A joint review of
Dune Part Two

A visual marvel, but flawed narrative and character development without poetry and emotional depth

By Luc Archambault and Andrew Burlone

April 22, 2024

While it may seem a bit late to publish an analysis of Dune Part Two, the interval is intended to allow readers to experience the film without any spoilers. This review, however, is filled with details about the film’s plot and connections to the broader Dune universe and delves deeply into the intricacies of the narrative, which may diminish the impact of the film’s revelations for those unfamiliar with the source material. If you have not yet seen Dune Part Two and wish to avoid spoiling your pleasure, it is recommended that you stop reading now.

Undeniably a visual masterpiece

So, first of all, let’s look at the positive. One of the undeniable strengths of Dune Part Two is its stunning visual presentation. The film’s locations, from the vast desert landscapes to the intricate cave systems and the grand city of Arrakeen, are all brought to life with exceptional detail and grandeur. Director Denis Villeneuve has consistently demonstrated a flair for the sublime in his visual storytelling. He has assembled a team of top-tier artists and craftspeople who have collectively created a cinematic world that is truly a character in its own right.

The budging romance between Paul and Chani

The film’s production design, cinematography, and visual effects work in seamless harmony to immerse the audience in the rich and captivating world of Dune. The attention to detail and the scale of the environments are truly awe-inspiring, transporting viewers to the harsh yet beautiful planet of Arrakis. However, while the visual mastery is undeniable, the same level of narrative cohesion and development has not always been achieved. While ambitious in its scope, the script struggles to maintain the same level of polish and finesse as the film’s visual elements.

Portrayal of female characters

While the visual splendour of Dune Part Two is undeniable, there are some concerns regarding the director’s treatment of certain female characters, particularly Chani, and how it deviates from the established narrative in Frank Herbert’s original novels. In interviews, Villeneuve has acknowledged making deliberate choices to reinterpret the character of Chani, transforming her from a more traditional, supportive spouse to a more sceptical, modern woman. While this approach may resonate with some contemporary audiences, it can be criticized as being at odds with the specific cultural and societal context of the Dune universe.

The film’s production design, cinematography, and visual effects work in seamless harmony to immerse the audience in the rich and captivating world of Dune.

One of the key issues is the lack of exploration of Chani’s lineage and dynastic importance within Fremen society. In the original novels, Chani is established as the daughter of Liet-Kynes and the niece of Stilgar, two pivotal figures in the Fremen hierarchy. However, Chani’s background and familial connections are largely glossed over, diminishing the character’s depth and significance within the broader Dune narrative. Some have also seen her transformation from a loving, supportive spouse to a post-modern figure as a departure from the original character in the source material. While this creative choice may resonate with a modern audience, it does not fully align with the specific cultural and societal dynamics of the Dune universe as envisioned by Frank Herbert.

Narrative compression

In addition to the issues surrounding the portrayal of female characters, there are significant narrative compression and time jumps employed in Dune Part Two. One of the key plot points that is notably absent or glossed over in the film is the loss of Chani’s first pregnancy during a Harkonnen raid on her Sietch. This event, a pivotal moment in the original Dune novels, served to deepen the emotional stakes and the Fremen’s resolve against their oppressors. However, this important narrative arc has been largely omitted due to the time compression implemented by the director and the creative team. Instead, the film condenses years of character development and Fremen training into a matter of months, robbing the audience of the opportunity to immerse themselves in the gradual progression of the story.

The Fremen, a deeply religious people

This narrative compression is a significant departure from the pacing and depth of the original novels that not only undermines the story’s emotional resonance but also risks alienating viewers who are deeply familiar with the intricacies of the Dune universe. This questionable creative choice raises concerns about the potential loss of nuance and leaves viewers unfamiliar with the Dune universe feeling disconnected from the story. While creative decisions are often necessary, they must be made with a deep understanding and respect for the source material to ensure a cohesive and satisfying cinematic experience for both longtime fans and newcomers alike.

Another area of concern is the adaptation and portrayal of the character Alia, Paul Atreides’ sister, and the potential implications for the future of the Dune narrative. In the original Dune novels, Alia was introduced as a toddler during Paul’s ascension to the imperial throne. This younger version of the character was integral to the plot, as she was destined to play a pivotal role in the eventual downfall of Baron Harkonnen. However, in Villeneuve’s version, Alia is still unborn. This significant deviation from the source material raises questions about how the director and the creative team plan to address the character’s development and her crucial role in the subsequent Dune Messiah storyline.

A worm charging the Imperial Sardaukar during the battle of Arraakeen

The Dune Messiah narrative takes place twelve years after the events of the first Dune novel, with Alia now a 16-year-old character who has awakened to her sexuality and forms a relationship with the ghola of Duncan Idaho, known as Hayt. The compressed timeline and the decision to keep Alia unborn in Dune Part Two may create significant challenges in adapting the Dune Messiah storyline faithfully. Villeneuve may be forced to either make further drastic changes to the timeline, potentially disrespecting the original narrative or choose to omit Alia’s character and her pivotal role in the ongoing saga.

Omission of key characters and factions

And then there is the omission or significant adaptation of several key characters and factions from the Dune universe. One notable absence is the character of Thufir Hawat, who played a crucial role in the original novels. Hawat, the Mentat and Atreides Master of Assassins, made only a brief and largely unnoticeable appearance in Dune Part One, leaving many viewers worried about his fate and potential role in the ongoing narrative. Similarly, the character of Count Fenring, the husband of Lady Margot, a key member of the Bene Gesserit, has been entirely omitted from the film adaptation. Fenring’s presence and unique abilities were integral to the intricate web of political and religious machinations that defined the Dune universe.

Renowned and feared throughout the Universe, the Sardaukar are the elite military force of the Padishah Emperor.

Furthermore, the portrayal and significance of the Spacing Guild, the powerful organization that controls all interplanetary travel and commerce, has been greatly diminished in Dune Part Two. In the original novels, the Guild’s influence and the potential disruption of spice distribution were central to the unfolding of the larger narrative. However, this crucial faction appears to have been largely sidelined or overlooked in this film. Additionally, the adaptation of the Bene Gesserit, the influential order of women who have been the driving force behind many of the events in the Dune universe, is overly focused on their search for the Kwisatz Haderach, neglecting the broader scope of their political and religious machinations.

Casting and characterization choices

Christopher Walken as Emperor Shaddam Corrino IV

In addition to the narrative and thematic concerns raised above, there is something to be said about the casting and characterization choices for certain key roles in the film, in particular the portrayal of the character Shaddam IV, the Emperor of the Known Universe. In the original Dune novels, Shaddam was described as strong, fit, and imposing, wielding significant power and influence. However, in Dune Part Two, Christopher Walken, who portrays the emperor, appears too frail and ghostly, failing to capture the commanding presence and authority that is central to the character.

Also questionable is the casting and performance of the lead actors, Timothée Chalamet as Paul Atreides and Zendaya as Chani. While both are acclaimed performers, one can express disappointment with their portrayals, feeling that they often come across as pouting and sneering rather than embodying the depth and complexity of their respective characters. These casting and characterization choices do not fully align with the established depictions in the Dune novels, potentially undermining the audience’s connection to these pivotal figures and their emotional journeys.

The legacy of the Dune expanded universe

Concerns about Dune Part Two extend beyond just the film adaptation itself and into the broader legacy of the Dune franchise, with a deep sense of unease regarding the involvement of Brian Herbert and Kevin J. Anderson as executive producers on Dune Part Two. After Frank Herbert died in 1986, his son Brian began publishing additional sequels and prequels to the franchise. These extensive expansions of the Dune universe through prequels and sequels have been met with significant criticism from fans of Frank Herbert’s original novels. Their much-maligned Hunters of Dune and Sandworms of Dune novels, written to conclude the Dune saga, were criticized for their reliance on a “Deus ex Machina” ending that reintroduces the overlords Erasmus and Omnius, as well as the merging of the character Duncan Idaho with the Kwisatz Haderach.

Austin Butler as Feyd-Rautha Harkonnen

A delicate balance is needed when adapting beloved literary works, especially when dealing with a franchise that has been expanded upon by other authors. The involvement of these authors may have a detrimental impact on the creative direction and narrative integrity of Dune Part Two, further eroding the legacy of Frank Herbert’s original vision. The decisions made regarding the creative team and their influence on the adaptation can have a significant impact on the final product and its reception by the dedicated fan base.

Style vs. substance

Beyond the specific narrative and character choices made in the film adaptation, there is a deeper unease about the overall approach taken by the filmmakers, prioritizing spectacle and visual style over the preservation of the substance and nuance of the original Dune source material. The Hollywood “mechanical monster” has once again triumphed, delivering a visually stunning and commercially successful product that takes precedence over the faithful adaptation of the complex and thought-provoking themes defined in the original Dune novels. This sentiment is echoed by the renowned filmmaker Alejandro Jodorowsky, who has been quoted as saying that Dune Part Two is a film “where there are no surprises. The form is identical to what is done everywhere. The lighting, the acting, everything is predictable.”

There is an ongoing tension between the demands of the film industry and the preservation of the artistic integrity of beloved literary works. The pressure to deliver a commercially viable product can often lead to creative decisions that prioritize style over substance. While the film’s impressive visual spectacle and production values are undeniable, this has come at the expense of the narrative depth, character development, and the overall sense of surprise and discovery that made the Dune universe so captivating in the first place.

‘There is an ongoing tension between the demands of the film industry and the preservation of the artistic integrity of beloved literary works.’

As a result, there are doubts about the success of the potential future adaptation of Dune Messiah. The fear is that the disrespect shown by the director towards the original story in Dune Part Two may continue to undermine the overall integrity of the Dune cinematic universe, leaving longtime fans feeling disillusioned and disconnected from the very narrative they once cherished. The balance that the filmmaker must strike when adapting this complex and beloved literary work for the screen, with the ability to capture the essence of the original material and deliver a visually stunning and commercially successful product, remains a significant challenge.

Images: courtesy of Warner Bros. Pictures

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Andrew Burlone, co-founder of WestmountMag.ca, began his professional journey at NOUS magazine, then transitioned as creative director of Visionnaires Branding Design. He is a passionate enthusiast of film, photography, art and literature.