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Movies Подраздел с темами о фильмах, актерах и режиссерах

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Непрочитано 18.09.2021, 22:44   #1
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Дюна / Dune (2021)


Основные сведения

Режиссер: Дени Вильнёв ("Бегущий по лезвию 2049", "Прибытие", "Убийца", "Враг", "Пленницы" и другие)
Сценарий: Джон Спэйтс, Дени Вильнёв, Эрик Рот (по роману "Дюна" Фрэнка Герберта)
Оператор: Грег Фрэйзер
Композитор: Ханс Циммер
В ролях: Тимоти Шаламе, Ребекка Фергюсон, Оскар Айзек, Джош Бролин, Стеллан Скарсгард, Дейв Батиста, Стивен Маккинли Хендерсон, Зендея, Чан Чэнь, Шарлотта Рэмплинг, Джейсон Момоа, Хавьер Бардем
Бюджет: $165 млн
[свернуть]


Все, что нужно знать о "Дюне" перед походом в кино: Рассказывают филологи, социологи и Владимир Сорокин! Спецвыпуск "Радио Долин"


Roger Ebert Review

Back in the day, the two big counterculture sci-fi novels were the libertarian-division Stranger in a Strange Land by Robert Heinlein, which made the word "grok" a thing for many years (not so much anymore; hardly even pops up in crossword puzzles today) and Frank Herbert's 1965 Dune, a futuristic geopolitical allegory that was anti-corporate, pro-eco-radicalism, and Islamophilic. Why mega-producers and mega-corporations have been pursuing the ideal film adaptation of this piece of intellectual property for so many decades is a question beyond the purview of this review, but it's an interesting one.

As a pretentious teenager in the 1970s, I didn't read much sci-fi, even countercultural sci-fi, so Dune missed me. When David Lynch's 1984 film of the novel, backed by then mega-producer Dino De Laurentiis, came out I didn't read it either. As a pretentious twentysomething film buff, not yet professional grade, the only thing that mattered to me was that it was a Lynch picture. But for some reason—due diligence, or curiosity about how my life might have been different had I gone with Herbert and Heinlein rather than Nabokov and Genet back in the day—I read Herbert's book recently. Yeah, the prose is clunky and the dialogue often clunkier, but I liked much of it, particularly the way it threaded its social commentary with enough scenes of action and cliff-hanging suspense to fill an old-time serial.

The new film adaptation of the book, directed by Denis Villeneuve from a script he wrote with Eric Roth and Jon Spaihts, visualizes those scenes magnificently. As many of you are aware, "Dune" is set in the very distant future, in which humanity has evolved in many scientific respects and mutated in a lot of spiritual ones. Wherever Earth was, the people in this scenario aren't on it, and the imperial family of Atreides is, in a power play we don't become entirely conversant with for a while, tasked with ruling the desert planet of Arrakis. Which yields something called "the spice"—that's crude oil for you eco-allegorists in the audience—and presents multivalent perils for off-worlders (that's Westerners for you geo-political allegorists in the audience).

To say I have not admired Villeneuve's prior films is something of an understatement. But I can't deny that he's made a more-than-satisfactory movie of the book. Or, I should say, two-thirds of the book. (The filmmaker says it's half but I believe my estimate is correct.) The opening title calls it "Dune Part 1" and while this two-and-a-half hour movie provides a bonafide epic experience, it's not coy about connoting that there's more to the story. Herbert's own vision corresponds to Villeneuve's own storytelling affinities to the extent that he apparently did not feel compelled to graft his own ideas to this work. And while Villeneuve has been and likely remains one of the most humorless filmmakers alive, the novel wasn't a barrel of laughs either, and it's salutary that Villeneuve honored the scant light notes in the script, which I suspect came from Roth.

Throughout, the filmmaker, working with amazing technicians including cinematographer Greig Fraser, editor Joe Walker, and production designer Patrice Vermette, manages to walk the thin line between grandeur and pomposity in between such unabashed thrill-generating sequences as the Gom Jabbar test, the spice herder rescue, the thopter-in-a-storm nail-biter, and various sandworm encounters and attacks. If you're not a "Dune" person these listings sound like gibberish, and you will read other reviews complaining about how hard to follow this is. It's not, if you pay attention, and the script does a good job with exposition without making it seem like EXPOSITION. Most of the time, anyway. But, by the same token, there may not be any reason for you to be interested in "Dune" if you're not a science-fiction-movie person anyway. The novel's influence is huge, particularly with respect to George Lucas. DESERT PLANET, people. The higher mystics in the "Dune" universe have this little thing they call "The Voice" that eventually became "Jedi Mind Tricks." And so on.

Villeneuve's massive cast embodies Herbert's characters, who are generally speaking more archetypes than individuals, very well. Timothée Chalamet leans heavily on callowness in his early portrayal of Paul Atreides, and shakes it off compellingly as his character realizes his power and understands how to Follow His Destiny. Oscar Isaac is noble as Paul's dad the Duke; Rebecca Ferguson both enigmatic and fierce as Jessica, Paul's mother. Zendaya is an apt, a better than apt, Chani. In a deviation from Herbert's novel, the ecologist Kynes is gender-switched, and played with intimidating force by Sharon Duncan-Brewster. And so on.

A little while back, complaining about the Warner Media deal that's going to put "Dune" on streaming at the same time as it plays theaters, Villeneuve said the movie had been made "as a tribute to the big-screen experience." At the time, that struck me as a pretty dumb reason to make a movie. Having seen "Dune," I understand better what he meant, and I kind of approve. The movie is rife with cinematic allusions, mostly to pictures in the tradition of High Cinematic Spectacle. There's “Lawrence of Arabia,” of course, because desert. But there's also "Apocalypse Now" in the scene introducing Stellan Skarsgård's bald-as-an-egg Baron Harkonnen. There's "2001: A Space Odyssey." There are even arguable outliers but undeniable classics such as Hitchcock's 1957 version of "The Man Who Knew Too Much" and Antonioni's "Red Desert." Hans Zimmer's let's-test-those-subwoofers score evokes Christopher Nolan. (His music also nods to Maurice Jarre's "Lawrence" score and György Ligeti's "Atmospheres" from "2001.") But there are visual echoes of Nolan and of Ridley Scott as well.

These will tickle or infuriate certain cinephiles dependent on their immediate mood or general inclination. I thought them diverting. And they didn't detract from the movie's main brief. I'll always love Lynch's "Dune," a severely compromised dream-work that (not surprising given Lynch's own inclination) had little use for Herbert's messaging. But Villeneuve's movie is "Dune." (c)
[свернуть]

Dune Gets Lost in Space (Vanity Fair Review)

The trouble begins in Dune—which premiered at the Venice Film Festival on Friday—just about immediately. In the opening credits of Denis Villeuneuve's adaptation of Frank Herbert's seminal 1965 sci-fi fantasy novel, we see the title of the film and then an ominous "Part One." So what we're seeing is not a complete story—it's the kick-off to a new franchise of two (or more) movies. Not a second of the sequel has been shot yet, so we will just have to hope that the box office gods (and the streaming ones, as the film will also premiere on HBO Max) are kind enough to this first foray that subsequent installments will be deemed worth it.

If not, Dune will live on as a turgid preamble with little payoff. As he often does, Villeneuve has crafted a mighty aesthetic symphony, images looming epically as a Hans Zimmer score keens and brass-braaams around them. Herbert's novel—which has been adapted by Villeneuve, Jon Spaiths, and Eric Roth—offers plenty of occasion for such maximalist finery. The story journeys to several exotic planets and introduces us to the dynastic pageantry of humanity's ruling class some 10,000 years from now.

Villeneuve is no stranger to this kind of high imagining, or perhaps re-imagining. He applied his signature gloss onto the Blade Runner universe with 2017's Blade Runner 2049, a gorgeous but frustratingly thin continuation of a narrative well established before him. With Dune, Villeneuve has the chance to right the wrongs of David Lynch's 1984 misfire (a misfire according to some, anyway) and truly honor Herbert's text. But Villenueve can't help but lacquer it all up into something hyper polished and hard to the touch. Even Arrival, his most successful big-budget film, groans under the tremendous onus of his construction. He's an overloader, and only the keenest and most urgent of scripts can survive beneath that weight.

Dune, unfortunately, is not one of those. Maybe the source material, with its unending glossary of terms describing places, peoples, religious traditions, and political systems, is just too dense to hone into something cinematically agile. Villeneuve's film is somehow plodding and hurried at once, flurries of exposition and table-setting ringing around set-piece monoliths.

The general idea is stated plainly enough: a noble family, House Atreides, is enlisted by the galactic emperor to become the new stewards of the fearsome desert planet Arrakis, home to a sort of silt deposit called spice that's valued across the universe for its use in medicine and starship navigation. This angers the despotic House Harkonnen, who long ruled over Arrakis and its precious resource. There is also, of course, a prophecy about a messiah who will deliver the natives of Arrakis, the Fremen—and perhaps the entirety of humanity—to freedom. Is that special boy the young prince of House Atreides, Paul (Timothée Chalamet)?

All this palace intrigue and generational history is interesting, playing as a kind of spacebound Game of Thrones. (I know Dune long predates that book and TV series, as well as Star Wars, but I'm sure there is some studio marketing department wish that those parallels will be drawn by contemporary audiences.) What is less compelling is the Chosen One mythology, laid out confusingly to mask the simplicity at its core. Visions and murmured warnings and oracular epiphanies abound, all working to convince us that the hero of the film is, in fact, the hero. Perhaps a surprise is coming in a subsequent Dune film, but at present it all feels like a fait accompli that the handsome, noble prince standing before us is destined to be the thing everyone is so worked up about.

That the film is ultimately a long and overwrought prologue—a prelude to action rather than its own autonomous story—renders Villeneuve's robust theatrics flimsier than they should be. What's all this ado about something we know is coming but just won't be shown yet? Chalamet strains to assume the mantle, but he's swallowed up by the halo hanging around him. Rebecca Ferguson, as Paul's mother Jessica, who studied under an order of shifty priestess called the Bene Gesserit, fares better, holding firm against the movie's stylistic onslaught and making an impression.

Other talented actors drift in and out of the picture: Oscar Isaac as Paul's dad, Leto; Josh Brolin and Jason Momoa as military men who help train Paul in combat; Stellan Skarsgård as the monstrous Baron Harkonnen; and Zendaya as a Fremen who appears to Paul in dreams, luring him toward ruin or glory or both. No one has much time to distinguish themselves, all functioning as mere fleshy cogs in Villeneuve's churning machine. We don't really learn much about individual characters in the film, making it hard to grasp or care about the stakes of the story. That's not for lack of trying on Villeneuve's part, who aims to fill just about every moment of the film with a towering import.

At times, his aggressive approach works. There are scenes when the film's relentless rumble reaches heart and mind, and truly connects. The immensity of the film can probably only be experienced properly in a theatrical setting—making Warner Bros.' decision to drop the movie on streaming that much more dismaying. But even in the dark, sans phone, a gigantic screen and sound system blaring away at you, Dune slips through your fingers like so much sand. And then it just ends, as a character has the gall to tell Paul (and us) that this is just the beginning.

As a general rule, we should embrace grave and complicated blockbuster films like this, as they're in such short supply in our age of comestible whizbang and synergistic packaging. But Dune lumbers with such aloof, uninviting self-seriousness that it's hard to love, hard to even celebrate as an assured piece of tentpole authorship. In all its marvel, Dune forgets to do basic things like give us someone or something to root for, or feel for, or think about for longer than the stretch of the film.

Some vexing, inscrutable mystery and preening opacity can be fun. But there ought to at least be a big, central Why animating a film. Otherwise, it's all just a bunch of pretty shots of sand and fire and lavish costumery with no guiding spirit. By the end of Dune (Part One), I was ready to leave the whole thing to the enormous worms who move through Arrakis devouring all the little things that matter to us petty humans. Watching as Villeneuve's film eats itself up, those beasts started to seem pretty familiar. (c)
[свернуть]

Еще не смотрел (премьера в Польше - 22 октября), но рекомендую.

"Дюна" - сложное и красивое произведение, которое уже неоднократно пытались экранизировать. Думаю, специфическую картину маэстро Дэвида Линча хотя бы одним глазом видели практически все, а ведь еще была не состоявшаяся фантасмагория Алехандро Ходоровски и мини-сериал Джона Харрисона. Вильнёв уже зарекомендовал себя как отличный экранизатор фантастики с фильмом "Прибытие", и закрепил начатое оригинальным "Бегущим по лезвию 2049". Что получилось на этот раз - боюсь даже представить.

P.S. Не могу поверить, что на форуме нет отдельной темы о "Дюне" Линча.
Atompunk вне форума   Ответить с цитированием
Непрочитано 28.10.2021, 22:02   #121
MCD
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Re: Дюна / Dune (2021)

Это наша Марина?
Не помню ник её уже:(

Добавлено в 22:02 / Предыдущее сообщение было написано в 21:21

Москито
КОИН вне форума   Ответить с цитированием
Непрочитано 29.10.2021, 01:47   #122
Star - reign down
       On you
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Re: Дюна / Dune (2021)

КОИН, именно она)

Добавлено 29.10.2021 в 01:47 / Предыдущее сообщение было написано 28.10.2021 в 22:19

Nook на форуме   Ответить с цитированием
Непрочитано 29.10.2021, 16:26   #123
Star - reign down
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Re: Дюна / Dune (2021)

Увидел что в Аймаксе еще идет в оригинале, понял что хочу сходить еще раз

Ну и здорово что вторую часть официально подтвердили
Nook на форуме   Ответить с цитированием
Непрочитано 29.10.2021, 16:42   #124
vinyl 5"
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Re: Дюна / Dune (2021)

>> Увидел что в Аймаксе еще идет в оригинале, понял что хочу сходить еще раз
Причём, не в дурацком 3D, как в первые недели проката было .
punknotyet вне форума   Ответить с цитированием
Непрочитано 29.10.2021, 16:47   #125
Star - reign down
       On you
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Re: Дюна / Dune (2021)

Ага, ну я 3д не смотрю, так как физически не могу этого делать)
Nook на форуме   Ответить с цитированием
Непрочитано 29.10.2021, 16:48   #126
mr. november
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Re: Дюна / Dune (2021)

вчера посмотрел, в целом понравилось

но сходу мне было сложно понять вообще природу конфликта и иерархию взаимоотношений в этом мире - какой-то император, какие-то дома, конфликтуют по какой-то причине. это наверное раскрывается дальше по книгам, да?

(ну или я просто тупой)
bre вне форума   Ответить с цитированием
Непрочитано 29.10.2021, 16:55   #127
Star - reign down
       On you
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Re: Дюна / Dune (2021)

Цитата:
Сообщение от bre Посмотреть сообщение
но сходу мне было сложно понять вообще природу конфликта и иерархию взаимоотношений в этом мире - какой-то император, какие-то дома, конфликтуют по какой-то причине. это наверное раскрывается дальше по книгам, да?
ну это сначала в книге раскрывается, просто все это уместить в фильм - анрил
Nook на форуме   Ответить с цитированием
Непрочитано 26.11.2021, 10:43   #128
vinyl 5"
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Re: Дюна / Dune (2021)

punknotyet вне форума   Ответить с цитированием
Непрочитано 03.05.2023, 19:55   #129
vinyl 5"
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Re: Дюна / Dune (2021)

punknotyet вне форума   Ответить с цитированием
Непрочитано 03.05.2023, 21:45   #130
interested in nothing
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Re: Дюна / Dune (2021)

oooooh shit
thegroundhog вне форума   Ответить с цитированием
Непрочитано 04.05.2023, 09:40   #131
cosmogas
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Re: Дюна / Dune (2021)

RealstaN вне форума   Ответить с цитированием
Непрочитано 04.05.2023, 20:32   #132
Слизень-мафиози
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Re: Дюна / Dune (2021)

На днях буквально передививсь втретє першу частину. Шикарно, і все тут
Біджо вне форума   Ответить с цитированием
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