Fear that Dune might not meet expectations was, for a long time, the mind killer. Thankfully, that slow death has not come to pass.
Much has been written, on an anxious level, suggesting that the much-awaited adaptation of Frank Herbert’s seminal 1965 novel should not have been divided into two-parts, a la the recent take on Stephen King’s It, for fear that Dune’s first half might underperform and thereby leave this magisterial tale unfinished. Regardless of box office, one wonders as to the logic of this thought process. Dune has quite clearly been devised, soup to nuts, as a two-part project, and Denis Villeneuve here takes the time he needs to both construct the world around the desert planet Arrakis and the central story of young Paul Atredies with two films in mind. This is not the complete Dune. This is, to quote Zendaya’s Chani, “only the beginning”.
In that sense, we have to approach Dune as such, and judge Part One on the merits of being an incomplete story. Perhaps the greatest strength of this first half is that it contains a beginning, middle and end that satisfies, even while concluding with everything but a ‘to be continued’ legend. Villeneuve successfully manages to introduce Herbert’s vast, complicated futuristic universe, and establish the broader narrative concepts and themes, while providing a rounded cinematic experience. For the first of a two-part story, this is no mean feat, and his achievement lies as deeply in a visual and auditory as it does a structural sense. Dune is a frequently breathtaking, often arresting feast for the eyes which warrants the format it was designed to embrace – IMAX.
It is rare to find filmmaking so assured, so cohesive and so faithful to deeply beloved and classical source material while at the same time providing such a cinematic experience. Dune is a stunning piece of work in that context, one that could well be for the ages.