Before Villeneuve's "Dune", the film adaptation of "Dune" was most talked about by Jodorowsky's failed experience of adapting "Dune", and the film made based on it. "Jodorowsky's Dunes", perhaps Jodorow's wild imagination can only become reality after the approval of Dino De Laurentiis, the producer who holds the rights to adapt the original work. Laurentiis chose him over Jodorowsky out of his nod to Lynch's '81 Elephant Man, who hated Eraserhead and Jodorow. Today, "Eraserhead" is obviously more representative of Lynch's work (or "The Elephant Man" is not at all), and Lynch's failure on the sand dunes may have been doomed at this time - a bitter consequence. Misunderstanding, and Lynch himself has never been shy about his failures on Dune. With the arrival of Villeneuve's Dune 37 years later, '84 Dune was once again the object of ridicule (perhaps Sting, maybe everything in the movie) due to its outdated special effects and awkward performances. It is precisely because of the fact that there is finally a comparison, the context of Lynch's construction in 84 "Dune" is much clearer, and the two films are also very different in terms of construction ideas.
84 Dune opens with the Emperor's plot against Atreides, but we soon see that no one on Caladan doubts that Harkonnen will make a surprise attack on Arrakis, and is certain that it will be the Emperor and them Trap, knowing all this, Atreides intended to face such a challenge out of confidence in their army with the new weapon. And Atreides in 21 "Dune" is ambiguous on this point. They are not sure that Harkonnen will attack, let alone the real role played by the emperor in it. All preparations for battle seem unclear.
The story line of Dr. Yueh helping Harkonnen's sneak attack is a good example. 84 "Dune" has two foreshadowing before Dr. Yueh's shot - receiving intelligence from the enemy's corpse; concealing in the face of Jessica's inquiry, and two more Correspondence - The strength of Atreides lies in the new weapons; Atreides are not afraid of being attacked because they have shields, so Atreides will be defeated because the Weirding module and shield are destroyed. There is no correspondence between these 21 "Dune", which makes Yueh feel inexplicable when he shows his credit to Baron, and such an omission in the plot arrangement is almost a mistake.
21 "Dune" obviously does not promote the narrative through the laying out of clues. Villeneuve connects the plot through Paul's feelings and illusions. When Paul was still in Caladan, he warned Duncan because he saw Duncan's death in a vision, and the vision came true when Arrakis was fleeing; when Arrakis was chased, he obeyed the teaching of Jamie in the vision and escaped from the sandstorm Ascension; finally duel with Jamie, did not listen to "Paul Atreides has to die for Kwisatz Haderach to rise" in the dream (and did not listen to Chani, although Chani talks to him in reality but the real identity and speech content is no different from the illusion), Instead he killed Jamie. There are also multiple visions of Chani and Fremen, but these are more to affect Paul's emotions and do not advance the narrative.
This makes the loosest part of 21 Dune between the first time Paul acts on the illusion and the second, and at the same time, the best part of 84 Dune. Such a coincidence also leads to the biggest difference between him and Lynch in the idea of making this film: the "Dune" constructed by Lynch is a story about a son who becomes his father for various subjective or objective reasons in a war. It caused Fremen, who believed in prophecy, and Paul, who was bent on revenge, to talk about each other. 84 The ppt-like chewy images of the second half of "Dune" unexpectedly echo this clue (in the editing room, Lynch is completely out of control of "Dune"), when Paul in the final heads-up (echoing the opening letter of his father Leto ) kills Feyd (Paul vowed to kill the Harkonnen of Arrakis), making it coherently a different kind of cult taste; while the Villeneuve version focuses on people's emotions, states, behavior, which makes the war waged by Harkonnen and the Emperor an external pressure on the central characters of the prophecy such as Paul, Jessica, Fremen, and the Godmother, and also corresponds to the looseness of the first half of Dune 21 mentioned above.
At the same time, "Dune" as a novel adaptation film is also used as a commercial film that has a demand for box office. Both versions have spent considerable attention on serving the Tao and restoring the original work. 21 "Dune" is quite successful in restoring the ecological setting of the original and creating a religious sense around the prophecy. '84 "Dune" was added by Lynch with more surreal elements, this version of Harkonnen was terrifying, and Lynch even amplified Baron's love for his nephew Feyd in the original book, which also made most audiences sick. In the shaping of sandworms, the two editions of "Dune" have completely different appearances due to the different themes they serve: 84 In "Dune", the sandworms rushed out of the ground and crushed the spices with their three-lobed mouths. Harvester - a powerful war machine; 21 In "Dune", sandworms appear below the surface, open their huge mouths, and devour the spice harvester above and Sardaukar - the god who judges everything in the desert.
Perhaps the biggest difference between the two versions of "Dune" is that Villeneuve's "Dune" has a sequel. As Part One, 21 "Dune" has drawn a clearer context. What can be expected is whether Paul will predict and predict. Under the weight of the followers, they will go crazy and even die, and how much will Jessica, the godmother, Chani, and a group of Fremen affect the war because of their different attitudes towards prophecy and Paul. What is certain, however, is that Villeneuve's emphasis on emotions rather than stories and the solemn and detached image style will continue.
All references to Lynch's 1984 Dune in this article refer to the three-hour version signed by Alan Smith.
View more about Dune reviews
