thanking you for your dedication anyway. Talking about Denis Villeneuve and his long-awaited adaptation of Dune, the famous novel by Frank Herbert that appeared in 1965, deserved our hope that he would come out of the trance with flying colors.
Not just because has punctured only once from among the ten feature films that he has wanted to deal with since Un 32 de Agosto en la Tierra (1998); and it has not been in this nor in Maelström (2000), Polytechnique (2009), Incendios (2010), Sicario (2015) nor, oh, yeah !, Dune (2021), but in Enemy (2013), implausible beyond the fantasy.
Also because Prisoners (2013), The arrival (2016) and Blade Runner 2049 (2017) stick out in their compositional meticulousness, the dramatic intensity they build and the fascination they provoke by their pure magnetism.
The conscientious talent of Denis Villeneuve
Not a little of the virtues that are in the best of Denis Villeneuve’s filmography are also in the first part of Dune, favored thanks to the Canadian’s love for the work of Frank Herbert, but not as intensified as in his three most interesting films. The sober solemnity what characterizes you gives a very solid dignity that it is light years away from the ridiculous freak that the American David Lynch perpetrated in 1984; after moviegoers breathed a sigh of relief when Chilean Alejandro Jodorowsky’s attempt in 1975 collapsed.
Is too much visible the pampering you have spent Denis Villeneuve when presenting his indications to the interpreters, a real luxury all of them for which they will not have needed too many; and when elaborating each staging, each frame, each unusual image, each cut in the final montage with certain critical parallels and a rapturous dreamlike confusion. Thus, the new Dune beats us because of the conscientious talent of its demanding director; and by the suggestive, motley and constant mix of science fiction and mysticism emphatically that he has achieved; without squeaking anything, since it could have become indigestible very easily.
Composer Hans Zimmer (Hannibal), another who loves Frank Herbert’s book, has gone out of his way to deliver a score that underpins the almost liturgical tone by Denis Villeneuve on epic enormity of Dune, its strange planets and its Game of Thrones power intrigue (David Benioff and DB Weiss, 2011-2019). Sometimes it turns out somewhat thunderous, but never unbearable.
The cast of ‘Dune’
The spectacular production design from the usual Patrice Vermette (The Arrival), on the other hand, constitutes one of the great sustenance of the film. What the priceless work of his great dealBe it Timothée Chalamet (Interstellar) as Paul Atreides, Rebecca Ferguson (Doctor Sleep) as Lady Jessica, Oscar Isaac (Agora) as Duke Leto Atreides, Jason Momoa (The Justice League) as Duncan Idaho or Zendaya (The Great Showman) by Chani.
And Josh Brolin (American Gangster), Javier Bardem (The Deep Sea), Stellan Skarsgård (The Indomitable Will Hunting), Dave Bautista (Blade Runner 2049), David Dastmalchian (The Dark Knight) and an imposing Charlotte Rampling (Dexter) as Gurney Halleck, Stilgar, Baron Vladimir Harkonnen, Glossu Rabban, Piter De Vries, and Gaius Helen Mohiam respectively.
Without all of them, Dune would have been another; surely worse. Would have had the complex script signed by Eric Roth (Forrest Gump), Jon Spaihts (Doctor Strange) and Denis Villeneuve himself, and his own audiovisual endeavor, which advocates a glorious outbreak in the second part with the highest climax of the story: to be desired, that there is no . But a mediocre cast might have deprived us of the adaptation that Frank Herbert’s novel deserved.