As a seasoned sci-fi enthusiast and aficionado of all things Dune, I must say that “Dune: Prophecy” has left me both intrigued and somewhat bewildered. The series presents an ambitious blend of historical narrative, psychedelic visuals, and a dash of the surreal – a potent cocktail that is as captivating as it is challenging.
In a simplified manner, here’s how we could rephrase that:
Having a good understanding of both Dune movies (and the books) significantly enhances one’s enjoyment of Prophecy. While the new HBO series aims for self-containment, it can still feel confusing if you’re not already familiar with Dune. It’s like jumping into The Lord of the Rings on page 200. If you’re not well-versed in Dune, MovieWeb’s recaps and reviews could be helpful, but watching the movies would undoubtedly provide a richer experience. They surpass the series in terms of budget, which allowed for impressive special effects, sound design, and action sequences. HBO might be extravagant, but they won’t spend $355 million on a six-episode series.
Instead, the series delivers a wealth of information about Dune, enhancing our understanding of it. It manages to elevate the movies further, and effectively constructs a distinctive visual world with remarkable production values, camera work, and costumes. Admittedly, it may evoke a sense of HBO familiarity and seem like a more dramatic version of Game of Thrones, given its focus on ruling families and political intrigue. Similarly, the Dune movies could be perceived as being similar to Luke Skywalker’s saga in Star Wars or any other heroic journey. Nevertheless, we are simply retelling the same epic tale.
The Events Leading Up to ‘Dune: Prophecy’ and the Bene Gesseret
The storyline of “Dune: Prophecy” revolves around the inception and ascension of what will later become known as the Bene Gesserit, preceding their ultimate downfall as depicted in “Dune.” At this stage, they are referred to as the Sisterhood of Truthsayers. These women possess unique mental abilities to discern truth from lies, making them formidable instruments; each imperial House is supported by at least one such Sister. The role of these women is intended to preserve a semblance of peace and integrity within the empire, however, the Sisterhood harbors their own secret agendas. Essentially, “Dune” delves into the intricate world of manipulative females; it’s no surprise that he was married multiple times.
It’s time to quickly catch up on some history, before we dive into the story of Dune: Prophecy. Prior to this, humankind was embroiled in a destructive conflict known as the Butlerian Jihad or Great Revolt, against advanced artificial intelligence. The humans emerged victorious, leading to a ban on any form of thinking machines or A.I. After this period, the Spacing Guild was created, unifying various Houses under House Corrino during the Corrino Empire (which ends with Dune: Part II). As long as the spice continues to flow, it enables travel across galaxies.
In essence, the main idea of “Dune: Prophecy” revolves around the Sisterhood attempting to infiltrate the Empire with one of their own, with the aim of averting their own demise. There’s a prophecy called Tiran-Arafel that foretells the destruction of the Sisterhood at the hands of a powerful tyrant. Consequently, the Sisters believe that having one of their kind in power will safeguard them, leading them to create a breeding index for strategic succession planning. This long-term strategy eventually results in Paul Atreides, setting up a striking paradox – by trying to secure and consolidate their power, the Bene Gesseret unknowingly bring about the person foretold to destroy them, though this happens 10,000 years into the future.
The Arranged Marriage of Princess Ynez, Future Truthsayer
The narrative commences featuring Princess Ynez (Sarah-Sofie Boussnina), the offspring of Emperor Javicco Corrino (Mark Strong). In this world, only men are eligible to rule each House, and the Emperor’s family consists solely of a daughter and an illegitimate son, Constantine, who is ineligible for the throne. As a result, Emperor Corrino orchestrates a matrimonial alliance between House Corrino and House Richese; Duke Ferdinand Richese pledges to bolster Corrino with significant equipment and funds to revive their dwindling spice output. However, the issue arises as the intended groom, Pruwess Richese, is merely nine years old.
Thankfully, unlike certain series, “Dune” steers clear of unsettling elements, and the marriage is deferred until the protagonist reaches maturity. In the interim, Ynez intends to apprentice with the Sisterhood, aiming to become one of them. The Emperor Corrino finds this strategy advantageous, as his daughter will assume the role of Truthsayer for House Corrino, thereby reducing his dependency on the Sisterhood. Naturally, from the Sisterhood’s perspective, the future Empress joining their ranks aligns with their master plan. (Written in a first-person perspective as a movie critic)
Introducing Valya & The Voice
In “Dune: Prophecy,” we’ll see the narrative shift between two time periods: the current storyline with Princess Ynez, and events 30 years ago when the Sisterhood’s matriarch passed away, and was succeeded by Valya Harkonnen. Young Valya, portrayed by Jessica Barden, takes on this role, while Emily Watson plays her in the present day. Interestingly, instead of the original Mother Superior’s granddaughter Dorotea, Valya ascends to power. This is because, like the founder of the Sisterhood, Valya shares the belief in the Tiran-Arafel prophecy and the covert strategy of utilizing a breeding index to manipulate power from behind the scenes.
As a film enthusiast, I found myself in a pivotal role as Valya, who, in an unforgettable instance, claimed the title of Mother Superior following the demise of Dorotea. This momentous occasion marked the genesis of ‘The Voice,’ a formidable telekinetic influence that would later define the Bene Gesseret. In this critical encounter, The Voice manifested as Valya compelled Dorotea to take her own life, a chilling demonstration of its origin. This act, born from a gesture of murder, speaks volumes about the Sisterhood and their enigmatic intentions. Subsequently, Valya, along with her sister Tula (Olivia Williams), wielded immense influence over the Sisterhood, shaping their course of action.
Who Is Desmond Hart, Burner of Flesh?
Without a doubt, one of the most captivating figures in “Dune: Prophecy” thus far is an innovative character not present in the original novels, which speaks volumes about its intrigue. It’s hoped that “Prophecy” will have the courage to diverge occasionally from the Dune universe, as its unique concepts are typically outstanding. This compelling character goes by Desmond Hart, portrayed by Travis Fimmel, a formidable soldier who has completed 12 tours of Arrakis and miraculously survived as the lone survivor of his last regiment, even though a sandworm appeared to have consumed him. The mystery surrounding how he endured, his driving forces, and the unsettling power he seems to possess (if indeed it’s a power) all hint at intriguing revelations in the future.
In the finale of the first episode, Hart demonstrates an extraordinary ability, which appears to be telekinesis, as he seemingly causes the deaths of two individuals by setting them ablaze from within. One of these unfortunate souls is the Reverend Mother, who meets her end on a distant planet, while the other is young Pruwess Richese, a suitor to Princess Ynez, who tragically perishes in a hallway encounter with Hart during the cover of night.
At the union celebration between Houses Corrino and Richese, Pruwess astonished everyone by presenting an artificial intelligence device disguised as a robotic ball that transformed into a robot lizard. This mechanical creature inadvertently escaped the room, and Hart managed to capture it with his sword. Whether he applied a deadly chemical substance to it or simply possessed powers inherited from the sandworm, the outcome was dire: the nine-year-old Pruwess met a gruesome end by being set ablaze. This chilling conclusion of Dune: Prophecy serves as a stark reminder that this series is unafraid to delve into grim realities, so brace yourself for hardship and anguish – they are the very pillars upon which politics stand.
‘Dune: Prophecy’ Is a Psychedelic Epic
One surprising aspect of the series “Dune: Prophecy” is its inventiveness in visuals and storytelling. Unlike typical narratives, it’s not just linear (since history repeats) but also symbolic. It features many psychedelic visuals, which align with a show titled “Prophecy,” dealing with premonition and divination. We witness numerous haunting montages, meticulously filmed and rich in symbolism, disquieting subjective POV sequences, and an intense, drug-induced love scene at a psychedelic nightclub.
The imagery is thematically clever as well, adding to the symmetry the series creates between itself, the Dune movies, and the themes of the franchise (power, inevitability, the nature of history). The way circles are used and shown is phenomenal — eyeballs, the mouths of sandworms, suns, bowls and pools of water, a ring of praying Sisters, etc. The first episode ends with an extreme zoom into an eyeball, which leads to a dark void in which a pair of blue dots can be seen — the eyes of Paul Atreides, or Desmond Hart, or the God Emperor, or a machine, who knows? History is a perfect circle.
An Avalanche of Exposition Kills the Mood
Regrettably, similar to certain parts of the Dune films, Dune: Prophecy appears overly laden with explanatory content. With only six episodes at hand, it feels as though this limitation could hinder the show’s potential for expansion. Instead, we are faced with dialogues that seem forced and awkward, primarily serving to impart historical details, which significantly slows down the flow of the series. The abundance of proper nouns in a single episode surpasses what most franchises accumulate throughout their entirety, making it challenging to keep up with names, places, and context. However, the multifaceted cast is a saving grace, as they are easy to recognize by appearance, even if remembering their names and locations remains a challenge.
The actors do a generally good job, though with dialogue that services the narrative more than the characters, many performances come across as wooden or one-dimensional. Emily Watson, usually excellent, honestly feels miscast as Valya; she’s arguably too soft here, and the expository dialogue is especially restricting for an actor with such range. However, Olivia Williams is warm and wonderful as her sister, Tula, and Sarah-Sofie Boussnina is passionate and dynamic as Princess Ynez. The standout of the show, though, is Travis Fimmel as Desmond Hart. There’s a psychotic twinkle in his eye, and his physicality is intimidating but also wounded and slightly broken. He seems both wise and unhinged, and is a morbid joy to watch.
As a cinephile, I found myself hooked from the very first episode due to its tantalizing hints. The world created by Diane Ademu-John and Alison Schapker is visually bold and enticing, leaving me eager for more. Despite the series attempting to tackle a considerable amount (with an impressive six-episode scope), it remains engaging and appetizing to watch.
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2024-11-24 20:35