Dune - Part One (2021) and Part Two (2024) - Film Review

What makes one fiction cult and another one mainstream, irrespective of its popularity? For example, films like Guy Ritchie’s Snatch (2000) or David Fincher’s Fight Club (1999) have a cult following, whereas James Cameron’s Titanic (1997) or Speilberg’s Jurassic Park (1997), of the same vintage and equally great films in their own right, have mainstream popularity. Or in science fiction, films like the Marvel Universe or Star Wars hit the mainstream spot, while films like The Matrix (at least when it started) or Nolan’s initial films like Inception, or the Mad Max series become cult classics? 

Getting into Dune, once again brings this perspective to life in a big way, because Dune, falls squarely in this category of “cult” sci-fiction.

Dune, the film, based on the (ahem!) cult sci-fi novel of the same name, written by Frank Herbert in 1965, is two movies (Part one in 2021 and Part two now in 2024) together capturing the story of the first book in the Dune novel series, which itself comprises six books, written over two decades. The intergalactic plot is across multiple planets, with the epi-center of the story set on the desert planet Arrakis (hence ‘Dune’). Inhabited for centuries by the local Fremen tribe, but ruled and exploited by the Empire for decades, for the precious ‘spice’ that is found only on this planet. Spice, which is the most valuable commodity in the

universe, with multiple uses, not the least of which is the key ingredient of the fuel that powers interplanetary travel.  Against, this backdrop, the first book (and the films) tell the story of Paul Atreides (played by Timothy Chalamet), as he grows from a naive youth, son of Duke Leto Atreides, TO a survivor along with his mother Lady Jessica (Rebecca Ferguson), after his father and the entire Atreides clan is murdered over a political coup, TO becoming part of the Fremen tribe and joining their cause of fighting the imperial and brutal Harkonnens as Muad’Dib, TO finally realizing his destiny as the prophesied political and religious leader of the Fremen and therefore planet Arrakis, as the Lisan Al Gaib. Thereby winning freedom for the planet from the evil emperor, and claiming the imperial throne for himself, challenging the entire political machinery of the universe. 

Now, by definition, cult means it’s not for everyone, and that it appeals to a narrow audience that either connects with the theme, or more often than not, connects with the nuances and the layers that are beneath the overt story-telling. And that’s why we see many who are drawn to watching Dune for its big, grand, sci-fi, SFX experience, walking out feeling under-whelmed or with a ‘meh’.

Because, for one, unlike many other fiction novels made into movies (like say the brilliant Lord of the Rings), the film Dune expects its viewers to have read the book. Or the atleast, know enough about the novel. And for those of us who have, the film (especially with Denis Villeneuve’s big-budget IMAX experience) is a beautiful and inspiring bringing-to-life of this unique imagination and vision of Frank Herbert, telling the complex story-telling of imperial politics, nationalistic resistance, and religious fundamentalism. A story where it’s not always clear what’s the better path for an entire population, that one way or another, is enslaved and manipulated by one kind of power or the other. Just like the world we live in every day. No black-and-white answers in life, right?  

Throughout the film, we are rooting for Paul Atreides, a victim of political play, as he fights against the system, with the help of his Fremen believers, slaying the evil Harkonnens, avenging his family’s betrayal, and coming to power by defeating the emperor, with a clear public affirmation that he is “the One” that will bring redemption to Arrakis and the universe. But, throughout the story, we are also very aware of and frightened by the impending and inevitable danger of him coming to power, as the absolute religious leader, who will spawn a mass annihilation in the future. As history (and indeed our present world) has evidenced, we know this to be true in our world, where the popular leader himself becomes the destroyer of the very thing he was chosen to save. A certain Russian leader, a Turkish leader, an American leader, and perhaps a leader closer to home, comes to mind! What do they say about absolute power…. 

As the young Paul Atreides, who was thrown into the desert after his father was killed, we love him, feel bad for him, want to help him, champion him, feel his vulnerability, cheer for him, as he fights and survives and wins the Fremen trust and leadership and defeats his vile enemies.

As Muad’D’b, the young fighter and an equal member of the Fremen tribe, we admire him, respect him for his earnestness, his madness, his will, his love for Chani, his sheer resilience and the clarity of vision for what he is fighting for, even at such a young age.

But, as Lisan Al Gaib, the religious leader of Fremen based on blind faith, the result of a prophecy which itself is a massive political plot spawned by the spiritual and shady power-monger community of the Benne Gesserit, we are unsure, we are worried, and fear the consequences of what this absolute power might forebode for the world and his people.

And as Kwisatz Haderach, the ONE, who can see and exist across time and space, we are in awe and overwhelmed at the uncertainty of the future with this being, who till yesterday was just a little boy, but now seems to have the fate of the whole universe in his hand.

The film captures these nuances beautifully, especially told through the lens of Chani, the Fremen woman that Paul falls in love with and makes her his partner. And it is these nuances and layers that make Dune the cult franchise that it is. 

The genius of Dune is also in the realisation that written in 1965, we can clearly see how many popular sci-fi franchises like Star Wars, or Star Trek are inspired by the various elements from Dune. The prodigal son, the evil Empire, the hero’s lineage linking back to the evil rulers themselves, and so on and so forth. 

The casting of the film is brilliant and hits the spot for the storytelling. Timothy Chalamet, as the protagonist, does a really good job of portraying the layers of his character and shows his talent. Rebecca Fergusson as Lady Jessica, who herself transforms from a protective mother to the Reverend Mother of the entire tribe, at heart a Benne Gesserit, using her soft and magic power to manipulate her son and the people around her towards political gains. Javier Bardem, as Stilgar, the leader of the Fremen tribe is both powerful and endearing. And all the other actors portray their roles superbly and convincingly. Zendaya, however, as an important central character, is underwhelming and leaves us unfulfilled in her portrayal of Chani, albeit supporting the story just about enough. 

While we know a lot of cult books and movies do become mainstream over time (Marvel’s comics, Game of Thrones, The Matrix, etc), Dune seems firmly in the category that will likely stay cult for a long long time. So, watch the film only if you’re planning to join the cult. 

And if you are, my advice would be to read the book first. 

Killers of the Flower Moon, 2023 - Film Review

Martin Scorcese’s next masterpiece brings to the audience an appalling tale of human greed, cold blooded crime and racist prejudice, forgotten by history and the history-makers. Portrayed through lead performances by the genius DeNiro and the brilliant DiCaprio, this three-and-a-half hour epic saga is nothing short of a big cinema movie-making treat, that demands full attention, and listening to.

The story is set in the 1920s America, in the town of Fairfax, in the south-west state of Oklahoma. A land that belongs to the Red Indian tribe, referred to as the Osage. A chance discovery of oil makes the whole community rich overnight, creating wealth for generations. As landowners of this land with black gold, with ample money and time at hand, the Osages create a large consumption market of all kinds of goods and services and addictions, which apart from happiness and pleasure, also brings with it physical and mental ailments, and a whole ecosystem of white men (and women) with jobs to serve, collaborate, partner and take advantage of. Against this back drop, the film tells the specific story of the abhorring mastermind plan of William Hale (De Niro). Of gradually eradicating the Osages and acquiring their land inheritance, either through marrying and then eliminating their women, or with plain old cold blooded killing, when needed. All this while publicly playing the perfect charade of a partner-leader-compatriot of the Osages. Against this deep-seated conspiracy, arrives Ernest Burkhart (DiCaprio), nephew of William Hale, returning from World War I duty, quickly becoming a pawn in his uncle’s vicious and silent genocide. Marrying the available and future land inheritor Mollie (Lilly Gladstone), Ernest, along with his uncle and brother Byron accelerate the plan of eliminating the relevant Osages one by one, in cold and cruel ways, while on the surface always displaying love and affection. Taking undue advantage of the land where the US Federal law doesn’t apply (the Indian law applies), the vile deceit and quiet bloodshed continues unabated, till Mollie, after losing all her sisters and mother, and despite being quietly poisoned by her husband, makes a trip to Washington DC, asking for help from the federal government. The FBI (the 1920s version of it), finally arrives, unravelling the crime and eventually putting an end to it, but not until multiple Osage families are wiped off forever.

Scorcese is clearly on a mission with this film. The primary motive of the film is not to entertain like The Departed, even though the cinematography, the background score, and the performances move us, just like a classic piece of entertainment would. The purpose of the film is not to enthral like Shutter Island, even though the deploring murders of the Osage tribe has got us hooked on, to know happens next like a good thriller. The intention is not to tell the story of a person, time and place like The Wolf of Wall Street, even though the film brings alive an important and forgotten time and people and place in American history, immediately after the first World War. 

Scorcese’s mission in this film is much larger, much grander and more important in current times. His mission is to remind us of seeking a complete and an objective view of history. He wants us not to blindly accept the understanding that has been handed down to us from generations, without being questioned. He doesn’t want us to forget the uncomfortable and potentially horrible truths of our ancestors, just because we don’t want to face them. He doesn’t want our understanding of history only to be what we’ve read in our school history books, which have been carefully written by the makers of today. He wants us to seek more, ask more, find more from our history. Because as he has said often, we can’t define where we are going, till we know where we’ve been. Our history, no matter how ugly it may be, has led to where we are today. And only if we deeply empathise with our own histories, will we not repeat the same mistakes, and build towards a better future. By showing a mirror to our past, Scorcese hopes to open a window into our future.

The specific story of the Osage murders is thoroughly engrossing and heart-breaking at the same time. The innocence of this Indian tribe, being easily manipulated by the vicious white man, evokes the same anger that Mollie feels. We helplessly watch the brutal killing of the Osage people, without any retribution to the culprits. This glimpse of a blatantly imperial and an inherently racist mindset of its time is a shocking realisation of what humans are capable of. And reminds us perhaps, why in 2024, we still see hate-crimes, wars and imperialism and racism, alive and kicking all around us. And in this, is Scorcese’s biggest achievement. 

A big stand out of the film is (no suprise) Leonardo Di Caprio and his portrayal of the complex character that Ernest Burkhart is. While genuinely in love with Mollie, he still can’t help following his uncle’s evil plot of poisoning her. Ernest is a good looking, confident, war veteran who wants to have a good life with a woman he loves. And yet he is inherently a man of weak character, easily bullied and manipulated by people around him, especially his uncle, doing things that he doesn’t even believe in. Only Di Caprio could have delivered this character to Scorcese’s vision. It’s a delight as always to see his performance. And once again, we walk out impressed with this sheer talent.

Lily Gladstone as the under-stated, afflicted, diseased and victimised Mollie is brilliantly impactful. Her subtle emotions hit the mark with the audience every time. We feel her every heart beat, her frustration, her anger, and her desperate love for the husband who is killing her, and till the very end wanting to not believe it.

DeNiro is brilliant as always, but throughout the film, he is a little too DeNiro, which at times, takes away from the character he plays. 

For all Scorcese fans, all the classic experience of his film is there. And it hits the sport perfectly. The art, the setting, the music, the largeness, the mood, the engrossing storytelling, the complete immersion of the brain for the entire time, and the impact. I only wish i  had seen it on the big screen. 

Scorcese’s vision, DeNiro and Caprio in the lead and Lily Gladstone’s stellar additional act, what’s not to like! But only watch it when you have a dedicated three and half hours. Anything less, and you will miss it.

Teri Baaton Mein Aisa Uljha Jiya, 2024 - Film Review

First off, unless you’re a die-hard-obsessed-will-watch-any-movie-of-Shahid (or Kriti) kind of viewer, this film is best avoided.

But, poor scripting, story-telling, and general lack of entertainment value are not the only problems with this film.

The film revolves around Aryan Agnihotri (Shahid) an ardent bachelor for life in his 30s, who would rather stay happily single than unhappily married, since he hasn’t found his perfect match yet. Much to the anxiety of his parents who are desperate for him to get married, to anyone.. and as it turns out, to anything. Working as a talented robotics engineer in his masi’s (Dimple Kapadia) US-based robotics company, he prefers spending his time and energy amidst tech and machines than with humans. No wonder then, on a holiday trip to his masi’s house on the west coast, he falls in love with an AI-powered humanoid robot called SIFRA (Super Intelligent Female Robot Automation!), an experiment that his masi tricks him into. Despite knowing SIFRA is a robot, and after months of getting back to India and trying to move on from what had been a passionate but extremely confusing love affair, Aryan realizes he is still madly in love with SIFRA. He decides to give in to his irrational feelings, bringing SIFRA to India, and duping his family with his intention of getting married to "this girl he met in the US". His family, only too happy to see him getting married, accepts her willingly and what follows is the weird and wonderful and supposedly funny story, on one side a love story between a human and a robot, and on the other side a robot pretending to be the human-bride. All leading, expectedly to a disastrous wedding showdown and an ending message, of course.

In many ways, this is an important film. It’s one of the first mainstream, big-budget Bollywood films that explores the very contemporary topic of AI, tech, and robotics, that we are living through today. And it certainly won’t be the last. And for that, we like it, because, after the first howler of an attempt on this topic, it is sure to open the window for more and much better movies in the future (or so we hope), dealing with this very real existential topic of our times. Just for that, I’m glad this movie was made.

But, apart from that, a few sweet and vulnerable moments of love between a human and a robot, and a few songs where it’s a delight to see Shahid dance once again, the movie turns out to be a complete dud.

Expecting it to be fully pop, one doesn’t expect a real or authentic understanding of technology, robotics or AI. And in that, it meets our expectations one hundred percent. Weirdly superficial and blah conversations around technology populate the whole film. But hey, it’s Bollywood, so that’s okay. Remember, we loved Rocky aur Rani (https://books-booze-boxoffice.blogspot.com/2023/08/rocky-aur-rani-ki-prem-kahaani-2023.html), despite its vacuous depictions and cliched stereotyping of the intellectual Bengali, inane testing of Rocky’s GK with the question on who is the President of India, or where is West Bengal!!!
Because, to enjoy a good Bollywood entertainer, we don’t need intellectual stimulation, we need emotional stimulation.

And that’s where the trouble with this film is. 

If it was meant to be a rom-com, it’s neither rom nor com. 

If it was meant to make a statement on humanity vs. technology, it confuses and misses the point of both.

If it was meant to show a window into the lonely and isolated lives of our youth, the mirror is so faded that you see nothing.

As a result, the film is neither entertaining nor thought-provoking. 

What’s worse is that in pretending to tell a modern story around human vs. technology, it inadvertently ends up exposing itself, and showcasing the deep-seated patriarchy and chauvinism that is still so prevalent in our society. Aryan, constantly makes jokes at his married friend about his miserable married life due to his nagging wife. The women of the Agnihotri family, are all playing the traditional home-bound housewives with stereotypical roles, reminding us of the saas-bahu serials we thought we had left behind. Most fundamentally, the central plot of Aryan falling in love with a woman-as-a-robot is mostly because she follows all his orders! And finally, the climax wedding scene when it all goes wrong and SIFRA malfunctions badly and it takes nothing short of Aryan’s violence to put an end to her. In many ways, it was quite appalling to see such a blatant display of misogyny on the big screen, mainstream cinema. (And no, I don’t think Animal was misogynistic, read my review of Animal here https://books-booze-boxoffice.blogspot.com/2023/12/animal-2023-film-review.html ).

All in all, a big opportunity lost in what could have been a meaningful and entertaining story around how new technology is enabling and integrating, yet challenging and messing with human lives today and in the future. 

Alas! Just like great technology in the hands of misguided humans is one of the most frustrating things in the world today, so is this film. 

Smart tech-dumb people. 

Well, we see enough of those, don’t we?