Caught the last half of DUNE on Showtime after a groovy nap and it was good enough I had to watch the first part on demand. I remembered liking its wildly uneven effects and straight-faced self-important trippiness as a college freshman catching it at the Student Union in 1985 but it wasn't 'cool' to show enthusiasm for it. What insecure freshman is strong enough to buck the flow of the masses? But this time 32 years older, unafraid and not fully awake, watching Kyle McLachlan in a sexy ribbed dark black suit riding atop a giant sand worm as the thunder cracked, the sand churned, and finally--like it's been buried under the surface of Arrakis all this time-- an electric guitar from Toto comes cracking through the orchestration like a blazing ray of sun, I knew I was home. Directed by David Lynch, produced by Dino de Laurentiis - a match made in heaven, whether anyone knew it back in the realm before cheap CGI made even unconvincing miniature work forever precious.
Even from the first scene you know you may not understand shit about what's going on, but you've never seen anything like it: a bald sister psychic asked by the emperor to psychically eavesdrop on the thoughts of a 'navigator' (those Metaluna-brained giant newts) escorted by a flock of austere leprous monks with cracked-egg brains--who file into a wildly psychedelic golden throne room carrying a Grand Central concourse entrance-cum- 30s diner train car betwixt them--then the windows open and the navigator swims out of the murk up against the glass to address the emperor via a translator device that looks like a 20s radio microphone. This, you realize, is not common, not hackneyed or trite or cliche, this is the kind of thing Bill Burroughs might hallucinate while on yage in the 50s, watching an old WB movie wherein Spanish ambassadors complain about privatized buccaneers to Queen Elizabeth while in the throes of junk delirium in the back of a decaying Moroccan cinema. In its total otherness it might even be a film actually made on another planet, one where the burnished dusky Art Deco Grand Central concourse oyster bar Illuminati 1939 Worlds' Fair Dali fever dream decor never went out of style, just matured along a separate tributary from the sci-fi we know. Even (or especially) if from certain angles you can see all the gold fixtures (right down to the gleaming highlights) are painted backdrop, this shit's truly psychedelic. Lynch + Laurentiis = batshit crazy
The guitar of Toto made me think of another pic produced by Dino de, FLASH GORDON (1980), with its unforgettable rock and roll Queen soundtrack. The stories are the same, too: the 'deliverer' come to a strange new world to free the people in bondage from Von Sydow's or Jose Ferrer's galactic emperor. CONAN too... with its thunderous De Falla permutations, going against Thulsa Doom. ORCA in reverse. Dino de Laurentiis did them all. Dino! I feel your guiding hand, it's holding an electric guitar!
Now in 2017, aired on Showtime in tandem with Lynch's TWIN PEAKS: THE RETURN, the true psychedelic yield comes forth, like one of those big 'Guild Navigator' beings, that look kind of like a giant newt with the cranium of a Metalunan mutant and googly eyes of a giant monster squid. Acting as a kind of intergalactic MTA, folding space through their swimming in gaseous clouds of the psychedelic spice, they blow from their icky Burroughsian orifices big plasma balls at images of planets and in doing so dissolve the space betwixt them, a kind of butterfly wing / tsunami / Dustin Hoffman folding a blanket thing. And they expect to have their fog of spice fresh and churning for their troubles. The film doesn't get much help trying to decipher all that, even with Virginia Madsen's coyly apologetic voiceover, you do get some weird-ass sights, giant worms, morgue extras who can't keep their toe-tags still and a five year-old Alicia Witt dancing with a curved knife in celebration of death and destruction like a pint-sized Kali.
PSYCHEDELICS = SPACE TRAVEL
DUNE offers a universe free of trite morality - so a 'concubine' or 'consort' can be a religious lady, choose her children's gender through sheer will, and they're not bastards but heirs to the throne. And trying big doses of spice while on Arrakis leads you to bond with far-off elements of the planet and prolong life -- not feel paranoid your mom will find out or the cops will pull you over. In short, it's an actual sane future, of the sort envisioned in 60s psychedelic mysticism and via practices like remote viewing, and 'going where no man has ever gone before' not including, necessarily, toting your body along. The internal voiceover aspect (we hear people's thoughts) doesn't bother me because for 1) theres so much telepathy and 2) Shakespeare adaptations by Olivier and Welles, both do it. And 3) The use of sound waves to formulate thought and vibrate objects to explode is amazing (though there's no sound based telekinesis - and since supposedly that's how the pyramids were built), it's still never been adequately developed in film or reality - and one side effect of the use of voice as a weapon is to rearrange how we think of language in speaking. People do not blather in DUNE - words carry heavy import - while inner monologues become a whole second tier.
And even stronger than 'the spice' there's a liquid made from the bile of the worms of Arrakis, "the water of life" equivalent to, in a sense, eating the worm at the bottom of the mezcal bottle times a million--all the preparations and anticipation of danger making a fine parallel with smoking, say, DMT or 50x Salvia Divinorum. As with drugs, psychic powers are not belittled and demonized but a part of reality, drugs not treated with disrespect and fear, and psychonauts valued for their shamanic contribution to the good of their house. Is this part of the reason the film was so panned? What about how it shows women in positions of power, as good fighters who need not be babied and protected but who can control minds with their mastery of the "weirding way"? For all its legitimate problems, for some of us, vitriol heaped on a film that features positive views of drugs and women is suspect, bro. Like if a film condones psychedelics and matriarchies, it's a film that must be panned. STAR MAIDENS and ALL THAT GLITTERS are not on DVD. The latter hasn't even been on tape! Free the matriarchal structured sci-fi from uptight fanboy damnation!
Luckily DUNE, being a 'David Lynch Film' endures. So though we have a straight white male hero Christ figure, his mother, Lady Jessica (Francesca Annis - left) is a badass who's taught her son the bulk of his fighting and telepathic skills. He can kill with a word. But it's his mom who taught her. As a super-human genius of the Bene Jesserit sisterhood, she's a figure unique in western literature and film. Only Jet Li's mother in the FONG SAI YUK compares in cool capability. And just having an array of holy sisters in positions of power and authority (a fully matriarchal lineage within the DUNE universe, covering both sides of the clash - there's a reverend mother within even the Fremen) makes the film worth seeing. One of Lynch's great strengths is his comfort around a large cast of female characters whose roles transcend gender norms while still retaining their sex appeal.
PSYCHONAUTS OF THE GOLDEN CRESCENT
Time has been kind to DUNE politically as well. In 1984 all it reminded us of was LAWRENCE OF ARABIA, but today--after 9/11--it seems most prescient. The character weird names all carry a Muslim whiff and the word 'jihad' is even used. We should remember that Lawrence of Arabia was working for the British, and was plenty mad when they betrayed all his promises to the Saudis, but could do nothing about it. He came home and sulked. Osama bin Laden on the other hand, went all the way, like Kurtz. a rich son of a wealthy Saudi Arabian family, chose to live deep in caves with desert nomads and fight first world super powers (first Russia, then 'us') through sabotage and terrorism, very much like a certain Paul Atreiades. Not that this itself redeems either Osama or DUNE - but it shows the way creative vision always comes from somewhere. The Akashic records, or just the wind of messiah complexes and the Golden Crescent opium trade. A nicely paranoid post (by 'OsamabinladenreadDune) in the Fortean Times notes the worms resemble the jets used to ram the towers and the year of the big change in the story is 10191, i.e. 09/11. Whoa, bro.
|Silver Strain - The Jihad of Muad'Dib|
LYNCH's ICK FACTOR
That said, one must admire the insane commitment of Kenneth McMillan as the evil baron (though I won't show him as he's too gross) who plays his scenes as if he's peaking on a massive dose of cocaine, each death he watches or engineers gives him a loathsome thrill. Floating around like the kid full of blueberries in CHARLIE AND THE CHOCOLATE FACTORY, he and his party milking and crushing and otherwise destroying an array of (actual or puppet) living creatures in an orgy of odious relish, his only real competition in unadulterated odium is perhaps Albert Cole in THE INCREDIBLE TWO-HEADED TRANSPLANT. I'll always support evil laughing fits and a chance for Sting to wear his crazy eyes but eveb in the 80s, sooner or later even the sickest freak watching this shit goes "Okay, David, we get it - these red-headed creepy Harkonen are the bad guys." On the big screen, a little repulsiveness goes a long way, and one almost senses Lynch expressing his frustration at Dino's meddling by upping the quotient. If he can't inspire us and move our souls to alternate realities, he can at least leave a slightly traumatic and grotesque imprint.
But this can be solved, this Harkonen vileness circumvented as if through magic:
Scroll! Scroll through past the unpleasantries. They're plot is followed easy enough
this way - and to true peace.
Have you On-Demand or the DVD?
Scroll through, Moad Dib, scroll to freedom!
And when Paul and his family are all in their capture (up until Paul and his mother are being taken out to the desert to die by two of the Harkonen's men) when it becomes awesome --that's when I stop fast-forwarding; watching Paul's mother seduce one of the guards into cutting her bonds and stabbing the pilot via her use of a deep throaty voice (the 'weirding way') makes all the forwarding worthwhile.
WOMEN and FREMEN
In other words, dear friends, check it out on demand and see if it's better the second time. If you've never seen it, I'd say go right to the second time and never worry about following the plot. If you can't manage that, well, just relish in the fact that--simply put--there's no jokes or smiles or anachronistic winks at the audience in DUNE, yet it's never sanctimonious or plodding. You can't argue with a messiah who sends his five year-old sister alone into the imperial spaceship of his enemy in order to slice up an evil baron. These things go a long way. So long in fact, you may not appreciate them for 33 years. But now Alicia Witt is older and hot. Kyle is an institution thanks to TWIN PEAKS, and the worm turns through time's beggar king, conquering all, even through endless shots of stunt men being blown up as they run along the sand at night, over and over, and over.
|from top: Flash, Dune (x2), Conan (x2) Flash Gordon, Barbarella-|
And it's real crime is that in all this while, we've never seen another film where to celebrate victory a child dances in slow motion waving a curved dagger with which she's just killed someone while exultant electric guitar chords twang. Lynch may not know how to play well with others, and I think in retrospect let himself be too casually destroyed by lack of final cut, but after all- if not for Dino and DUNE there's be no BLUE VELVET (Dino funded it). And without that, would there even be a TWIN PEAKS? Without Dino, would there be such a rich untrampled CONAN, such Masonic high-weirdness in FLASH?
The great Sean Kelly shared a bit of observation with me about Dino de Laurentiis, that he spends lavishly on film design, then runs out of money, so grand and mind-boggling beauty in one lavish large sets start things out, but by the end there are barely convincing miniatures and third rate effects, wires showing, mismatched backgrounds, etc. That might have seemed like a problem at the time, but in the age of CGI, the acoustic tactile effect of real shit in real time forgives a whole mess of problems. We can always sigh and moan and wonder 'what if' re Jodorowsky's version but hey- his films aren't perfect either. His work is like a sledgehammer to reality-- he reaches in and pulls the guts out--it ain't often pretty even as it boggles the mind. In this Lynch-Laurentiis-Herbert version, it might not be perfect, but it rocks; it might be incoherent at times but it's beautiful. In its unique look and courageous bizarro conviction, it stands alone in a sea of shiite; it's only neighbors on this giant crest, CONAN, FLASH, and maybe BARBARELLA. What do they have in common? Dino de Laurentiis. His gorgeous slightly megalomaniacal bliss comes from the ability to act like Catholicism and the War on Drugs never happened, a world free of burdensome petty 'proper' morality (vs. the 'Golden Rule' standard of, say, Crowley), leading something fantasy cinema can find nowhere else, real resonant full-bodied Old Testament Nietzschean moxy, wherein women do their own killing and are fine with it; wherein drugs can exert their effect on consciousness right out in public; wherein the worm is eaten, and the tiles glisten serpentine, and the electric guitars break through the clouds, illuminating at long last something. Whatever it is, however much it cost, it's really there. Something really there... is there.