******SANDWORM-SIZED SPOILERS!******

After seeing Denis Villeneuve’s “Dune Part 2” last weekend, I went into this column realizing that everyone and their mutated baby sisters would also be publishing reviews of the film. So I decided to offer something beyond just praise for this latest epic from Frank Herbert’s 60-year old sci-fi universe, by comparing how Villeneuve’s movies stack up with prior adaptations of “Dune,” including a wildly surreal version that was never made.

Before we start, I’d like to synopsize the general story that each version of “Dune,” including the latest sequel, have in common (more or less) with the late Frank Herbert’s original 1965 novel, which was first serialized in Analog magazine back in 1963:

Dune: The Story

In the year 10,191, the arid desert world of Arrakis (aka “Dune”) is, at turns, exploited by the different ruling Houses of the galaxy. The inhabitants of Dune, the Fremen, are metaphors for (and some actual descendants of) exploited Arabs of the oil-rich Middle East in our own time.

The Fremen have long adapted to the harsh conditions of their chosen planet, creating a whole technology designed around trapping and recycling precious bodily fluids for water. Arrakis is rich in a substance called “spice” (aka melange) which is critical for interstellar spaceflight and galactic commerce, as well as for its health benefits and psychotropic properties. In 21st century terms, it’s a combination of petroleum and opium in one valuable substance, and the entire galaxy thrives on it…yet it’s only found at Arrakis.

The House Atreides, led by Duke Leto Atreides, his concubine Lady Jessica (a member of the Bene Gesserit clan of “witches”) and their son/heir Paul, has been appointed by the Galactic Emperor to oversee the mining operations on Arrakis, following the abrupt departure of the brutal House Harkonnen. What is not known is that the Emperor is in collusion with the Harkonnens—led by the obese, monstrous Baron Vladimir Harkonnen—to destroy House Atreides once and for all.

Unknown to the Emperor, son Paul is gifted with the same powers as the all-female Bene Gesserit sect, and is also an unwitting part of a Fremen prophecy of the Madhi—the one who will liberate them from the oppressive rule of the Galactic Houses and lead them into paradise. The teenaged Paul, haunted by dreams of a mysterious Freman girl and of his role in the prophecy, is eventually put to the test when the House Atreides’ operation on Arrakis is destroyed by a devastating Harkonnen/Imperial attack. Duke Leto is killed, while Lady Jessica and Paul are left to fend for themselves in the harsh climate of Arrakis, after allying themselves with the Fremen. They must also survive the gargantuan sandworms, which are attracted to rhythmic sounds, like immense killer sharks, swimming in oceans of sand…

After leading the Fremen in violent acts of sabotage against Harkonnen spice mining operations, we see Paul’s steady evolution into Muad’Dib (his new chosen name; a cunning desert mouse), becoming the outworlder messiah whose arrival has been prophesied. One of the rituals involved in his ascendency to power includes riding one of the massive sandworms, which he does to the overwhelming joy of the Fremen, who now firmly believe he’s their Madhi.  Meanwhile, Paul’s pregnant mother Jessica ingests the Fremen’s “water of life” (a poisonous spice-elixir extracted from young sandworms) that alters her unborn baby Alia into a precognitive abomination (more on Alia in later books…). 

Meanwhile, on the Harkonnen home planet of Giedi Prime, we see the decadent Baron Harkonnen priming his ambitious and ruthless young nephew Feyd-Rautha to take over spice production on Arrakis—replacing the greedy Rabban, whose incompetence against random Fremen attacks are jeopardizing the Harkonnen family’s stranglehold on the galactic spice trade.

With Stilgar and armies of Fremen across the planet rallying to his side, Paul/Muad’Dib mounts an insurgency against the Harkonnen’s spice operations, which eventually employs the hidden and unused nuclear arsenal left behind by House Atreides to help penetrate the capitol city’s shields.  Once inside, Baron Harkonnen is slain by Paul as revenge for his father, the late Duke Leito Atreides. As Paul confronts the Emperor, he is met by Feyd-Rautha, with whom he battles to the death, as parties on both sides watch. 

Note: The nuclear arsenal isn’t used in all versions, but it’s vital to both the book and the latest movie.

With Feyd killed, Paul makes his final ascendency to power, declaring control of Arrakis, with his family nukes ready to destroy spice mining altogether, if necessary. Paul then agrees to a loveless marriage with Emperor Shaddam IV’s daughter, the Princess Irulan, in order to stabilize his power transition, as his true love Chani watches helplessly—realizing Paul is doing what he must.  With Arrakis back in Freman control and the Emperor overthrown, a galactic jihad has begun…

The End.

Alejandro Jodorowsky’s unmade “Dune” (circa 1975)

I’d be remiss in doing a “Dune” comparison without first mentioning experimental filmmaker Alejandro (“El Topa”) Jodorowsky’s wildly psychedelic vision of “Dune” that featured the works of many huge future names in movie production artwork and design; including the late H.R. Giger (“ALIEN”), French graphic novelist Jean Giraud (aka Mœbius), space artist/illustrator Chris Foss, illustrator/designer Ron Cobb (“ALIEN,” “Star Wars”) and others.

This unmade film, which I covered extensively in a previous column on the excellent 2013 documentary “Jodorowsky’s Dune,” was targeted for a 1975 release before studios lost interest, and funding for the movie fell through. Not to mention no one had any idea how to create the visual effects necessary for the film in those bygone pre-CGI days.  One of the more interesting casting choices for the movie was rock legend Mick Jagger of The Rolling Stones, who was considered for the role of Feyd-Rautha; a character later played by fellow British rock star Sting in the 1984 film.

This 1975 version would’ve no doubt seen “Dune” purists pulling their collective hair out, since Jodorowsky claims he’s never read the book, nor did he plan to adhere to it. The eccentric filmmaker saw the book as a loose guide, at best.  He was more interested in recreating the psychotropic effects of the spice on film, giving audiences the equivalent of an onscreen acid trip, minus any harmful drugs.  To that end, he imagined many unique elements for the film, such as a large protruding tongue from Castle Harkonnen that allowed incoming ships to land on it. Chris Foss’ starship designs would been brightly colored and exotic, instead of the white/gray shadings typically seen in movies such as “Star Wars” or “2001: A Space Odyssey”.  No doubt this movie would’ve been a sacrilege for fans of the books.

Note: Despite the sacrilege, I would give my eyeteeth to see the book of unused artwork and storyboards for the film; this is a real (and otherwise unpublished) book, of which Jodorowsky keeps one of two extremely rare copies. The pool of future talent that worked on this aborted movie’s preproduction is staggering.

“Dune” (1984)

Nine years after the plug was pulled on Jodorowsky’s version, director David Lynch (“Eraserhead,” “Twin Peaks”) and producer Dino De Laurentiis (1976’s “King Kong”) finally released a version that was shot partly in the Mexican desert, and which featured a mix of veterans (Max von Sydow, Jurgen Prochnow, and a pre-Star Trek Patrick Stewart) and newcomers (Kyle MacLachlan, Sean Young, Virginia Madsen). The young Kyle MacLachlan does an admirable job as Paul Atreides, though most others in the film come off as either two-dimensional (Jurgen Prochnow, Richard Jordan) or broadly over-the-top (looking at you, Sting). None of the characters feel like real people.

And sadly, there was simply too much story in Frank Herbert’s 500+ page book for the movie’s 137-minute theatrical runtime.  As a result, the movie is stuffed with awkward narration, internal monologues or other clumsy devices, with many characters and chunks of story simply missing (while adding a terraforming rainstorm at the end). There was a longer version of the film released for video which clocked in at just under three hours, but Lynch insists it’s not a director’s cut, and took his name off it (using the infamous pseudonym, Alan Smithee).  Of his many movies and TV projects, Lynch doesn’t look back upon “Dune” with much fondness, echoing the feelings of many critics.  One wonders what might’ve been if the producers had secured a director with more passion for the material, along with better visual effects artists.  There’s also that odd soundtrack by rock band “Toto,” which practically carbon dates the movie today. 

Of the movie’s virtues, I appreciated its jet-black stillsuits, which looked both functional and somewhat Borg-like (especially when worn by Patrick Stewart).  The retro-futuristic, almost steampunk production design of the film—filled with industrial-looking pipes, analog gauges and instruments—was smartly in keeping with this universe’s rejection of artificial intelligence (see: “The Butlerian Jihad”).  I also enjoyed the performance of young Alicia Witt as the creepy mutant-child, Alia Atreides. Despite my mixed emotions about this film, there are reasons I bought the recent Arrow Video Blu-Ray release.  I see 1984’s “Dune” as a curious evolutionary step in the Dune saga.

“Dune” (2000 TV miniseries)

Made for the SyFy channel, this now 24-year old miniseries was a noble effort to give the Dune story much-needed breathing room.  However, it struggled with a limited made-for-TV budget, a largely nondescript cast (save for Ian McNiece), and crude standard-definition CGI that wasn’t quite up to par for this ambitious undertaking.  Directed by John Harrison (“The Libriarians”), there is much to appreciate in this 3-episode miniseries, even if it wasn’t necessarily intended to be a definitive version.

Actor Alec Newman is solid, though not as emotive as Kyle MacLachlan.  The late Oscar-winner William Hurt (“Children of a Lesser God,” “Dark City”) is a bit too understated as Duke Leito Atreides, while actor Ian McNiece (“Doctor Who”) plays the hell out of the Duke’s nemesis, Baron Harkonnen. In fact, McNiece is a major standout of this cast, playing the Baron with equal parts kinkiness, hamminess and menace.  McNiece’s Baron is, in fact, my favorite incarnation of the character. Czech actress Barbora Kodetová does a nice enough job as Chani, and likewise, Saskia Reeves is just fine as Lady Jessica, though most of the actors playing the Fremen are so nondescript that they blur together in my head.  With so much breathing time finally given to the story, it’s a shame they didn’t have enough money in the budget for stronger actors with a bit more star power.

One area this miniseries didn’t skimp on was the cinematography by legendary cinematographer Vittorio Storaro (“Apocalypse Now,” “The Last Emperor,” “Dick Tracy”). Unable to shoot in real desert locations, Storaro used the soundstages in Rome and Prague to create indoor deserts, with giant painted backdrops and moody lighting effects.  While this may not have been an ideal substitute for the grit and heat of Jordan or Mexico, it does give the “Dune” miniseries a decidedly theatrical look—as if we are seeing “Dune” being staged for Broadway.  Storaro’s cinematography is uniquely experimental.  If Denis Villeneuve’s “Dune” movies had never existed, the 2000 miniseries would be my favorite adaptation of this story. 

“Frank Herbert’s Children of Dune” (2002 TV miniseries)

Director John Harrison next dove into directing a sequel to his critically well-received “Dune” miniseries called “Frank Herbert’s Children of Dune” (2002), a 3-part miniseries which combined Frank Herbert’s first sequel novel “Dune Messiah” (1969) with his second, “Children of Dune” (1976).  

Note: Frank Herbert wrote three more Dune novels, “God Emperor of Dune” (1981), “Heretics of Dune,” (1984) and “Chapterhouse: Dune” (1985), before his death in 1986. The Dune series has been continued in subsequent novels (including prequels) by the late author’s son Brian and author Kevin J. Anderson.

In the story, we catch up with an older Paul Atreides, who later becomes a blinded hermit forced to rely upon second sight.  We then see the ascendency of the Atreides twins, Leto II (“X-Men” actor James McAvoy) and his sister Ghanima (Jessica Brooks), born of Paul’s concubine Chani, just as Paul was born of his father Leito’s concubine, Lady Jessica (recast with Alice Krige).  We also experience the increasing instability of the twins’ older aunt, Alia Atreides (Daniela Amavia)—Paul’s younger sister, aka ‘the abomination.’  Alia, whose psionic powers were activated in the womb, has grown into a dangerous person; this is in keeping with her nasty heritage, since her mother Jessica was the secret daughter of the late Baron Harkonnen (Ian McNiece), who returns to bedevil his granddaughter within her own headspace.

Director John Harrison adds some star power to the mix; recasting Jessica Reeves’ Lady Jessica with Alice Krige (“Star Trek: First Contact”), while Stephen Berkoff (“Beverly Hills Cop”) takes over as Stilgar (from German actor Uwe Ochsenknecht). Arguably the 2002 sequel’s biggest casting coup is Susan Sarandon (“The Rocky Horror Picture Show,” “Thelma and Louise”) as the scheming Princess Wensicia, a daughter of the late Emperor Shaddam IV. The story also sees the return of Duncan Idaho (recast with Edward Atterton), who was killed in the first (and all versions of) “Dune,” but is resurrected here as a weapon.  While “Frank Herbert’s Children of Dune” certainly has stronger performances than its predecessor (Daniela Amavia was a welcome surprise), it’s three parts (spanning two books) don’t quite have the same room to breathe. This makes the plotting and political machinations feel less epic and more like something out of TV’s “Dynasty.”  Nevertheless, it’s an entertaining enough Reader’s Digest abridgment.

“Dune Part 1” (2021)

Having already reviewed “Dune: Part One” three years ago, I can only add that this is the closest to how “Dune” has looked in my mind’s eye since I first read the book about 40 years ago.  Directed by go-to sci-fi director Denis Villeneuve, “Dune Part One” features incredible production values, with seamlessly integrated computer-generated imagery and practical effects, as well as sweeping location shooting in Norway, Abu Dhabi and Jordan. The starkly imposing architecture of the sets and intentionally muted color palette are well complemented with an A-list cast who breathe new life into these characters.

Oscar Isaac (“Ex Machina”) as Leito Atreides gives the Duke a humanity and fallibility that makes him approachable, but with just enough presence to command respect. Actor Jason Mamoa (“Aquaman”) was an inspired choice for Duncan Idaho, giving the Atreides family’s loyal soldier a warmth we’ve never seen; this Duncan Idaho is young Paul’s buddy, not just his bodyguard. Rebecca Ferguson’s haunting Lady Jessica is very memorable, and while Zendaya’s Chani isn’t given much to do for the first movie, that certainly changes in Part 2.  Some may not like Timothée Chalamet’s initially feckless Paul, but he’s playing the character exactly as written in the first half of the book, which is what this film covers. Chopping the book in half gives the story necessary breathing room that the 1984 movie never had. 

While individual tastes may vary, I believe Denis Villeneuve has finally crafted a definitive motion picture adaptation of Frank Herbert’s admittedly unwieldy book. Some may prefer the 1980s flavoring of David Lynch’s truncated version, or the deliberate theatricality of the 2000 miniseries, but in my opinion, “Dune” has never been presented before with the scope or power of Denis Villeneuve’s take on this sci-fi classic.  My biggest nit with the movie is that it’s only half a story.

Now it’s onto “Dune Part Two.”

Summing Up “Dune Part 2”

Over this past weekend, my wife and I had an at-home screening of “Dune Part 1” the night before we went to see “Dune Part Two” theatrically, so I’m still processing this now-completed film’s effect on me.  Part 2 hits the ground running, picking up where Part 1 left off, with Paul winning the trust of the Fremen by interpretively living up to their prophecy of the Mahdi.  The scene where he masters riding the sandworm is both elating and powerful; the sandworms never had the scale, tactility, and genuine heft that they do in Denis Villeneuve’s “Dune” movies.  And the visceral, pulse-pounding sequences of desert combat are so authentic that they almost feel pulled from CNN rather than science fiction.  We also see greater detail in the budding relationship between Paul and Chani as well.

Some might quibble over a few creative choices made; for example, the rewriting of Chani (Zendaya) as more of an agnostic than the devout, unquestioning believer she is in the books.  Personally, I’m okay with this choice because it differentiates her from her fellow Freman, and it makes her more of an audience avatar. It also gives actress Zendaya something more interesting to play.  And if they adapt “Dune: Messiah” someday, Chani’s newfound agnosticism wouldn’t be difficult to rectify. It could be explained away with a line of dialogue, with Chani saying how she came to believe in Paul at some unspecified point, just as she comes to accept her role as concubine in his politically-motivated, loveless engagement to Princess Irulan.

The evolution of Timothée Chalamet as Paul Atreides/Muad’Dib is mesmerizing to watch; from his callow beginnings as a pampered prince in Part One to his firm ownership of his role as messiah by the end of Part Two. It’s an impressive arc, and Chalamet illustrates it convincingly and subtly. I also enjoyed Javier Bardem (“No Country for Old Men”) as Stilgar, who brings the crusty Fremen leader to vivid life (with just the slightest touch of comedy).  Josh Brolin gives a genuine veteran toughness to Gurney Halleck sorely missing from other incarnations. I can easily believe Brolin as a combat-hardened desert soldier far more than I could Sir Patrick Stewart.

Note: I love the amazingly talented Patrick Stewart as Captain Jean-Luc Picard, but that’s another column for another time.

The movie has A-list casting all the way down, including Florence Pugh (who stole the otherwise mediocre “Black Widow”) in the relatively small but pivotal role as Princess Irulan. That said, I don’t think that Christopher Walken (“Deer Hunter” “Pulp Fiction”) as her father, Emperor Shaddam Corrino IV, was the best fit for the role. As much as I admire Walken’s long and varied career, he wasn’t playing a character so much as he was riffing on himself. Walken’s somewhat phoned-in performance is perhaps my biggest nit with this otherwise sterling adaptation. Rebecca Ferguson (“Doctor Sleep”) is given an expanded role as Lady Jessica, with the still-pregnant character becoming the Fremen Reverend Mother by the end of the film. There is also a quick but spooky cameo by Anya Taylor-Joy (“Queen’s Gambit”) as a future vision of Jessica’s unborn yet-fully-aware daughter, Alia.

The villainy of the Harkonnens is given greater scope as well, as we see daylight Giedi Prime as a nasty, monochrome environment (literally shot in black and white) under a blazing black sun. The fatsuit used for actor Stellan Skarsgård as Baron Harkonnen is a bit more realistic in this film, with more wrinkles, folds and veins now visible in Harkonnen’s massive corpulence. The Baron finally gets his long overdue comeuppance in this film, as we see him lying dead and covered in ants after Paul kills him. His lean, mean nephew Feyd-Rautha (Austin Butler) also appears more wolfish and capricious than prior versions, coldly replacing his older, incompetent brother Rabban (Dave Bautista). The climactic knife fight between Feyd and Paul is stylish yet visceral.

With two prior filmed adaptations to iron out the kinks and pitfalls, Denis Villeneuve and his talented team have pulled off yet another of his “it can’t be done” ideas, such as 2017’s “Blade Runner 2049” (which had no right to exist, yet I absolutely loved it). Even though it’s an unambiguous ending to the first book, “Dune Part 2” certainly leaves its audience hanging—almost as much as Han Solo’s uncertain fate in carbonite did at the end of “The Empire Strikes Back.”

Note: No disrespect for Skarsgård’s performance under what had to be very uncomfortable full-body makeup, but I still enjoy Ian McNiece’s Baron Harkonnen from the 2000 TV miniseries a bit more; simply a personal preference.

Splitting the film over two parts gives the ideas-laden book much more breathing room than a single film would’ve, though that seems to be de rigueur these days for most franchise movies based on books these days. Sometimes, I confess to feeling a mite nostalgic for big studio movies that clock in under two hours.  Nevertheless, splitting Frank Herbert’s “Dune” into two big films was absolutely necessary, even if there are still some bits and pieces cut for time (no doubt).  Perhaps we’ll see a few of these deleted bits in a future physical media release (?).  One can hope, anyway…

With its staggering production value, high caliber performances by the largely carried-over cast and gut-punching desert battles, this will be the version of “Dune” to beat for a very long time.  Here’s hoping this same production team, led by Denis Villeneuve, can return for “Dune Messiah” someday…

As Javier Bardem’s Stilgar might say, “As it is written…”

Where to Watch

“Dune Part 2” is (as of this writing) currently in theatrical release, with no imminent digital or physical media release as of yet.  “Dune Part 1” is currently available for digital rental/purchase on Prime Video, YouTube Premium, iTunes et al (prices vary). 1984’s “Dune” is currently available on a newly remastered physical media release from Arrow Video, and the 2000 SyFy miniseries was available on DVD, but it currently out-of-print, and has become something of a must-have among “Dune” collectors.