Diuna part 2 is simply a movie for me. The creator and manager Denis Villeneuve shoots in my favourite way, which is why I like this film, Above all, the way of filming is important, the pace and realism. The word realism has a circumstantial meaning here, which you do not understand. Nevertheless, it is widely utilized and means something like credibility. So we have a credible creation of the world, which is not very credible, which is later. Next: camera work, framing, intellectual work in creating individual frames, scenery, and another specified things. Music and sounds. In fact, sometimes it is not known whether it is music or whether we hear device work. On the branch, he is absolutely right:
He's got a boyfriend who's got a bone. We are in this wilderness among its people. We endure their woes and participate in drama. We're dealing with an ancient tragedy. As for Diuna's book adaptation itself (mostly Frank Herbert's book, then another books and e.g. Lucas' Star Wars) is OK. Contrary to what the malcontents thought, they cut out what was needed. Characters, threads, the Navigator Guild. The navigators have nothing circumstantial to do in Diuna, so it's a good thing they're gone. But it's Chani's case, which is later. Now I'm ending the unspoiler part, although I don't know why. Diuna was released in 1965 and everyone had time to get acquainted. But we live in a hard time, erstwhile masses interact with outstanding literature, and various literaryists and - as to say culturally - the Polonists are immersed in grafomania. It is right, for the dictator Red. Ziemkiewicz about Szymborska, who did not believe Zajdel existed. That's why Diuna doesn't belong to school due to the fact that teachers have no thought about literature. Okay. We decision on to a planet ruled by women and drug addicts and think in the light of Rose's name on the fundamental issue:
SPoiler
What's this all about?
It is rumored that Herbert, who himself was not besides average (like a genius), created Diuna as a informing against spiritual fundamentalism and all. Only people didn't read his work like that due to the fact that it didn't work out. Here we have Umberto Eco and his doctrine of explanation of the work. It goes so that the recipient interprets himself and you cannot dispute what the poet means. The author can think whatever he wants and not necessarily translate his intentions precisely into paper, movie or even sing. Is that so? Krzysztof M May talks about this topic, which was mentioned during the reading list:
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And for me, the hero of Diuna, Paul Atreides, called Usul and Muad'Dib, was not an anti-hero, but a hero. Herbert wrote further books to work it out, but I fell out at the beginning of the Messiah Diuna. Therefore, I present a fewer nonsubjective circumstances:
The planet Diuna, or Arrakis, is crucial for the Galaxy, due to spice (melage, strong drugs). Freedom must be conquered in order to supply its native inhabitants (the Freemen, called the Wolanites infirm suppression). Spice is so crucial that mastering the only origin of its acquisition is crucial to everyone. So it's either us or them.
We inactive have prophecies, implanted by the female order (?) Bene Gesserit in an effort closer to the unknown. In the film, you can see that they truly regulation and their machinations origin disaster. And in the end, they start to argue with each other. A very realistic performance. It's typical for women to avoid taking responsibility, so they don't take responsibility. But they have a powerful influence as a truthful talker who knows everything due to the fact that they perceive to all conversation. Wives, daughters of feudals are besides Bene Gesserit (hereinafter: BG) and are loyal to this order, not fathers, husbands, etc. state bodies. You can see it in the first part and the second part. Let's take the full thought of Irulan. Jessica, on the another hand, is rebellious by love, and that is evident. besides a realistic element, but likewise unintentional. The elements of women's (matriarchate) regulation are clearly shown here.
The climax of BG’s plans is prophecy about the appearance of the prophet, Messiah, etc. And here we have references to Islam. As a Liberal, I don't head drawing on Islam. However, it is simply a different civilization and 'gives a sense of differentness. However, we have literal terms like Mahdi, a jihad that endanger their literalness. As you can see to realize Diuna you must read in the Desert and in the Forest. erstwhile you read the WPIP, you know who Mahdi is. And if not, no. But that's not the key:
Let's figure out who did the drugs first. Diuna residents, navigators, aristocracy... Reds were high, too. Have you noticed that it was impossible to call off people who lived on Arrakis for a long time? due to the fact that they became addicted to spice and either had to deliver it to them or they would die. That's why throwing out the Harkonnen is problematic. He was most likely getting advanced too, which is why he's besides old to be in the movie. But what does that mean? Nothing.
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Because they all had visions of the future, so we have a paradox: they saw the future of Kwisatz Haderach (hereinafter KH), so they created prophecies about him that began to be fulfilled. Paul stepped on a giant worm that appeared due to the fact that he had a imagination that he was about to appear. Itp. etc. Paul gains the prophesied abilities of KH. All this is unclear. True, Fremen, who service as the Elders, the little educated of the insignificant Centres, force certain actions on it, but these are the realities. It's so vague and materialistic they're incorrect to throw themselves here.
Fremen are to be a critic of fanaticism and religion but on the another hand we have representatives of atheism and materialism, or Harkonnen. And they're worse due to the fact that they're shown as killers, sadists, etc. The government that tolerates specified degeneration must neglect and this is simply a serious informing today. The Harkonnens are shown great, Raban turns out to be strong in escapes, and this young man is even more crazy than the old baron. And their rumbles in the black and white two-colored setting of the black sun... Batista plays perfectly and I will gotta pay attention to his fights:
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Chani
Chani's creation, played by Zendaye, raises considerable controversy. That's right.
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That makes Chani strong, brave independent. In fact, all minute she fickles, she accepts nothing, acts pointless. It's badly damaged compared to the book. In the book there are concubine institutions and Paul married Irulana politically, but Chani was his concubine. Do I remember correctly? Were the Fremen customs modeled on Islam and respective wives to have? There is strong patriarchism there and Paul gets a wife and children after Jamis, whom he kills. I don't feel like reading Duny again to catch specified nuances. But Fremen's patriarchism is carefully hidden from the viewer. As I see it, the fight here is about interpreting a single scene. If they want to movie the Messiah of Diuna, then they must cancel and bring Chani to the book level. Can they do it?
At this point, I ignore the lefties, complaining about white messianism in the peoples, to the political tone, they live in their world.
We, on the another hand, have a work which has come to pass. People get tired of the Marvel blockbuster, DC, possibly it's time to change the repertoire?
O Diuna 2:
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