Dune (2021) Review : An enigmatic dance of dystopia on the almost perfect fingertips of Villeneuve
Space operas set in a dystopian future have their designated parameters of achieving gargantuan cinematic experience. From emboldening a typical macguffin, on which the plot gets entrapped to it's core, and then branches off to multiple characters and their arcs, some ceasing to complete their stories, some set on a journey to find their completion on it's way, and thus follows an odyssey of extravagant rollercoaster ride, oozing out the juice of visual ecstasy with hectic proportions of emotions.
Dune sets a benchmark on it's arena. From the otherworldly environment it slowly builds upon to the characters orchestrating a synchronous staging along the course, it establishes a slow, meditative experience of monarchy and warfare. And to say the least, the experience pays off in each and every frame. Denis Villeneuve redeems his confidence on visualising sci-fi mammoth landscapes with his own persona of bleak storytelling once again after Blade Runner 2049, this time with a herd of characters and a wider atmosphere to play with.
From the lavish production design, whether be it closeted walls of House Atreides, with it's protagonist, Paul Atreides and his family set to siege on a political clash, or the devilish ceilings of House Harkonnen, with it's antagonist, Baron Harkonnen, emitting vengeance and wrath upon their enemies, or the widespread painting-like picturesque of Planet Arrakis, with it's sands blended in spice (the macguffin), encapsulated in ambitious lenses of Greig Fraser, it's an amusement park of darkness and vigilance nurtured with patience and excellence. He has successfully filled the void shoes of Deakins, thus setting out his own legacy.
The novel, said to be the connoisseur of narrating stories in dystopian future, from which the likes of Star Wars have been based upon, deals with a peculiar conundrum of adapting into a successful cinematic experience till date. Where Lynch failed quite miserably to construct a feasible storyline and rather focused on his known characteristics of surrealism, and where adaptation of this magnum opus is still a dream may come true moment for Jodorowsky, Villeneuve successfully balances the best of both worlds. While he lucidly becomes informational about the people and the vast empires, the surrealism is quite tangible as well, whenever Paul had his dreams of becoming The One, reaching out to the ideal path.
While the film metamorphosing into it's own franchise of a possible trilogy, the cliffhanger successfully crafts the past, present and future, thus succeeding in creating an example of remarkable storytelling.
Dune sets a benchmark on it's arena. From the otherworldly environment it slowly builds upon to the characters orchestrating a synchronous staging along the course, it establishes a slow, meditative experience of monarchy and warfare. And to say the least, the experience pays off in each and every frame. Denis Villeneuve redeems his confidence on visualising sci-fi mammoth landscapes with his own persona of bleak storytelling once again after Blade Runner 2049, this time with a herd of characters and a wider atmosphere to play with.
From the lavish production design, whether be it closeted walls of House Atreides, with it's protagonist, Paul Atreides and his family set to siege on a political clash, or the devilish ceilings of House Harkonnen, with it's antagonist, Baron Harkonnen, emitting vengeance and wrath upon their enemies, or the widespread painting-like picturesque of Planet Arrakis, with it's sands blended in spice (the macguffin), encapsulated in ambitious lenses of Greig Fraser, it's an amusement park of darkness and vigilance nurtured with patience and excellence. He has successfully filled the void shoes of Deakins, thus setting out his own legacy.
The novel, said to be the connoisseur of narrating stories in dystopian future, from which the likes of Star Wars have been based upon, deals with a peculiar conundrum of adapting into a successful cinematic experience till date. Where Lynch failed quite miserably to construct a feasible storyline and rather focused on his known characteristics of surrealism, and where adaptation of this magnum opus is still a dream may come true moment for Jodorowsky, Villeneuve successfully balances the best of both worlds. While he lucidly becomes informational about the people and the vast empires, the surrealism is quite tangible as well, whenever Paul had his dreams of becoming The One, reaching out to the ideal path.
While the film metamorphosing into it's own franchise of a possible trilogy, the cliffhanger successfully crafts the past, present and future, thus succeeding in creating an example of remarkable storytelling.
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