Dune (1984)-Kanaka Sathasivan
May 5, 2008
Dune (1984)
By Kanaka Sathasivan
Based on one of the best-selling science fiction novels of all time, Dune was a movie with much standing in the way. In 1984, it opened to scathing reviews, failing at the box-office, but subsequently becoming a celebrated cult favorite. Unfortunately, this David Lynch film tries so hard to pander to both fans of the Frank Herbert novel and casual moviegoers, it ends up disappointing both audiences, myself included.
The film and book revolve around the young leader Paul Atreides (Kyle MacLachlan), and his family, the House Atreides, which has been given control over the desert planet Arrakis, also known as Dune. Arrakis is the only source of the spice melange, a valuable substance that extends life and heightens consciousness; it is also inhabited by monstrous sandworms and populated by the allusive Fremen. However, the Spacing Guild, concerned about a plot to obstruct spice production, conspires with the Padishah Emperor (José Ferrer) and the Baron Vladimir Harkonnen (Kenneth McMillan) to eliminate House Atreides.
After a surprise attack, Paul and his mother, a Bene Gesserit witch, find themselves stranded in the desert, where they are taken in by the Fremen. As the son of a Bene Gesserit, Paul seems to have extraordinary powers, like that of no man or even of the witches. Believing him to fulfill their prophecies, the Fremen rename him Maud’Dib, appoint him their leader, train him, and eventually assist him in reclaiming control over Arrakis.
Ultimately, the film is a mishmash of political plots and conspiracies, filled with new terminology and a number of antagonists; it is easily confusing to anyone unfamiliar with the novel. I even read the book a month before watching the film but at certain points had no idea what was going on. The opening sequence is nearly half an hour of pure explication, setting up the universe for the viewer. Testament to the unclear nature of the film, when the movie first opened, Universal Pictures handed pamphlets to the audience in order to prepare them beforehand.
Despite a number of faults, there are many reasons the film still endures today. At its heart, it is unadulterated science fiction, with fantastic elements needing no explanations and delivering wonderful escapism. The cinematography is breathtaking, and while many of the effects are laughable, especially compared to other films from that period, others are breathtaking. The costuming is especially striking, simultaneously futuristic, and traditional. Above all, the actors are endearing to watch. Each delivers a devoted performance, and the cast is studded with famous names.
But while Lynch does an admirable job of adapting the story to film, the power and scope of the book is ultimately impossible to convey on screen, especially in a 2 hour movie. The direction is laudable, but Dune’s failure stems from the screenplay and the editing, both of which Lynch lost control over.
Much of the novel’s brilliance stems from the subtlety of Herbert’s prose, but there is little subtlety found in the film. Voiceovers pointlessly explain emotions, and other elements, such as the Bene Gesserit powers, are simplified almost to the point of losing their original meaning. The film also fails to convey the philosophy found in the novel. To the furor of fans, numerous vital scenes were eliminated; however, from the perspective of those unfamiliar with the novel, the movie is too faithful to the book and often includes much more information than is necessary.
Whether the film stands the test of time is debatable, as it also suffers from a number of clichéd 80s film techniques. While certain elements are enjoyable, overall the film is a mess of plot points, chopping pacing, and shallow writing. It’s often tedious to watch, and casual viewers will have trouble understanding or enjoying the film. This isn’t a movie I would view twice, and there are few people I would recommend it to. Nevertheless, Dune will most likely continue to remain a cult favorite and science fiction classic.
Copyright C. 2008 Kanaka Sathasivan
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