Dune: Part One Review

Dune, the complex, winding novel from Frank Herbert, isn’t the easiest read. Its timeline can become twisted, its plot is at times quite dense, the scale and scope of the epic massive and at times wholly unwieldy, and it takes a good bit of time for the real narrative arc to reveal itself, before things get muddled again at the end. However, the elements of the story that have mesmerized generations of fans – its hero’s journey for Paul, the galactic political intrigue, the badassery of Lady Jessica – solve a number of the book’s shortcomings. For decades, there’s been one lingering question surrounding the tale that remained unsolved: How can you bring this story to the screen without sacrificing what makes it great? Well, writer-director Denis Villeneuve and his co-writers Jon Spaihts and Eric Roth have cracked the code on what made Dune seemingly unfilmable, capturing the story (at least the first half of the story) on screen in all its glory.

For the uninitiated, Dune is a sci-fi epic, telling the story of young Paul Atreides (Timothee Chalamet, deftly balancing the complexities of a teenage boy longing for freedom while slowly coming to realize that he’s a key piece in a centuries-long game of political tug of war), heir of Duke Leto (Oscar Isaac, who makes the most of what little he is given to do) and Lady Jessica (Rebecca Ferguson, who is the beating heart of the film – presented with the hardest character to inhabit, Ferguson is utterly fascinating to watch and her choices lend so much depth to the role). The Atreides are the mortal enemies of House Harkonnen, a horrific, brutal group (as evidenced by their serpent like make-up and, well, the violence they inflict on everyone in their path) who have ruled Arrakis – aka Dune, a seemingly inhospitable desert planet that produces the highly sought after Spice – for years. When the Emperor decrees that House Atreides shall replace Harkonnen and take control of Arrakis, it appears to be a massive slight against the rich and powerful Harkonnens. But, as every character seems to innately understand – and as an audience savvy to the needs of a film such as this is familiar with – something is rotten in the state of the desert. Once Paul, Jessica, Leto, and their loyal staff – including a great Jason Mamoa as the charismatic fighter Duncan Idaho – arrive at Arrakis, Paul realizes the dreams he’s been having have been of this place and its people, potentially signaling that he has a greater purpose in this brewing war, whether he likes it or not.*

*This is, of course, an over-simplification of the film’s plot, but to their credit, Villeneuve, Spaihts, and Roth do an excellent job of cutting the key elements of the plot to a manageable level, making it relatively easy to follow the story throughout. And, if you happen to be interested in diving a bit deeper into the mythology of this world, there’s always a book you can read.

From impeccable casting choices (there really isn’t a single weak link in the large cast), to sweeping visuals (Villeneuve was clear that he wanted to film on practical sets at every opportunity, and it pays off in spades), to gorgeous costumes, make-up, and CGI, Dune: Part One works. The use of the actual desert as the backdrop of Arrakis emphasizes the sheer beauty and unending expanse of the dangerous landscape. Yes, the characters discuss the same, but seeing the visual makes it nearly impossible to ignore how small and insignificant they are against the unflinching power of the desert. And, with power – how it is achieved, maintained, and exerted over those without it – is the central theme of this story, seeing it play out against a world where nature doesn’t particularly care who you are, or who your family might be, makes the futility of these human battles all the more apparent.

As for the issues with the film, they are relatively minor in the grand scheme of things. The front half of the picture is overstuffed with exposition – necessary for the world building of the story, and hardly a shock for those who have read the novel – which occasionally lacks the finesse needed to make you forget you are being spoon fed rather dry bits of information that will come in handy down the line. That expositional nature would be less apparent – or less chafing – if the script was a bit less clinical in the early going. Characters are referenced repeatedly by their full names (the most jarring instance is Gaius Helen Mohiam’s reference to Jessica by her given name to Paul, rather than simply calling her “your mother”), key plot points are outlined explicitly rather than implicitly, and the use of an “Arrakis 101” video is helpful for those needing information on just what this desert planet has in store for our central cast of characters. For those who aren’t familiar with the novel, these instances of hand holding will be welcome* (there’s a LOT to take in, after all), but if you are familiar with the story and its characters, it might be a bit much.

*I attended the film with a friend who, unlike me, has not read the novel. Aside from a handful of big picture questions – largely dealing with Lady Jessica and the Bene Gesserit, the sect of powerful and supernaturally gifted women who pull a number of the strings in the overall narrative – she found the film easy to understand and enjoyable. More importantly, she stressed that she wanted to read the book now. So, if you aren’t a Dune fan going in, you might be intrigued enough to pick up the book and see what happens in the second half once you’ve seen the film.

Outside of the influx of exposition, the other misstep in the film is the lack of character development for Gurney Halleck (a great Josh Brolin) and, even more so, Thufir Hawat (Stephen McKinley Henderson, getting a chance to shine in a cast of much larger names). While this isn’t a real issue in this first film, I worry the ramifications of not spending time developing these characters early will lead to some problems in finding the emotional resonance with their arcs in the second part of the film. There are a lot of mouths to feed in this, part one of a proposed two-part film series, and I understand that other characters needed the time in the spotlight. But I could have done with a couple fewer dream appearances from Zendaya’s Chani (not because Zendaya isn’t great in the role – she is – but because Chani’s multiple appearances don’t add all that much to the story as presented in the film) if it would have allowed for more Thufir or Gurney this time around. Again, a minor quibble in the grand scheme of things – the film does clock in at a bit-too-long 2:35 – but something to note, nonetheless.

Ultimately, Dune: Part One is a feast for the senses, hewing close to the novel but not being afraid to cut, repurpose, and streamline the story as needed. Villeneuve has created a sci-fi epic that will please fans of the source material and suck in those new to this world, its complex characters, and even more complex political machinations. And yes, it’s a film that screams to be seen in its splendor on the big screen – although there’s nothing wrong with streaming it on HBO Max should that be more suited to your comfort level. Either way, Dune: Part One is well worth your time. Hopefully you will agree, and it will generate enough money – and good will – to necessitate the green lighting of Part Two.

Dune: Part One premieres in theatres and on HBO Max Thursday, October 21. The film was screened at the Chicago International Film Festival.