Tag Archives: Denis Villeneuve

Oct 22 2021

Denis Villenueve’s Majestic Dune

Dune is a classic science fiction novel written by Frank Herbert in 1965 that tells the story of a young man in the far future who leads a desert planet people to freedom. It’s a very complicated tale that has a deep back story that has been difficult to translate to film due to its complexity. The first film adaptation directed by David Lynch in 1984 was met with a mixed reception. It was a lavish production that looked and felt like Dune, but also took liberties with the story and was edited and cut out much of Herbert’s vision. The Sci-Fi Channel released a mini-series in 2000 that was more faithful to the book and was longer than Lynch’s film, but was made on a limited TV budget that was sometimes evident with painted backgrounds and weird costumes. 

Denis Villenueve’s Dune is the latest adaption of this epic tale that takes place in the far future. Humanity has spread to the whole galaxy and is ruled by the Padisha Emperor, and that empire is controlled by an addictive substance known as spice that extends life, enables interstellar space travel, and allows some to see into the future. This precious resource is only found on one planet, Arrakis, also know as Dune, which is populated by a nomadic group of people known as the Fremen. They have a prophecy that a man from off world will lead them to glory and freedom. This man is young Paul Atreides (Timothée Chalamet), the son of Duke Leto Atreides (Oscar Isaac), who is gifted control of the planet by the emperor. This gift, however is a double edged sword, with plots against the Atreides hatched by the emperor and House Atreides’ sworn enemies, House Harkonnen. These machinations force Paul to embrace not just his future but the the destiny of the galaxy.

Villenueve’s take on the material is excellent and shows a great respect for the essence of the story. The movie has the best elements of previous adaptions, with the right look and feel of the 1984 film, along with the faithfulness of the mini-series. The new movie takes it time in telling the story which is the right way, since it is a deep and complex story of prescience, politics, and ecology to name a few things that make Dune a book that is still enjoyed and admired decades after its publication.  Paul’s frequent visions of his future with the Fremen and his future lover Chani (Zendaya) are shown in an interesting and mysterious way, and the appearance and mannerisms of the different factions of the Dune universe are also a highlight. From Mentats making calculations with their human computer minds to the emperor’s Sardarkaur troops speaking in a weird, guttural language, this feels like a different time and place, as it should since it takes place over 10,000 years into the future.

Paul’s journey from son of a Duke to the head of his family is done in a convincing way, with good performances from a great cast. Timothée Chalamet shows the conflicted nature of Paul, who can see his future and is reluctant to make it happen, yet feels obligated to continue his father’s work. Oscar Isaac, as his father Duke Leto, also does well as the heroic leader of House Atreides, who knows that the gift of Arrakis to his family is a trap, yet also feels the pull of duty to go forward in taking control of the spice while warning his son of what is to come. Paul’s mother, Lady Jessica is well portrayed by Rebecca Ferguson, who shows the agony of a mother giving her son over to a possible death at the hands of the Bene Gesserit Sisterhood, a group that has plans on genetically breeding a super human who can transcend time and space and see Paul as that potential being. The well-rounded cast includes other such names as Jason Momoa, Zendaya, Javier Bardem and Stellan Skarsgard as the Baron Harkonnen. All of which provide excellent interpretations of these iconic characters.

One issue I had with the movie, is that because of the strong focus on Paul Atreides and his mother, there are some characters that do not show up at all, such as Princess Irulan, Feyd Rathua Harkonnen, and Emperor Shaddam IV. These are important characters to the story, but due to the obvious time constraints in a two-and-a-half hour movie and the needs of a very complicated story, this is a consequence. Speaking of which, the title of the movie at the beginning says “Dune, Part 1”. Villenueve chose to make the movie based on the first half of the book. I think this was the only choice, since trying to cram the whole book into one film will lead to issues that can happen in film adaptations of books, where much of the plot can be lost or rushed. I would have liked to have seen perhaps a three-hour version, so that these missing characters could show up, and that the villainous Harkonnens could have more of the limelight. Having said that, it is still better to have a Dune film that lets the story unfold, which this one does. I have heard complaints about the ending of the movie, that it is supposedly abrupt, but I didn’t see it that way. It feels like a good ending point for that part of the journey, where Paul and Jessica embark on a new phase of their lives with the Fremen, and the Harkonnens still lurking as a major threat. Early indications are that the film is doing well and hopefully this will lead to the expected part 2 that will finish the tale of Paul Atreides’ rise to power, and the establishment of the legendary Dune universe.

C.S. Link

Oct 7 2017

This Beautifully Crafted Blade Runner 2049 Does Not Replicate The Original Classic

blade runner 2049 poster

Blade Runner 2049 is the sequel to the Ridley Scott sci-fi neo noir classic film that came out 35 years ago. It takes place in the same dystopian Los Angeles introduced in the original film, which took place just two years from now, yet seems uncomfortably accurate today. Now thirty years later the world is even more ruined but further technologically advanced. Humanity is still utilizing  race of artificial humans called replicants as slave labor. Whenever a replicant escapes or rebels, special police officers called blade runners are dispatched to kill them.

In Blade Runner 2049, replicants no longer have limited life spans and are more integrated into society. However, they are still second-class citizens who are derided by humans. The main protagonist in this film is K (Ryan Gosling), a replicant who is actually a blade runner that hunts down his own kind without remorse. Early in the film during an assignment he uncovers a baffling mystery. He discovers a long-dead body and this leads him on a mission to find out more about the deceased person because it has important connotations for replicants and society itself.

Denis Villeneuve directed this sequel and he is an inspired choice for the job because his visual style and storytelling techniques are very reminiscent of Ridley Scott. The landscapes are still breathtakingly chilling with the towering and crumbling skyscrapers, large intrusive holographic advertising and constant rain, which signal the climate change ravaging our planet. Only now snow and ash pelt the inhabitants of the futuristic Los Angeles. This does not mean that Blade Runner 2049 is a copy of the original. It tells its own original story without rehashing the beats of the first film, while further exploring the theme of what it means to be human. Gosling does his usual stoic act, which fits perfectly with his soulless character. But as he digs deeper into the mystery, he comes to question his own self and wonders if he has a soul. If so would that make him human despite how he is treated?

The sequel even takes time to examine the nature of sentience with K’s holographic home AI, Joi (Ana de Armas). At first glance, Joi just seems to be a household tool to K, sort of an advanced Siri or a Google Home but with holographic projectors. What was interesting about this set up is that a subservient non-human intelligence services a second-class citizen who isn’t considered human himself by society. How K and Joi treat each other in their tender,  growing relationship formed the heart of this film and featured in its best moments.

Another highlight is Harrison Ford himself, who reprises his role in the first film as Deckard, the blade runner who fell in love with a replicant. He is a welcome face and believe it or not helps lighten the mood in this dour film. Ford’s Deckard is a reminder of a world that has been lost and only now exists as a distant, treasured memory. Although Ford is a scene stealer, Gosling with his tortured character is the focus in this film.The most important question is about how Blade Runner 2049 compares to the original. Honestly, this is the kind of film that will be many things to many people. Already, some are hailing this as a masterpiece, while others are writing it off as dull. Bottom line, the original is the better film for several reasons. Starting with the story, the first Blade Runner had a tighter plot that was quite clear: Deckard had to find a group of renegade replicants. In this film, the mystery (and plot) are laid out but it seems more muddled and sometimes it is easy to lose track of what is going on. Later in the film, a new development occurs that is disjointed and clumsily inserted into the film. What is worse is that this development does not lead to anything and just reeks of an obvious plot thread for a sequel. This does not mean the film is dull as some are claiming. Just like the first Blade Runner, this is a slower, more contemplative film than what most of today’s audiences are used to, which is not a bad thing. Also, while it emulates the look and themes of the first film, Blade Runner 2049 fails to replicate (pardon the pun) that memorable future noir atmosphere that made the first film stand out. For a film that centers on a mystery it feels less like a detective story than the first Blade Runner. Another vital drawback is with the villain. Roy Batty so wonderfully played by Rutger Hauer was a much more realized and dimensional villain. He was motivated by a desire to be free and extend his short life span. That is something we can all identify with, which is why we mourned his fate at the end of the film. The villain in this sequel does not have a clear motivation and as a result comes off as one dimensional.Blade Runner 2049 is nonetheless a beautifully crafted film that honors the original while being able to stand on its own. Denis Villeneuve demonstrates again why he is one of the most lauded film directors today and this is a great entry in his filmography. The film’s cinematography is simply gorgeous even though it depicts a sadly decaying world. Every shot is expertly composed and should be seen at least once in the big screen. It goes without saying that the special effects are as grand and spectacular as the first film. But these technical aspects are just window dressing for the film’s central themes about humanity and how we treat each other. Those are the film’s true highlights and what will leave the greatest impression upon audiences.

Lewis T. Grove

 

 

Nov 13 2016

Arrival Brings Non-Linear Food For Thought

arrival-poster

Arrival is the new sci-fi First Contact movie directed by visionary director Denis Villeneuve and stars Amy Adams as Dr. Louise Banks, a linguist recruited by Colonel Weber (Forest Whitaker) of the U.S. military to help communicate with newly arrived aliens. These aliens arrived on Earth in twelve giant spaceships that have taken up spots around the world and no one is able to communicate with them. What is at stake are rising tensions and paranoia due to the aliens’ arrival. As world powers grow more and more trigger happy, it’s up to Banks to find a way to break through the insurmountable language barrier between the two races before it’s too late.

louise-and-ian-arrival

 

In film, the First Contact scenario isn’t anything new and Arrival echoes aspects of past sci-fi films in this subgenre like Contact, Close Encounters of the Third Kind and The Day the Earth Stood Still. Arrival also borrows elements from films such as Signs and Interstellar in regards to the worldwide reaction to alien arrival and head-spinning scientific concepts. What sets Arrival apart from other films in the subgenre is its mature tone and exploration of the hurdles humanity would face in this scenario.

These beings that have come to Earth are genuinely alien. Without spoiling their appearance, what can be stated is that they aren’t the standard humanoids with bumpy foreheads. In fact, their appearance belies the fact that they came from an environment totally unlike Earth’s and that was quite refreshing to see. Also welcome, was that the focus of the film was not on alien invasion with evil E.T.s and heroics from the military. Rather the fundamental dilemma, the driving force of the film is how can we communicate with beings from a completely foreign environment without any relatable frame of reference. It is bad enough that we have trouble communicating with each other so how can this be done in a First Contact situation without leading to war?

arrival-aliens

Instead of going for pyrotechnics, Villeneuve sticks with this concept and the result is a slow burn of a film that delivers so much food for thought, especially in the final act. It’s a thought-provoking and wondrous journey thanks to Villeneuve’s careful direction and the cinematography. Every frame is carefully and beautifully staged to tell a story in a visual sense that quietly engages the viewer, while telling a personal story about Banks. Adams gives one of her best performances as her character feels the enormity of her task since she sees all around her the consequences of her failure to properly translate the aliens’ language.

alien-language

Without giving anything away, the last third of Arrival ramps up the tension while bringing forth high-brow concepts of non-linear time and how we perceive time in general. It should be pointed out in reference to the film’s tagline of why they are here, although this question is on the mind of many characters, the answer isn’t dwelled upon. Instead, the emotional climax of the film is on Banks herself and her own personal story, which has relevance to humanity’s plight in trying to establish a dialogue with the aliens.

For some, Arrival may be too slow moving, but it has a satisfying payoff for the patient viewer who does not go into the film expecting pyrotechnics or shoot-em-ups. This film is more serious and weighty without being pretentious. There is much to recommend about Arrival, from the performances from Adams, Whitaker and Jeremy Renner as Ian Donnelly, a physicist helping Banks, to Villeneuve’s strong directing and the visual look of the film. But the script by Eric Heisserer, which is adapted from the award-winning short story by Ted Chiang called “Story of Your Life”, is to be commended as well for taking audiences into unfamiliar territory and in examining how a First Contact situation between us and extra-terrestrial might actually play out.

Lewis T. Grove