<h1 class="pgc-h-arrow-right" data-track="1" > from "bunker" to Dune</h1>
Reading tip: As one of the most difficult science fiction novels in film history to adapt, from "Bunker" to "Dune" is already a progress.
Written by | Zeng Nianqun
Looking at the three major versions of "Dune" in film history, this version directed by Villeneuve is undoubtedly the most successful. This is certainly cunning — David Lynch's 1984 version is the only failure of his career, while Zodlowski's 1975 version ultimately failed to make a trip, leaving only a documentary on how he conceived of Dune, and his squad list subsequently appeared in the opening of Alien, and his original concept designs have influenced Hollywood science fiction creation to this day, making generations of fans sigh for nearly half a century. It's no exaggeration to say that if Jodulovsky's Dune had worked, there might have been nothing to do with Lucas and his Star Wars.
Villeneuve's version also has a cunning component, he only grabbed a prelude from Frank Herbert's voluminous original book as the cornerstone of his series, the story has not yet officially entered the original "Dune Universe", only to push a vast and mysterious sand sea world into the public eye - it is like a protracted war has just begun, it is difficult to examine its history and merits from the perspective of the Almighty Prophet. But what is certain is that Villeneuve's "Dune" cannot climb the hill of "Star Wars", it has been locked by the "wise son" of film history, and can only enrich the film science fiction family as much as possible in its own audiovisual system.
Judging from this prologue chapter alone, the film is first imported from the visual system, not the story itself. Villeneuve knocked on the door of the industry in the millennium with "Vortex of Fascination", and then directed "Scorched Earth", "Prisoner", "Border Killer", etc., after more than a decade of wandering around the feature film, in 2016 he suddenly changed his creative direction, shooting the science fiction film "Arrival" at a considerable cost, followed by the 150 million cost science fiction blockbuster "Blade Runner 2049". Looking back now, Villeneuve's rudder wasn't a whim, and everything seemed to be preparing for his third sci-fi blockbuster, Dune.
"Dune" is not only a welfare for science fiction fans, but also a big gift package for space fans, especially for Chinese audiences who have just watched the Zhuhai Air Show and are focusing on the Chinese space station, the various space installations in the film can be described as a random flower and a charm. Whether it's a barrel-shaped spaceship that gives people a giant phobia, or a flying wing that is small enough to carry only two people; whether it's the Matrix of the Erridi family box aircraft, or the cuteness of the Empire's ship, the various anti-gravity devices are refreshing.
The visual concept of the film is the grafting of medieval retro and futuristic science fiction. European medieval costume elements swayed and bloomed in the cold wind of future science fiction, not only capturing the silhouettes of the characters such as medieval statues, but also the death of figures such as the Duke of Torre, but also like medieval oil paintings. This exquisite and unique visual pursuit makes the film's painting style always immersed in a certain pilgrimage-like aesthetic, and then immerses the words and deeds of the characters and the movement of the mirror in a certain baptismal solemnity and solemnity. Even the story tone of the film is the grafting of feudal retro and science fiction. And that's where the problem comes in — trying to start a sci-fi mile with an old-fashioned feudal strife always worries about his three-part plot and revenge routine.
The three "Dunes" in the history of film just reflect the three pursuits, struggles and destinies of Hollywood blockbusters - Jodulovsky's "Dune" is pioneering, beyond the times, and at the same time is the irreconcilability of artistic persistence and capital manipulation, and the result is the stagnation of art; David Lynch's version is flattering the market, is the clamping of capital on art, completely loses the director's style, and is abandoned by the audience; Villeneuve's version from the current point of view, its artistic pursuit has been strongly supported by capital, Unfortunately, its pioneering degree is far less than that of Zodrowsky. It is worth affirming that as one of the most difficult science fiction novels in the history of film, from "Bunker" to "Dune" is already a progress. As for whether he can become another series of science fiction brands exported by Hollywood culture like "Star Wars", it also depends on how it avoids the routine of narrative and thoroughly photographs the philosophical system and world view of the original "Dune Universe".