"Dune: Part Two": Industrial, Mechanical, and Cruel of Design and Narrative

"Dune" series of films, directed by Denis Villeneuve, is a sci-fi epic hailed as one of the most challenging novels to adapt in film history. Under Denis Villeneuve's direction, this film successfully constructs a new worldview using the language of cinema. Both "Dune: Part One" and "Dune: Part Two" are actual cinematic experiences, overshadowing content that can be consumed on small screens. In a sense, amidst fragmented information and short videos, Denis Villeneuve's "Dune" series reshapes the value of cinema viewing on the big screen.

The plot of "Dune: Part Two" continues from the end of "Dune: Part One". Under the instigation and support of the Emperor, the Harkonnens launched a surprise attack and destroyed House Atreides. As survivors, Jessica and her son Paul are forced to venture deep into the desert, entering the world of battle among the Fremen. Jessica becomes the new Reverend Mother of the Fremen, while Paul trains himself to become a warrior. In this process, he gradually changes his position, embodying the image of "Lisan al-Gaib" and becoming the new leader of the Fremen, ultimately avenging the Harkonnens and embarking on a new path of rulership.

Regarding audio-visual presentation, "Dune: Part Two" continues the sense of ritual and order established in the previous film. It focuses on depicting scenes of Paul living and fighting alongside the Fremen on Arrakis, gradually integrating his image as "Lisan al-Gaib" into the religious system of the Fremen. Natural desert scenery expands the minimalist flavour of scene composition, showcasing various changes and deliberately portraying the influence of environmental scenes on the human soul.

The film breaks away from the carefully crafted rhythm of traditional genre films, slowly delving into Paul's inner world, creating a sense of immersion and emotional resonance. As a sci-fi adventure action series, "Dune" discards the ubiquitous CG effects seen in similar films, opting instead for a realistic approach to audio-visual construction, representing a return to classic filmmaking.

Sound Design

Before filming the second part, Hans Zimmer had already started composing the music for it. The previously exposed piece, "A Time of Quiet Between the Storms," depicts the love between Paul and Chani, profoundly moving and conveying Paul's anguish between love and destiny. When composing the film's score, he also studied its art and costume design, describing it as "very industrial, very mechanical, and very cruel," themes that align perfectly with the core narrative of "Dune: Part Two." Hans Zimmer won the Oscar for Best Original Score in 2021 for his work on "Dune: Part One."

The music he creates is inseparable from Denis Villeneuve's narrative. It not only complements the scenes but also helps set the atmosphere. His musical style continues to intertwine classical and modern elements, featuring a perfect blend of electronic sound effects and traditional instruments. In this regard, Hans Zimmer's work transcends mere composition; it embodies sound design. He also meticulously studies the filming plans of cinematographer Greig Fraser, explores the color palette and delves into the film's art and costume design through collaborative teamwork. "What is the colour palette? I would ask this first because Denis deliberately didn't let me read the script. Because this movie is more like a conversation between the two of us, two boys who once loved the original novel."

Sound editing is a standout aspect of "Dune: Part Two." In the first battle scene, the Fremen use corpses as bait to lure the Harkonnens while summoning sandworms with sand thumpers. The Harkonnens are forced to seek refuge on high rocks, leaving themselves exposed and vulnerable to the Fremen's hidden weapons. Throughout this sequence, only the subtle movements of the Harkonnens are audible. As the ambush unfolds, the world falls silent, intensifying the moment until the heavy thud of the Harkonnens' bodies hitting the ground breaks the silence, vividly portraying the height of their fall and the weight of death. Audiences are drawn into Paul's perspective, holding their breath as the sound effects of the battle convey its intensity.

The film's ending centres on Chani, who gazes at Paul becoming Emperor without a hint of joy. Although Paul is her lover, he goes against his values and beliefs, which drives her away. She walks alone into the desert, summoning a sandworm and preparing to unleash its fury with a sand hook. The film concludes. How Paul and Chani's relationship will develop becomes the suspense for the third instalment. Judging by the portrayal of current female characters, Chani is unlikely to be involved in a clichéd love triangle but is poised to become the true protagonist of the next film.

Action Design

Exciting action scenes run throughout the entire film. In several battles, Denis Villeneuve creates tension by juxtaposing the Fremen's stealthy ambush abilities against the backdrop of large-scale machinery and the harsh desert landscape, emphasizing the insignificance of humans in nature.

The Fremen, derogatorily called "rats in the desert" by Beast Rabban, fight like desert mice — Muad'Dib. They lurk in the desert, springing out from the sand to strike the Harkonnens' necks with a sudden slash, then rolling away and disappearing underground again. These action shots are often uninterrupted, showcasing the Fremen's speed and strength. Due to the poor visibility caused by the desert's blowing sand, the Harkonnens are defenceless against such precise killings and are forced to flee helmetless. Even the formidable Beast Rabban is at a loss.

In "Dune: Part One," memorable action scenes include using aircraft for escape and defensive shields for close combat. However, the Fremen's battles rely less on relatively "advanced" technological achievements and more on the bravery and agility of the warriors, often resorting to surprise attacks, in a battle scene in "Dune: Part Two," where the Harkonnens' harvester lands in the sand, resembling an octopus, Paul and Chani coordinate, using the machine's legs as shields and launching remote attacks from underneath.

One of the most exhilarating moments in the film is when Paul tames and rides a sandworm for the first time. To become a true Fremen warrior, mastering the ability to ride sandworms is crucial. Alone atop a high point in the desert, the vast world reduced to just a single person and the horizon, Paul drives a sand thumper into the sand, summoning a giant sandworm.

He leaps onto the sandworm's back from above and, using a sand hook, repeatedly opens its scales to find a foothold. Gradually standing up, he masters the art of sandworm surfing, swiftly speeding across the desert surface. This captivating moment showcases both Paul's heroism and Denis Villeneuve's meticulous depiction of the sandworm's high-speed movement and Paul's struggle to control it amidst the sandstorm. This highlights Paul's courage and the unique power of "Lisan al-Gaib."

In the final battle, Villeneuve merges atomic bombs, symbolizing advanced technology, with the sandworm army representing primal control, and the Fremen's spectacular assassinations. This integration allows Paul to emerge victorious. Undoubtedly, this represents the pinnacle of blending classical and modern elements.

Visual Design

The serene atmosphere on the capital planet Kaitain contrasts sharply with the battles of the Fremen amidst the raging sandstorms of Arrakis. The set designers chose to film scenes in the Tomba Brion, designed by architect Carlo Scarpa.

At the first film's end, Paul defeats and kills the skilled Fremen warrior Jamis, joining their ranks. His hometown of Caladan is surrounded by water, while Arrakis sees water as a highly scarce resource. People must wear still suits to reduce water consumption and recycle the moisture in their bodies. The Fremen show respect by spitting on others, as this represents the most precious resource in this area — water.

A scene following a battle in the second part further illustrates the extreme cruelty of the Fremen's water use. They extract all the moisture from the bodies of the deceased after a battle, including those of their enemies, the Harkonnens. They ruthlessly drain the bodies using tools, turning them into mummies at a rapid pace, causing Jessica to vomit — an act that Fremen leader Stilgar stops, as spitting out water is too wasteful.

Another aspect closely related to the Fremen's way of life is their coexistence with sandworms. To avoid disturbing sandworms while walking in the desert, the Fremen use a dance-like method to move lightly on the sand. Denis Villeneuve invited world-renowned dancer and choreographer Benjamin Millepied to design this repetitive footwork, leaving elegant footprints on the sand and eliciting exciting reactions from the characters' bodies and breaths.

Paul originally learned about sand walking from images provided by Caladan. Still, upon arrival, Chani gives him new guidance — to change his rhythm while walking to avoid startling sandworms constantly. In the desert, their duet leads to a romantic love story, as everything seems to fall into place.

Bene Gesserit Sisters play a more significant role in "Dune: Part Two." They serve not only as advisors to the leaders of the substantial families but also play a decisive role in shaping public opinion. The Bene Gesserit Sisters manipulate the struggles among the prominent families behind the scenes. As a member of this group, Jessica refuses to be just a pawn for reproduction. Instead, she uses the Fremen's religious beliefs to elevate her son Paul to leadership.

Paul leads the Fremen as "Muad'Dib," dealing a significant blow to the Harkonnens. Therefore, the Bene Gesserit Sisters support another potential inheritor of Lisan al-Gaib, Feyd-Rautha, a young man known for his brutality. Just like Paul, Feyd-Rautha undergoes testing by the Bene Gesserit Sisters. Unlike Paul, however, Feyd-Rautha enjoys the pain and passes the test.

In the setting of "Dune," the planet where the Harkonnens reside has no visible light from the sun, only infrared light. When people move indoors to outdoors, they transition from average to infrared light. Therefore, in a crucial duel scene involving Feyd-Rautha, Denis Villeneuve uses infrared images captured by the camera, invisible to the naked eye. At first glance, it appears as a black-and-white world. Still, unlike footage shot with a monochrome camera, the difference in colour temperature is evident, creating a sense of strangeness from an alien world and emphasizing the uniqueness of the character Feyd-Rautha.

Ultimately, Paul, who has always wanted to defy fate, realizes that reality and dream prophecies may not align. While he cannot change the predetermined facts guided by dreams, he still has the opportunity to change his fate. Instead of being caught in indecision, he decides to take control of everything by drinking the Water of Life, fully embracing his role as a prophet.

Originally conceived with the idea of "decolonization," possessing modern civilization and attempting to integrate and fight alongside the locals, the "outsider" ultimately resorts to using religious means to control these people for his benefit, which is undeniably tragic. Such tragedy and Denis Villeneuve's desolate desert aesthetics are a perfect match.

The film "Dune" suggests that by examining the past, we can gain insights into the future. It is a symphony of fate, revealing aspects of human nature and reflecting historical cycles. The intricate design of the film's world captivates viewers, inviting them to immerse themselves in front of the big screen. This immersion allows viewers to momentarily forget reality and ponder whether history's course can be altered within a completely new worldview. Can humanity, as "prophets" of known history, still be unable to change the "future" predicted by human nature?