There you go, the wait is over: six Oscars and one postponement later, Dune: Part Two (Dune, part two) finally takes the stage. It is, without a doubt, the cinematic event of the year, however young it may be. In fact, the grandiose first part of the saga directed by Denis Villeneuve not only attracted praise and awards, it also attracted a large audience in theaters despite a hybrid release on the HBO platform: a pandemic vestige. The Quebec filmmaker then had no guarantee that the studio would give the green light to a second part. Armed with his vision, he charged forward. What about this return to the planet Arrakis, domain of Spice and giant sandworms? In a word, it is a masterpiece.
Yes, the term is overused, and the history of cinema alone will be able to decide. The fact remains that faced with such a display of mastery, and above all of imagination, we remain dazzled and speechless.
Both a broad science fiction fresco and an intimate initiatory story, the first film was autonomous while setting the table for the subsequent adventures of Paul (Timothée Chalamet). A young heir to House Atreides whose father was murdered by a rival family, the Harkonnens, Paul now lives with his mother, Jessica (Rebecca Ferguson), with the Fremen, a community in the Arrakis desert.
Arid, this planet is no less coveted, since it is the only place where the Spice is found. This sparkling, sand-like material is essential for intergalactic travel. Hence the strategic appeal of Arrakis – the oil metaphor imagined by Frank Herbert in his 1965 novel has lost none of its relevance.
The same goes for the author’s observations about wars and religions, which are often closely linked to each other.
In this, Villeneuve, even when he takes necessary (and sometimes daring) liberties, remains faithful to the spirit of Herbert. This second part proves very clever in showing how armed conflicts are always motivated by a desire for control, whether it be a territory, a resource, a people… News from recent years is enough to remind us of the tragic acuity of this observation.
The film, again like the novel, also has a lot to say about religious mechanics, which, with its promises of the messiah well ingrained in people’s minds for centuries, amen, enslaves populations.
And the noble Paul is no exception. “I will not know fear, because fear kills the spirit,” he once repeated to himself. Fear has certainly left him, but only to be replaced by doubt.
By virtue of an ancient prophecy, many see in him a long-awaited chosen one. However, the main person concerned is wary because of this heavy label. Chani (Zendaya), who loves and guides Paul within the Fremen community, also sees clearly: she knows that this prophecy is only a tool of oppression.
For the account, this young warrior met in the third act of Dune: Part One occupies in Dune: Part Two a role of protagonist equal to that of his companion. While Paul inexorably becomes the voice of power and compromise, Chani remains the voice of integrity and righteousness.
These contrary arcs add a welcome note of gravitas to Paul and Chani’s love story.
This bias of Denis Villeneuve to grant a preponderant place to female characters is further confirmed in the filmmaker’s decision to strengthen the narrative presence of Jessica. In the novel, the character fades somewhat in the second half, not here.
Fascinating, abundant universe
Speaking of the novel: no, it is not necessary to have read it to appreciate the film. Denis Villeneuve was able to create an adaptation that is sufficient in itself; an adaptation that grabs us and transports us elsewhere, very far away, to the confines of a fascinating, abundant universe.
In Dune: Part Twopalace intrigues, power games and other betrayals are more numerous than in Dune: Part One. Far from making the film talkative, this bias increases the level of suspense.
The combat sequences are increased tenfold. And when the filmmaker has filled the audience with action, he multiplies the moments of still beauty. In this regard, Dune: Part Two compares favorably to Lawrence of Arabia (Laurence of Arabia) in pure majesty.
The result is a perfect balance between tension, trepidation and contemplation.
And what about the credits? “It Rained Stars on Arrakis” would be an appropriate title. In addition to the stars already named, let’s mention Austin Butler, Florence Pugh, Léa Seydoux, Dave Bautista, Stellan Skarsgård, Josh Brolin, Charlotte Rampling, Javier Bardem, Christopher Walken, Anya Taylor-Joy… Wall-to-wall charisma and intensity.
Without failing, the pieces of bravery follow one another. Among these, the most astonishing is Paul’s calling and then riding a sandworm.
Seeing his tiny silhouette running on the edge of a dune, getting closer, jumping into the void with him, clinging to his side while he resists and maneuvers, with these gusts of sand all around… Seeing him stand up …Shivers.
Exquisite workmanship
Exquisite, the workmanship developed by Denis Villeneuve, visual designer Patrice Vermette and director of photography Greig Fraser captures the imagination. Without forgetting the composer Hans Zimmer, who surpasses himself with music that is sometimes captivating, sometimes threatening, always immersive.
In addition to immense talent, he has courage, Denis Villeneuve. It was necessary to tackle the literary monument that is Dune. What’s more, by betting on a first game which would perhaps never experience a second, and even less a third…
Because, yes, the door is open for Dune Messiah (The Messiah of Dune). In short, a real challenge. Without a doubt, the filmmaker too had to repeat to himself: “I will not know fear, because fear kills the spirit. »
The film Dune: Part Two takes the poster on 1er March.