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But the Harkonnens and their cruel leader, Baron Vladimir, aren’t giving up so easily and this seems to be all according to the emperor’s plan to lure the House Atreides to its destruction.Īrrakis is no empty desert. But the emperor removes the Harkonnens from governing Arrakis and dispatches the benevolent House Atreides and its leader, Duke Leto Atreides, to take their place-along with his consort, Lady Jessica and their son, Paul. Both a hallucinogen and an energy source, spice is mined in the deserts of the planet Arrakis, which has been colonised for that purpose and, at the emperor’s orders, run by the evil House Harkonnen. There’s a nexus of planets under the reign of a shadowy emperor, whose realm runs on a mineral known as spice. Rather than revelling in it, he dispatches the necessary information hastily and dutifully, because he knows all too well where the film is going and why it’s going there. By contrast, Villeneuve appears embarrassed by the lengthy exposition that the story requires. He unifies his cinematic field, lavishing as much attention to detail-and as much time-on relatively undramatic scenes and background elements as on scenes of great moment. His film establishes a phantasmagorical and nearly fetishistic relationship to the material world, to even apparently trivial objects as well as to gestures, phrases, inflections. Lynch, in his “Dune,” hardly distinguishes exposition from drama, because he’s as interested in the what as in the why. Like most fantasies and futuristic science-fiction movies, “Dune” requires a large amount of exposition to set up the rules of its universe. The bareness with which he depicts the story doesn’t resemble the shoestring production values of nineteen-fifties sci-fi cheapies, but it instead suggests merely a failure of imagination, an inability to go beyond the ironclad dictates of a script and share with viewers the wonders and terrors of impossible worlds. He puts the drama and plot first, avoiding details that could be distractions and appearances that aren’t explained in dialogue or action. Villeneuve’s interests appear to lie elsewhere. Directed by Denis Villeneuve, the adaptation of Frank Herbert’s 1965 novel seems less like a CGI spectacle than a production still waiting for its backgrounds to be digitally filled in or its sets to be built.ĭavid Lynch’s version of “Dune,” from 1984, was a profuse film, teeming with sets and costumes as intricate as they were overwhelming, making extended and startling use of optical effects, and, in general, displaying an urgent will to turn the fantasy worlds of the story, which is set in the year 10191, into physical and visceral experiences. It’s surprising how cheesy the new “Dune” looks.