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It makes Lynch’s film diverse in the way that a sci-fi space opera should. While that internal incongruity might be a structural detriment to Lynch’s Dune, it also affords it one major advantage over Villeneuve’s new adaptation.
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A feverish blend of surreal filmmaking, hardcore science fiction, and big-budget entertainment, the movie never quite settles into a singular, coherent product. The discordance behind the scenes between Lynch and the studio is palpable throughout the film. It has been ridiculed as an “ incomprehensible, ugly, unstructured, pointless excursion ,” – and there’s, unfortunately, a degree of truth to that assessment. Lynch has publicly declared his adaptation a failure, and he’s certainly not alone in that. Some voice-overs shouldn’t be there and there are important scenes that just aren’t there. Things were truncated, and whispered voice-overs were added because everybody thought audiences wouldn’t understand what was going on.
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In his memoir Room to Dream, Lynch details his frustration with the constraints of a major studio production, particularly over slashing the film’s length to maximize sales, stating: The ‘84 Dune was Lynch’s only true foray into the worlds of both science fiction and blockbuster entertainment, and it was not an experience he enjoyed. There are undeniably things that Villeneuve’s adaptation does more successfully, but the distinct fantasticality and utter weirdness of Lynch’s version will likely see it overtake and outlast the new film in the coming years. Released last month, the new film has prompted a long-overdue reevaluation of Lynch’s maligned cult classic, resulting in a growing appreciation of its unique design. Now, 37 years later, sci-fi auteur Denis Villeneuve has hazarded his own excursion into the cinematically inhospitable world of Dune. For decades, the film has been dismissed as an unfortunate footnote on the otherwise highly esteemed director’s career. A theory that was only reinforced when David Lynch’s ill-fated attempt at an adaptation premiered in 1984. Too much, according to some, to ever be effectively adapted for the big screen. Half operatic space epic, half eco-political allegory, Frank Herbert’s seminal sci-fi novel Dune covers a lot of narrative and metaphorical ground.