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Action Star Kyle MacLachlan 7,2 of 10 David Lynch story It is a distant galaxy, in the far future year, 10191. Arrakis is a desert planet and the only source of Melange, a vital drug used by Guild Navigators for space travel from star system to star system. Two families, the Atreides and the Harkonnens, fight one another for sole control of the Melange mining operations on Arrakis. When Duke Leto Atreides is assassinated by the evil Baron Harkonnen, Duke Leto's son, Paul, and Paul's mother, the Lady Jessica, flee deep into the desert of Arrakis. There, they are befriended by the Fremen, natives of Arrakis. Under the influence of Melange, Paul learns he has special powers and, that he can see into the future. Paul unites the Freman under his leadership, forms an army of warriors, and leads them into battle against Baron Harkonnen and the corrupt Padishah Emperor, Shaddam IV, who is in league with the Harkonnens. Paul vows to avenge his father's murder, and sets out to liberate Arrakis and its people from the Emperor's rule, and to fulfill his destiny

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Watch dune online free dailymotion without. Watch dune online free dailymotion cartoons. Watch dance online free dailymotion season. Watch dune online free dailymotion 2019. Watch Dune Online Free dailymotion. There are two films interwoven here, one is an uncompromising masterpiece and the other is a complete turkey.
The first half of the movie is extraordinary. I was *floored* by the opening scenes, floored UTTERLY. They indicated an intricate, sober reality, stuffed with dreadful mysteries and frighteningly intelligent monsters. I love the secret Guild report. The low humming, the cold echoing, flat voice, the treatment of the Empire as a system to be manipulated, oooh, I thought, What's THIS? The approach of the Navigator, gliding in in his great, monstrous black box and his bizarre, stilted conversation with the Emperor resonated with me deeply, it spoke volumes about the nature of the world I was seeing, its age, its sophistication, its dangers and its habits of thought. It had the gorgeous alien-ness and magically imaginative richness of a high fantasy flick blended seamlessly with a solid, cold and ruthless universal paradigm. The emperor's palace was festooned with riches, but he had no choice but to receive the Navigator. He was not some mere despot or a benevolent father figure, but a politician. The Navigator was obviously phenomenally dangerous, but this wasn't communicated through meaningless threats but by how the reverend mother and the Emperor reacted to him and his towering, chillingly dark, hissing black box.
I respect film-making of this quality, where alien worlds are brought to life with mere moments of dialogue and strokes of the visual designers brush. It's all about the mis-en-scene, guys. A picture truly is worth a thousand words. Star Wars did this also, brilliantly, in its opening scenes, but not as well as Dune, I think. I thought: Golly. I'm watching a grown up science fiction movie. Oh my GOD. I'm watching a GROWN UP science fiction MOVIE. They really did it." And then it carried on like that for a bit. Geidi Prime was awesome, a hideous offense to nature, like a cross between an old hospital and an oil refinery. I'd never seen anything so ugly yet still underpinned by human tropes. Again, it spoke volumes about the inhabitants of the planet. And the baron himself was just so disgusting, so extremely evil that I was mesmerised by him and his relatives. The Beast Rabban was a bit rubbish, but I could believe in Sting's character, I think he pulled it off.
Brad Dourif and his little litany still fascinates me. All the little litanies throughout the movie, these were lovely touches. I had no knowledge of the Dune Universe and these, again, brought the world to life, indicating a profoundly obsessive human society, guided by bizarre motives expressed in intensely focused, ritualised behaviours. It was freaky but *plausible* and in some ways terrifyingly familiar.
There was one more moment of brilliance, the spacing guild taking the Atreides to Arrakis. The heighliner sequence was amazing in terms of visual design (although the effects were low quality even for the 80s) I was looking at an ANCIENT ship, utterly VAST and secretive and silent, like a gargantuan wreck at the bottom of the sea, a vessel that could easily be 4000 years old and could only come from an enormous intragalactial spacefaring empire, as I had been told of in the prologue. The docking port was half a kilometer high, framed with what looks solid gold and resembles the entrance to a leviathan's cathedral. Not been done again, that image. And instead of a space battle, we got a religious ceremony, potent and serious and filled with unclear but deeply felt meanings and stunning music. It was amazing. I'd never seen anything like it. I still love it. I'm one of those British people that Beecham said "don't know much about music but love the sound it makes" and I'm the same with movies. I don't mind if a movie scene doesn't make sense if I like the "sound it makes. It's probably silly to be so affected by images that are, in essence, so simple, but what is imagination for, then, hm?
But. the Atreides.
The Atreides turned up and the whole movie started to sag.
Their dialogue was ponderous and dim-witted. They were slow and unconvincing, all of them. Jessica was totally silly, Kyle McLaughlan was appallingly miscast and the rest of Duke Leto's entourage were reminded me of nothing more than the Three Stooges. The only good bits were the fight between Gurney and Paul and between Paul and the robot and that's only because they had a cool idea about how to do forcefields and an interesting sound weapon. It was kind of cool to have a big, old-looking castle with lots of wood panelling many thousands of years in the future, in the 80s this idea was still new and fresh, but it wasn't enough to carry the Atreides as a narrative force just to have nice interior design.
And don't get me started on the Fremen. They just didn't work. "I will take the boy-man. UH! For pete's sake. br> It just descends into farce after they get to Arrakis. The film slowly but surely gets sillier and sillier until we reach the stupid climaxes of Paul riding the sandworm which had me covering my eyes and peering through my fingers at the appallingly bad acting and painfully bad dialogue. "Long live the fighters. Long LIVE them. YEAH! GO FREMEN! WE'RE NUMBER ONE! Bro, I am so STOKED about this! It's AWFUL.
Oh, and Alia. Nooooooooo, nononononononoNO. That was just wrong in every possible way, the way she talked was just sad. Alia's meant to be a kid that behaves like an adult, she's supposed to exhibit an unselfconscious absence of childishness that freaks people out and that kid playing Alia didn't do this.
"Oh dear, I thought. "They screwed this up very badly." But it wasn't a total failure. I went and read the Dune series afterwards. So in the end the movie did serve *some* purpose.

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