Directing Sand

A Look at the Recent Adaptation of F. Herbert’s Classic Desert Saga

Sand sifts in Paul Atreides’ hand. The sand is grainy and coarse, in unison with an overwhelmingly dry yellow visual palette wash. Yet it dances atop the young lord’s hand. Reflecting pinpricks of light, the sand passes away to join the ground — a fleeting moment of fluid serenity in the harsh sunlight.

*Tread carefully: Spoilers ahead*

I just finished watching Denis Villeneuve’s Dune (Part 1), and I must say, that this movie is a landmark in adapting a novel into a feature film. I can say with certainty that this is the way to do it.

Before I dived into Villeneuve’s visual enterprise, I first read Frank Herbert’s 1965 masterpiece. To be honest, I struggled reading it. There is a predominant air of coldness, and preachy politics that permeated the pages. I can almost imagine the cringe when I watch the adaptation, because it is truly a very challenging book to adapt.

I was glad to be pleasantly corrected.

How Villeneuve sifted the parts to be retained to the parts remade, is excellent.

I saw how Villeneuve gave a worthy homage to the beloved classic. The film is sprinkled with tributes to the novel’s lore — The image of the Muad’Dib desert mouse in Paul’s vision. The head of the murdering bull, which Duke Leto first saw upon waking up, moments before his sacrificial death. Chani’s foreshadowing in Paul’s dreams. All of these are subtle winks to fans of the novel. I feel the tremendous respect Villeneuve gave on the novel, while interjecting his own take at the same time.

Perhaps the best divergence from the novel that Villeneuve made is the character of Timothée Chalamet’s Paul Atreides. Paul was portrayed as an emotional, still unrefined human being. This is in contrast to the almost perfect, near robotic messiah of the novel. In short, he made Paul more human, and thus, more relatable and likeable.

The preachy aspects of the novel are likewise contained to the bare minimum. The political tone is also lessened, so as not to interfere with the film’s narrative flow.

The rest of the cast gave their own masterful contributions. The leads exuded stellar performances. In a scene, Rebecca Ferguson’s Lady Jessica drinks water with trembling hands. I am amazed how Ferguson conveyed elemental thirst and desperation, while maintaining her character’s regal dignity, in that singular scene alone sans dialogue. Several scene stealers graced the movie as well, including the mysterious Reverend Mother Gaius Helen Mohiam (Charlotte Rampling), the cruel Baron (Stellan Skarsgård), the tragic Duke Leto (Oscar Isaac), and the no-nonsense Gurney Halleck (Josh Brolin).

Hans Zimmer’s music was ethereal. It definitely complemented the scenes. Zimmer captured the mythical, operatic, and gritty ambiences of the film. However, I find the music on its own, hard to listen. It seems that the movie is an integral part of the soundtrack, and needs to be viewed while one listens to the melodious cacophony the music brings.

As an exception to this, I love the theme of House Atreides, and may stand alone, lights on or not:

Finally, this movie is a living enzyme to Monsieur Villeneuve’s directorial prowess.

The master truly knows how to direct sand, and his predominant yellow color palette that surrounds everything in the deserts of Dune, is indeed captivating.

Villeneuve also used darkness in moments when characters are in peril (The Gom Jabbar test, the attack of the Harkonnens and the Sardaukars, the training at Salusa Secundus). This is in contrast with the scene when Duke Leto dies. Villeneuve expertly showered the scene with luscious food and warm lights — an obvious nod at the noble duke’s sacrifice.

To end, I enjoyed watching Villeneuve’s earlier films such as Prisoners (Warner Bros. Pictures, 2013), and Enemy (Entertainment One, 2013). His latest adaptation of the first book of the classic desert saga, certainly did not disappoint.

If you like what you’ve read, and you’ve money to spare, you can…

Every coffee bought shall be heartily appreciated. I’ll also write, in thanksgiving, an extra one-page literary work at the donor’s own direction.

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