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Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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Speaker 2: Hey, welcome to Weird House Cinema.

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Speaker 3: This is Rob Lamb and this is Joe McCormick. And

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Speaker 3: today we are back with our first ever part two

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Speaker 3: of a Weird House Cinema episode. We do not think

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Speaker 3: we're going to make this a regular occurrence. But there

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Speaker 3: is a reason we had to split last Friday's episode

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Speaker 3: in two, and it's that we were talking about the

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Speaker 3: nineteen eighty four David Lynch adaptation of the novel Dune,

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Speaker 3: a movie that I don't think it would be possible

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Speaker 3: for us to talk about for less than three hours.

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Speaker 3: In fact, if we got maximally self indulgent Robert, I

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Speaker 3: think we could talk about David Lynch's doing for six hours,

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Speaker 3: maybe seven. How many movie runtime lengths could we go?

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Speaker 2: I mean it depends on which which version, which cut

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Speaker 2: you're going, right, But yeah, we just we had to

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Speaker 2: split this one in two because there's just too much weirdness,

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Speaker 2: because it is a David Lynch film, and it is

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Speaker 2: based on the already weird book Dune by Frank Herbert,

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Speaker 2: published in nineteen sixty five. And then we just have

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Speaker 2: such a rich cast that we have to at least

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Speaker 2: acknowledge these various performers who really give it their all.

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Speaker 2: And then, on top of all of this, Dune Part

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Speaker 2: two just came out in cinemas. It is already a

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Speaker 2: huge hit. Everyone's loving this film. Dune is in the

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Speaker 2: air again. The spice is in the air again. And

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Speaker 2: so we figured, well, if we're gonna cut a weird

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Speaker 2: house cinema episode into two like this, this is the

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Speaker 2: movie and this is the time to do it.

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Speaker 3: So I actually have rather big news with respect to

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Speaker 3: Denieville news Dune Part two. We managed to see it

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Speaker 3: in theaters. This is actually the first movie that Rachel

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Speaker 3: and I have managed to go out to the movie

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Speaker 3: theater to see since our daughter was born. And oh man,

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Speaker 3: it was worth it. We had such a great time.

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Speaker 3: We were just like pumping our fists during the worm

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Speaker 3: riding scenes. It was great. And I think I guess

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Speaker 3: we should say at the beginning of this episode here

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Speaker 3: there will be significant spoilers in this episode for the

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Speaker 3: plot of Doune both. I guess I'll three the novel,

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Speaker 3: the Lynch adaptation and the new adaptation. And I thought

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Speaker 3: some of the differences in the choices where it diverged

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Speaker 3: from the book and from the eighty four movie were

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Speaker 3: quite interesting, and I think, in some ways really smart

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Speaker 3: and in other ways really taking on a challenge of

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Speaker 3: portraying some of the darker and less heroic aspects that

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Speaker 3: emerge toward the end of the novel that you are

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Speaker 3: definitely part of Herbert's idea of what the story meant,

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Speaker 3: but I think are sort of left out of David

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Speaker 3: Lynch's version, which embraces a more full spirit of adventure.

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Speaker 2: Yeah yeah, and ultimately lands on a very heroic note.

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Speaker 2: We see Paul as a savior at the end of

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Speaker 2: this film, and we'll get into all this, but Venus

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Speaker 2: film is a different beast. While being very true to

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Speaker 2: the book, I believe that the spirit of his betrayal

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Speaker 2: of Paul is very much in keeping with the book

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Speaker 2: and certainly in keeping with the trajectory to come.

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Speaker 3: Yeah, yeah, I think that's absolutely right. I guess we'll

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Speaker 3: probably talk some more about this as we go on,

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Speaker 3: But obviously, if you have not heard part one of

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Speaker 3: this Weird House series, you should go back listen to

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Speaker 3: part one of our talk on Dune from last Friday.

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Speaker 3: First brief recap let's see, we talked about the novel

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Speaker 3: Dune and Frank Herbert. We talked about David Lynch and

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Speaker 3: his sort of film career and some of the common

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Speaker 3: themes and characteristics of his filmmaking, some of the story

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Speaker 3: behind the making of nineteen eighty four's Dune where David Lynch.

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Speaker 3: This movie is largely regarded as sort of an outlier

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Speaker 3: in David Lynch's filmography, and he has to some extent

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Speaker 3: disowned it. He was very dissatisfied with the final product

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Speaker 3: that was released, and he'd even said that working on

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Speaker 3: this version of Doune, produced by Dino de Laurentis, sort

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Speaker 3: of taught him that he would rather not make a

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Speaker 3: movie at all than make a movie that he didn't

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Speaker 3: have full creative control over. And he would go on

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Speaker 3: to make many more movies in the wake of this

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Speaker 3: where he did have creative control and are celebrated by

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Speaker 3: many as a very strange, interesting, excellent artistic achievements. Dune

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Speaker 3: was not beloved by critics at the time it came out.

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Speaker 3: I think in the years since critical opinion has softened somewhat.

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Speaker 3: It kind of has people look back on it now

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Speaker 3: and remember it fondly. But a lot of people did

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Speaker 3: not like this movie at all when it came out,

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Speaker 3: and I think that you can make an argument that

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Speaker 3: it is in many ways a failure to adapt the

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Speaker 3: novel appropriately. I think you can argue in ways also

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Speaker 3: that it is highly artistically compromised. You know, it's not

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Speaker 3: what the director wanted it to be. But at the

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Speaker 3: same time, I think David Lynch is done is great.

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Speaker 3: I love this movie and I have a great time

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Speaker 3: watching it.

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Speaker 2: Yeah, I think, especially as time has gone by, I

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Speaker 2: think more and more people, I think people who have

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Speaker 2: attempted to adapt it can recognize this and know more

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Speaker 2: about the history of adaptation regarding this novel. But I

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Speaker 2: think the more the time, the more time has passed,

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Speaker 2: the more a lot of people have realized that this

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Speaker 2: was still a commendable effort. It's still it's still a

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Speaker 2: pretty great telling of a Dune story, even if there

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Speaker 2: are some very important thematic notes and ultimately happenings that

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Speaker 2: the we'll discuss that are that I don't love, But

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Speaker 2: still a lot of it. Is there a lot of

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Speaker 2: the look of Doune. Is there a lot of the

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Speaker 2: feel of Dune? Is there lots of great performances, so,

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Speaker 2: you know, and even throwing on the fact that he

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Speaker 2: had to cut it down so much given all of

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Speaker 2: these limitations, the finished product is a lot of fun.

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Speaker 2: It has a lot of greatness in it. You know.

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Speaker 3: I noticed something when watching the new movie Dune Part

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Speaker 3: two that made me think differently on some stuff I

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Speaker 3: said in part one of the series. So last time,

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Speaker 3: we talked about how difficult doing is to adapt for

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Speaker 3: multiple reasons. On one hand, it's difficult because so much

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Speaker 3: of the story is contextual at stuff about the setting

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Speaker 3: rather than action that happens directly within the story. So

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Speaker 3: it's a lot of world building that's very interesting and

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Speaker 3: sort of gives the direct plot meaning. But the other

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Speaker 3: half being that a lot of the drama is internal.

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Speaker 3: It's like characters internal thoughts and stuff. And we were

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Speaker 3: joking about how in David Lynch's adaptation, there is often

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Speaker 3: like a close up on somebody's face and they're making

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Speaker 3: a thinking face while you hear their internal monologue, you know,

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Speaker 3: say saying, oh, Dune racket, you know, thinking through something, uh,

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Speaker 3: And it's often funny in David Lynch's adaptation. But I

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Speaker 3: realized the new movie does the same thing, and for

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Speaker 3: some reason, it just it just doesn't look as funny.

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Speaker 3: I don't know if the actors were instructed to make

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Speaker 3: different kinds of faces, but there is zooming on people's

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Speaker 3: faces and hearing their internal thoughts. Yeah.

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Speaker 2: So yeah, So we're going to continue to talk about

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Speaker 2: these these differences, some of these choices as we roll

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Speaker 2: on through here. Let's see, we got into the plot

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Speaker 2: a bit in the last episode, and one key thing

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Speaker 2: in case you've forgotten, or if you have, you're you're

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Speaker 2: gonna ignore us and you're just gonna roll into part

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Speaker 2: two without listening to part one, is that the one

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Speaker 2: thing we're doing different with this differently with this weird

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Speaker 2: House Cinema episode is instead of rolling through the entire

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Speaker 2: cast or notable members of the cast before going into

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Speaker 2: the plot, we are touching in on cast members as

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Speaker 2: we go. And this was in order to try and

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Speaker 2: make the split between the two episodes a little less

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Speaker 2: jarny mm hmm.

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Speaker 3: So the farthest we got into the plot in part

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Speaker 3: one was we talked a lot about the opening narration

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Speaker 3: from Virginia Madsen, where she talks for a long time

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Speaker 3: about the Spacing Guild and all that, And then we

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Speaker 3: talked about the scene where the Spacing Guild arrives on

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Speaker 3: the Imperial home planet and a Guild navigator in his

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Speaker 3: sort of in his fish tank locomotive comes into the

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Speaker 3: Emperor's throne room to consult with the Padisha Emperor Shaddam

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Speaker 3: the Fourth played by Jose Ferrer, and they have a

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Speaker 3: talk about essentially the entire plot that's going to unfold

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Speaker 3: in the first half of the movie, the plot against

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Speaker 3: how Streides and how the Emperor is planning to use

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Speaker 3: House Harkonen to destroy Duke Letto and his line.

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Speaker 2: Yeah, and then then we had to cut for time,

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Speaker 2: so we're jumping back in here with more build up

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Speaker 2: to the key plot. We're on a different planet. We're

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Speaker 2: on a wet planet, so let let's jump right in.

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Speaker 3: Okay, So here we are at the planet Caladan. This

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Speaker 3: is the home of House Atriades. It is a gray

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Speaker 3: planet of rain and oceans, totally contrasted with the dryness

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Speaker 3: of dune, though often comparisons are made between the waves

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Speaker 3: of the sea and the dunes of the desert, and

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Speaker 3: this comes up in several adaptations of the story as well.

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Speaker 3: But here we get more narration. Now, last time we

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Speaker 3: were joking about the amount of voiceover narration. There is

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Speaker 3: to explain what's going on in this movie, and there's

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Speaker 3: even more to come. So Princess Erilan continues on the soundtrack.

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Speaker 3: She says, the powerful Bennie jesser At Sisterhood for ninety

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Speaker 3: generations has been manipulating bloodlines to produce the Quisat's Hatarak,

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Speaker 3: a super being on Caladan. Jessica, a member of the

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Speaker 3: Sisterhood and the bound concubine of Duke Letto Atredees, had

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Speaker 3: been ordered to bear only daughters because of her love

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Speaker 3: for the Duke. She disobeyed and gave birth to a son, Paul.

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Speaker 3: Paul atreades. Even all that exposition raises some questions, but like,

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Speaker 3: I think it was part of the story that the

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Speaker 3: Benny jestertz they have many powers that they train for.

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Speaker 3: They have powers of mind, the mind that can sort

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Speaker 3: of command matter in various ways, and one of them

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Speaker 3: is that say, they can like control the sex of

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Speaker 3: their offspring with their minds psychically and things like that.

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Speaker 3: But so yeah, she disobeys the rules of this powerful

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Speaker 3: sisterhood and gives birth to Paul, who is yet you know,

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Speaker 3: he's going to be some kind of terrible messiah.

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Speaker 2: So Paula Trds in this film is played by Kyle

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Speaker 2: McLachlin born nineteen fifty nine. Kyle would have been in

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Speaker 2: his early to mid twenties here, I believe, and it's

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Speaker 2: awkward and it's difficult casting, but he, you know, awkwardly

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Speaker 2: feels a bit too old in the first half of

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Speaker 2: this movie.

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Speaker 3: I yeah, So this is not a knock on Kyle

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Speaker 3: McLaughlin at all. I love Kyle McLachlin. I love his

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Speaker 3: working relationship with David Lynch. He you know, they're perfect

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Speaker 3: for each other in Twin Peaks and all that. And

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Speaker 3: I am always happy when I see Kyle McLaughlin in

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Speaker 3: a movie. He's an actor I love. But for some reason,

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Speaker 3: I think I just have to admit he does not

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Speaker 3: feel right in this role. Something about his approach does

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Speaker 3: not fit either the great or the terrible purpose of Paul.

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Speaker 3: He doesn't seem to embrace the spirit of Epicanus really. Instead,

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Speaker 3: he comes off as Kyle McLaughlin like, he's kind of

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Speaker 3: nerdy and funny, and he like giggles a lot. And

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Speaker 3: there have been various criticisms of Kyle's coy Maclaughlin's performance

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Speaker 3: in this movie, and I have to just sort of

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Speaker 3: agree with them. I want to love Kyle here, but

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Speaker 3: something about him is kind of uncomfortable in the role.

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Speaker 3: He has this overwhelmingly wholesome innocence and doesn't really capture

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Speaker 3: that boy with dangerous potential feeling. He's more of a

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Speaker 3: cosmic Martin Prince in here.

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Speaker 2: Yeah, he never feels like a boy. He always feels

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Speaker 2: like a young man or you know, a guy in

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Speaker 2: his twenties anyway, And I guess the moments where I

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Speaker 2: think he is best are the sort of cold moments.

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Speaker 2: Sometimes it's even a moment with the internal voice going on.

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Speaker 2: And in these moments it's it's almost like Paul is

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Speaker 2: more of a cipher, you know, Paul kind of seen

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Speaker 2: through the lens of say, the protagonist in David Clintenberg's Scanners.

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Speaker 2: You know, someone whose mental reality, whose relationship with his

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Speaker 2: own thoughts and the world around him is so different

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Speaker 2: from ours that he feels a little alien, you.

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Speaker 3: Know, personality.

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Speaker 2: Yeah, so there are moments like that that that worked

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Speaker 2: for me. And yeah, for the most part, I don't

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Speaker 2: think it's a bad performance, you know, We've seen plenty

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Speaker 2: of movies where the central handsome lead is not a

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Speaker 2: good actor and is not good in any of his scenes.

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Speaker 2: So it's nothing like that. It's a totally different beast.

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Speaker 2: And it is very difficult and ultimately not fair to

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Speaker 2: compare him in his performance to Timothy Challomy in the

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Speaker 2: New Dune movies, because in my opinion, Challo May is

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Speaker 2: just absolutely perfect because for one, on one hand, he

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Speaker 2: is able to capture the youthfulness of Paul in part one,

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Speaker 2: he really does look like a kid that is maybe fifteen,

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Speaker 2: which I believe is his age in the book. And

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Speaker 2: yet he is still label and I wasn't. I was

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Speaker 2: doubtful until I went into part two. He's still able

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Speaker 2: to deliver that more serious awaken Paul, that dangerous Paul

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Speaker 2: that we get in the second half of dv's version

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Speaker 2: of Doom.

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Speaker 3: I totally agree. I think Chalomey is great in his

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Speaker 3: role in the new movies, and he gets both sides

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Speaker 3: of it, just like you say, he's you know, he

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Speaker 3: has that youthful spirit of adventure you're so on his

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Speaker 3: side in the first movie, and then that awakening to

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Speaker 3: the terrible purpose, the sort of art toward tyranny and

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Speaker 3: the and the coldness and abuse of power. You see

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Speaker 3: that come on, uh with with such convincing intensity in

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Speaker 3: the second film. And he I think he does a

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Speaker 3: really really commendable job. And I just want to say again,

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Speaker 3: I'm I'm not generally knocking Cole McLaughlin. I love Kyle.

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Speaker 3: I think he's great. I just think it's like he

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Speaker 3: maybe didn't get something about this character.

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Speaker 2: Yeah, you know, despite the fact that you know, I remember,

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Speaker 2: I think I've read in places that he was like

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Speaker 2: a real student of the book, you know, and like

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Speaker 2: came in and and was was you know, done his homework,

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Speaker 2: and and certainly, you know, like you said, he'd go

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Speaker 2: on to have a very accomplished career. He is a

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Speaker 2: two time Ammy Award winner for his work on Lynch's

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Speaker 2: Twin Peaks. This was his film debut, which he followed

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Speaker 2: up with with Lynch's Doom follow up, The neo noir

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Speaker 2: Blue Velvet. And this is not a surprise for anyone,

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Speaker 2: but because he's probably seen him in some he's a

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Speaker 2: terrific comedic actor as well. Yeah, he has great comedic timing.

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Speaker 2: I really enjoyed on Portlandia, for example, yes, then he

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Speaker 2: played the mayor.

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Speaker 3: I think, yeah he did.

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Speaker 2: All right, Well, what's what's Paul doing. What's Paul up

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Speaker 2: to this early in the film.

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Speaker 3: Well, we meet him in a room that looks kind

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Speaker 3: of like the officer's cabin in a British man O war.

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Speaker 3: It's this big, like stately wooden room with ornate molding

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Speaker 3: and flourishes, and basically what we're going to get in

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Speaker 3: this scene is yet another sizable exposition dump, serving to

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Speaker 3: fill in more information about the setting, characters, and politics.

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Speaker 3: So at the beginning of the scene, Paul is messing

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Speaker 3: around with something that looks suspiciously like a computer. I

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Speaker 3: don't think they have computers in this world. They should

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Speaker 3: have the what are the little like magnified scrolls or something.

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Speaker 2: Yeah, yeah, they better not have computers. Yes, because that's

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Speaker 2: of course the whole big deal in the universe that

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Speaker 2: we have the Butlerian Jahad that eradicated thinking machines, and

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Speaker 2: we have this strong date, you know, religious and cultural

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Speaker 2: that thou shalt not make a machine in the likeness

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Speaker 2: of a human mind.

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Speaker 3: Right, which is why in this world they have the mentats.

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Speaker 3: These are humans who are essentially trained to be computers

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Speaker 3: while remaining human. Yeah, but whatever this object is he's

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Speaker 3: messing with. It's displaying encyclopedic information on screen about different planets.

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Speaker 3: We see information on Caladan, Benny, Tlilax, and Aracus. We

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Speaker 3: learn about the mentats, the human computers with their red

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Speaker 3: stained lips. We learn about how the spice milange is

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Speaker 3: mined from the surface of Dune. We learn about the

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Speaker 3: worms of Iracus, which attack all rhythmic vibrations, and we

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Speaker 3: learn that the Harconins are the sworn enemy of Houseitreides

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Speaker 3: and their home world gide Prime is close is close

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Speaker 3: to Aracus.

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Speaker 2: It is interesting that this film decides to go ahead

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Speaker 2: and lay out stuff, you know, information concerning the Toley Laksu,

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Speaker 2: who are not going to be important in this film

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Speaker 2: at all, Like they were clearly thinking ahead to subsequent

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Speaker 2: film elms. I mean, they're part of it, like their

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Speaker 2: their work is present here, but you don't actually need

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Speaker 2: to bring them up. Likewise, later we're gonna get a

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Speaker 2: mention and you know, previously we had a mention of IX,

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Speaker 2: and X is not evenally important to this film either.

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Speaker 2: So it seems like if you wanted to like cut

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Speaker 2: down on the amount of information you're hitting the viewer with.

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Speaker 2: These would have would have been things you could have

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Speaker 2: left on the cutting room floor.

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Speaker 3: Yeah, yeah, interesting choice. We have just folded space from IX. Yes.

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Speaker 2: Uh.

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Speaker 3: Anyway, so Paul is approached in his state room here

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Speaker 3: by three characters who are servants of House the Treades.

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Speaker 3: There is Thufar hawat the mentat, and his eyebrows would

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Speaker 3: function as arrowfoils. Essentially, he's got like gigantic wing like eyebrows,

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Speaker 3: and he seems to be he's wearing like a fur

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Speaker 3: fringed coat at the strange choice, but I like it. Yeah.

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Speaker 3: We also meet in the scene Gerny Halleck, the Master,

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Speaker 3: the war master who trains Paul in the Marshall Virtues.

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Speaker 3: And we meet doctor Wellington Ua, the physician of House

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Speaker 3: A Treades. The he's a called a Suk doctor. And

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Speaker 3: the Souk school of medicine is I think like the

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Speaker 3: it's like the main sort of way medicine is done

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Speaker 3: in the world of Doune.

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Speaker 2: All right, let's go ahead and lay out these three

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Speaker 2: actors then, because they come in like next to each other,

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Speaker 2: it's almost kind of comedic the way they come out,

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Speaker 2: But you know, and and so, first of all, we

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Speaker 2: have we have Howitt played by Freddie Jones, who lived

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Speaker 2: nineteen twenty seven through twenty nineteen, British character actor who

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Speaker 2: we talked about in our episode on eighty three s Kroll.

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Speaker 2: He had previously been in Lynch's The Elephant Man, and

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Speaker 2: he has a slew of other credits, including nineteen sixty

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Speaker 2: nine's Frankenstein Must Be Destroyed, though that is generally I

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Speaker 2: think one that a lot of people choose to skip

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Speaker 2: in the Hammer of Frankenstein legacy. But in anyway, he's

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Speaker 2: perfectly fine in this, if a bit doddering for my taste.

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Speaker 2: I always picture Howitt as being a little more I

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Speaker 2: don't know, he's more loof here, which is in fitting

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Speaker 2: with the mintat but I tend to imagine him always

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Speaker 2: as being a bit more assertive. I mean, he's the

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Speaker 2: master of Spies for House of Tredes, like.

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Speaker 3: Yeah, simultaneously serene but sharp, and I think Stephen McKinley

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Speaker 3: Henderson gets that in Dune Part one absolutely yeah.

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Speaker 2: And I do love the eyebrows like this is a

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Speaker 2: film that does commit to helping the viewer out by

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Speaker 2: having a lot of visual cues regarding factions, houses and

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Speaker 2: different types of psychically enhanced people. And so the Mintats

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Speaker 2: all have just out of control eyebrows and I'll allow it.

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Speaker 3: It's gonna need okay. And he's got the red stained

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Speaker 3: lips from the juice that the Mintat straight.

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Speaker 2: Yes, yes, more than that in a minute.

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Speaker 3: But okay. So that's through fear how the Mentat. But

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Speaker 3: we also have Gurnie Halleck and doctor Ua.

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Speaker 2: Yeah, Hallick is of course. Gurney here is played by

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Speaker 2: Patrick Stewart born in nineteen forty. You know who Patrick

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Speaker 2: Stewart is. We're talking about Captain John luc Picard. We're

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Speaker 2: talking about Charles Xavier. His pre track films also include

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Speaker 2: nineteen eighty five It's Life Force. He was born in

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Speaker 2: nineteen forty. We talked about him briefly in our episode

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Speaker 2: on Nyazaki's Nausica because he did one of the voices,

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Speaker 2: so one of the key voices for that and did

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Speaker 2: an excellent job. But yeah, he is our troubadour warrior

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Speaker 2: in Lynch's Doom.

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Speaker 3: There's something about the way this character is realized in

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Speaker 3: the movie that makes him less exciting than he could

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Speaker 3: have been. Patrick Stewart in the role of Gurney Halleck.

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Speaker 3: Sign me up. That sounds amazing. A lot of his

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Speaker 3: scenes are kind of underwhelming, and it feels like it's

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Speaker 3: not necessarily Patrick Stewart's fault. It something about the way

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Speaker 3: it's that they're written and edited together. Like he's very

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Speaker 3: abrupt when he starts that we're about to get into

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Speaker 3: this like sparring fight training scene. It's just like very abrupt,

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Speaker 3: and he has not given a lot of room to

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Speaker 3: express the character, it seems to me.

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Speaker 2: Yeah, yeah, Well, Meanwhile, in the recent Dune films, Josh

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Speaker 2: Brolin has really had had more of an opportunity, I think,

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Speaker 2: to inhabit this role and ultimately is just tremendous in it.

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Speaker 2: So Josh Brolin easily my favorite journey that we've seen

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Speaker 2: on film.

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Speaker 3: However, Patrick Stewart does serve as the human vehicle for

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Speaker 3: my favorite character in this whole movie, which is Pug Atraodes.

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Speaker 3: We'll get to that a little bit.

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Speaker 2: Yeah, anytime he's on camera bravely defending the atrides strategic

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Speaker 2: stockpile of pugs, he's a joy, all right. And then

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Speaker 2: we have yeah, we have doctor Wellington Ua played by

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Speaker 2: Dean Stockwell. Who've lived nineteen thirty six through twenty twenty one,

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Speaker 2: a wonderful American actor that we discussed in depth for

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Speaker 2: our episode on the Dunwich Horror in which he starred

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Speaker 2: as the warlock Wilburt Wetley. Definitely go back and listen

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Speaker 2: to that episode if you want to hear us talk

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Speaker 2: more about Dean Stockwell. But I think he does a

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Speaker 2: fine job here and makes for a very sympathetic Ua.

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Speaker 2: Chan Chin is also great in the two thou twenty

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Speaker 2: one adaptation.

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Speaker 3: I agree. I feel like doctor Yue is one of

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Speaker 3: those characters that is hard to realize on screen because

401
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Speaker 3: so much of his drama is internal. Like we like

402
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Speaker 3: we were talking about that, you know, like he has

403
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Speaker 3: sort of the the reader in the book is given

404
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Speaker 3: access to some of his internal thoughts that give a

405
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Speaker 3: lot of meaning to his activity, to his his sort

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Speaker 3: of tragic character arc.

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Speaker 2: Yeah. Yeah, but if you're going into it cold, you

408
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Speaker 2: really only you're still only encountering him for a short

409
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Speaker 2: amount of time, So there's a lot of emotion and

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Speaker 2: turmoil to pack into that performance in a very short time.

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Speaker 2: I think both of these two gentlemen do a great

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Speaker 2: job with it. In their own way, and clearly this

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Speaker 2: is something we'll touch on later, but clearly they shot

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Speaker 2: more scenes with Dean Stockwell, because at times they'll just

415
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Speaker 2: like they'll like zoom zoo, they'll like fade into a

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Speaker 2: scene where he's having like a really emotional moment about

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Speaker 2: what he's about to do, and then we we fade

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Speaker 2: back out of that. This was a longer scene that

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Speaker 2: was going to be in the intended longer cut.

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Speaker 3: Yeah, yeah, and I can imagine that being a particular

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Speaker 3: sore spot if like the producers were saying, we got

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Speaker 3: to cut all this doctor Ue stuff from the first

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Speaker 3: third of the movie. Anyway, So these three men have

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Speaker 3: all sort of been involved in training Paul to become

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Speaker 3: a superhuman of sorts. He for example, when they walk

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Speaker 3: into the room, he grins very pleased with himself and

427
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Speaker 3: claims that he could tell who was approaching him from

428
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Speaker 3: behind without looking. You know, he seems almost giddy with

429
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Speaker 3: how powerful his ears are, and Gurney engages. Gurney comes

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Speaker 3: up and he's like, okay, time to knife fight Paul.

431
00:23:42,240 --> 00:23:45,399
Speaker 3: So they're gonna have a knife sparring match. Paul is

432
00:23:45,560 --> 00:23:49,720
Speaker 3: trained to fight with the blade using energy shields and

433
00:23:49,960 --> 00:23:52,359
Speaker 3: at first Paul says, you know, we already did our

434
00:23:52,440 --> 00:23:55,240
Speaker 3: knife training this morning. I'm not in the mood for more,

435
00:23:55,680 --> 00:23:58,439
Speaker 3: and Garney Hallick says, moods a thing for cattle and

436
00:23:58,560 --> 00:24:03,960
Speaker 3: love play, not fight. So that's a pretty good moment

437
00:24:04,000 --> 00:24:06,640
Speaker 3: for Patrick Stewart. But anyway, so they go into this fight,

438
00:24:06,800 --> 00:24:12,000
Speaker 3: and the way the energy shields are represented in this

439
00:24:12,119 --> 00:24:15,800
Speaker 3: movie kind of makes it so you can't really see

440
00:24:15,840 --> 00:24:19,760
Speaker 3: the actors anymore. They're represented as these animated prisms that

441
00:24:19,840 --> 00:24:22,960
Speaker 3: extend over the body from a device on the belt,

442
00:24:23,760 --> 00:24:26,280
Speaker 3: and they make the characters look like sort of blocky

443
00:24:26,400 --> 00:24:29,719
Speaker 3: early CGI characters like in the Money for Nothing video.

444
00:24:30,359 --> 00:24:33,960
Speaker 2: Yeah, this was disappointing for me rewatching the movie because

445
00:24:34,000 --> 00:24:37,320
Speaker 2: these effects were much better in my memory. I like

446
00:24:37,400 --> 00:24:41,840
Speaker 2: the concept of the shield technology being you know, kind

447
00:24:41,840 --> 00:24:44,359
Speaker 2: of blocky. I like the idea of being this kind

448
00:24:44,400 --> 00:24:49,520
Speaker 2: of like brownish color. The color schemes good. And interestingly enough,

449
00:24:49,520 --> 00:24:52,640
Speaker 2: i'd recently watched an extra about the excellent low Ki

450
00:24:52,720 --> 00:24:55,440
Speaker 2: series mini series that came out. Well, I guess it's

451
00:24:55,440 --> 00:24:57,959
Speaker 2: more than many series went two seasons, but they were

452
00:24:58,000 --> 00:25:02,320
Speaker 2: inspired by these effects to create their portal doors, which

453
00:25:03,080 --> 00:25:05,440
Speaker 2: are important to the plot of low Key, so clearly

454
00:25:05,480 --> 00:25:08,240
Speaker 2: it resonated with other people, but yeah, rewatching it, they

455
00:25:08,280 --> 00:25:11,600
Speaker 2: just end up hiding almost all of the action. The

456
00:25:11,640 --> 00:25:13,879
Speaker 2: new films do a much better job not only just

457
00:25:13,880 --> 00:25:17,439
Speaker 2: effects wise, but also creating a complex shield tech on

458
00:25:17,480 --> 00:25:21,080
Speaker 2: the screen that makes instant visual sense because there are

459
00:25:21,080 --> 00:25:22,960
Speaker 2: a lot of ins and outs to the way they work,

460
00:25:23,200 --> 00:25:26,760
Speaker 2: and it's pivotal for understanding various things about combat and

461
00:25:26,800 --> 00:25:27,600
Speaker 2: the Donning universe.

462
00:25:27,840 --> 00:25:30,479
Speaker 3: Yeah, it's a difficult thing to represent, but they do

463
00:25:30,520 --> 00:25:32,320
Speaker 3: a good job in the new movie. So the idea

464
00:25:32,480 --> 00:25:38,440
Speaker 3: is that these personal energy shields deflect fast moving incoming objects.

465
00:25:38,440 --> 00:25:40,440
Speaker 3: So if you try to stab somebody or shoot them,

466
00:25:40,520 --> 00:25:44,000
Speaker 3: the shield will deflect that. So the way to harm

467
00:25:44,040 --> 00:25:46,600
Speaker 3: someone with wearing one of these shields is quote the

468
00:25:46,680 --> 00:25:50,040
Speaker 3: slow blade. You have to slowly move the knife through

469
00:25:50,080 --> 00:25:54,800
Speaker 3: the shield. So it's counterintuitive to normal you know, fighting instincts,

470
00:25:55,320 --> 00:25:57,720
Speaker 3: and the way it's represented in the new movies is

471
00:25:57,760 --> 00:26:00,959
Speaker 3: that something that comes in fast and is deflected by

472
00:26:01,000 --> 00:26:04,960
Speaker 3: the shield, the shield glows blue, but when something slowly

473
00:26:05,040 --> 00:26:07,440
Speaker 3: is able to move through the shield, it turns red.

474
00:26:08,080 --> 00:26:10,600
Speaker 2: Yeah, which is a great visual system for the viewer.

475
00:26:11,119 --> 00:26:13,399
Speaker 2: You know, let us understand what's happening on the screen

476
00:26:14,280 --> 00:26:16,520
Speaker 2: in the same way that mentats have giant eyebrows in

477
00:26:16,520 --> 00:26:16,960
Speaker 2: this movie.

478
00:26:17,359 --> 00:26:28,879
Speaker 3: Right, So, after the fight, Paul and doctor Ua trade

479
00:26:28,920 --> 00:26:33,480
Speaker 3: information about Irakus. Paul is extremely interested in the worms,

480
00:26:34,040 --> 00:26:36,760
Speaker 3: and we also learned about the people called the Fremen

481
00:26:36,880 --> 00:26:40,440
Speaker 3: who live on dune and have extreme blue eyes from

482
00:26:40,480 --> 00:26:44,000
Speaker 3: their use of the spice millange. Also in this scene,

483
00:26:44,040 --> 00:26:48,439
Speaker 3: Paul reveals that he suspects the Emperor is supporting the

484
00:26:48,520 --> 00:26:52,760
Speaker 3: Harconins against them, again revealing a lot right at the beginning.

485
00:26:52,840 --> 00:26:55,480
Speaker 3: So not only does the Emperor explain his whole plot

486
00:26:55,520 --> 00:26:58,360
Speaker 3: at the beginning of this movie, Paul says, like, I've

487
00:26:58,400 --> 00:27:00,720
Speaker 3: just figured it out. I know it before it happens.

488
00:27:01,640 --> 00:27:04,080
Speaker 3: So the a trainees like, no, Aracus is a trap,

489
00:27:04,160 --> 00:27:05,960
Speaker 3: but they're going to go anyway, yep.

490
00:27:06,520 --> 00:27:09,679
Speaker 2: And you know that alone, that statement alone is perhaps

491
00:27:09,680 --> 00:27:12,399
Speaker 2: not completely out of keeping, Like there are people in

492
00:27:12,480 --> 00:27:16,159
Speaker 2: House of Tredes that realize that this is this is

493
00:27:16,160 --> 00:27:19,399
Speaker 2: a trap. But key is that they think it is

494
00:27:19,440 --> 00:27:22,679
Speaker 2: a trap that they can turn to their advantage.

495
00:27:23,040 --> 00:27:26,920
Speaker 3: Right. Oh, and then we get even more fight training

496
00:27:27,320 --> 00:27:29,560
Speaker 3: this one. This one is a real upgrade I think

497
00:27:29,600 --> 00:27:32,040
Speaker 3: from the the energy shield scene. Now we're going to

498
00:27:32,080 --> 00:27:35,680
Speaker 3: get the weirding module with the stabbing robot. So they say,

499
00:27:35,720 --> 00:27:39,919
Speaker 3: doctor Ua put the weirding module on him, rob How

500
00:27:39,920 --> 00:27:42,840
Speaker 3: would you describe what the weirding module is and what

501
00:27:42,920 --> 00:27:43,280
Speaker 3: it does.

502
00:27:43,760 --> 00:27:46,000
Speaker 2: I mean, it looks like an underwater camera housing is

503
00:27:46,000 --> 00:27:50,199
Speaker 2: what it looks like. And I guess this is not

504
00:27:50,320 --> 00:27:53,879
Speaker 2: in the book, but it is supposedly some sort of

505
00:27:54,040 --> 00:27:57,440
Speaker 2: thing that turns your voice into a weapon. The weirding

506
00:27:57,560 --> 00:28:01,560
Speaker 2: way is a movement technique martial arts that the benjesterate

507
00:28:01,640 --> 00:28:04,800
Speaker 2: that is in the books. But if memory serves the

508
00:28:04,840 --> 00:28:08,280
Speaker 2: filmmakers here, and I think maybe Lynch in particular wanted

509
00:28:08,320 --> 00:28:12,480
Speaker 2: to avoid putting martial arts in their film. I think

510
00:28:12,600 --> 00:28:15,360
Speaker 2: there's something about like Lynch didn't want to see karate

511
00:28:15,520 --> 00:28:19,320
Speaker 2: on the dunes of Iracus. Or this might also be

512
00:28:19,359 --> 00:28:23,479
Speaker 2: classified as something you could consider like the fear of

513
00:28:23,480 --> 00:28:27,320
Speaker 2: looking silly and cinematic adaptations of Dune, which is something

514
00:28:27,359 --> 00:28:30,880
Speaker 2: you see, and at least this and the more recent adaptations,

515
00:28:31,400 --> 00:28:33,400
Speaker 2: there seem to be some choices that were made where

516
00:28:33,400 --> 00:28:35,440
Speaker 2: they're like, okay, we can't do that. That might look

517
00:28:35,480 --> 00:28:37,880
Speaker 2: too silly, or at least that's the way I read

518
00:28:37,880 --> 00:28:39,920
Speaker 2: into some of those changes, so, you know, fair enough,

519
00:28:40,440 --> 00:28:43,680
Speaker 2: but the device and the concept here are kind of clunky,

520
00:28:44,000 --> 00:28:46,280
Speaker 2: and it forces us to have to figure out another

521
00:28:46,360 --> 00:28:50,080
Speaker 2: strange technology after just having experienced the shields.

522
00:28:50,480 --> 00:28:53,920
Speaker 3: That's right. But the weirding module is silly. I'm so.

523
00:28:54,120 --> 00:28:56,479
Speaker 3: I mean, I like it. I wouldn't want it removed

524
00:28:56,480 --> 00:28:59,320
Speaker 3: from the movie. But it's funny because, as you said,

525
00:28:59,480 --> 00:29:04,280
Speaker 3: it translate like sounds or voices into lethal energy attacks.

526
00:29:04,640 --> 00:29:07,920
Speaker 3: So it's like a blaster that you operate by saying.

527
00:29:07,840 --> 00:29:13,240
Speaker 2: Zap, yeah, zap, zong, et cetera. You can use it,

528
00:29:13,280 --> 00:29:14,600
Speaker 2: et cetera, can be a killing.

529
00:29:14,480 --> 00:29:18,720
Speaker 3: Word, that's right. I think I read somewhere that, as

530
00:29:18,760 --> 00:29:21,160
Speaker 3: you said, you know, so, the Weirding module is original

531
00:29:21,200 --> 00:29:24,720
Speaker 3: to Lynch's movie. It's not in the book. And I

532
00:29:24,920 --> 00:29:28,000
Speaker 3: read somewhere that this might be like a strange literalization

533
00:29:28,160 --> 00:29:30,320
Speaker 3: of a line in the novel about the name of

534
00:29:30,440 --> 00:29:33,560
Speaker 3: maudieb the name later taken by Paul when he joins

535
00:29:33,600 --> 00:29:37,400
Speaker 3: the Fremen, that name being a quote killing word, which

536
00:29:37,440 --> 00:29:40,400
Speaker 3: I think may have been a metaphor in the original context,

537
00:29:40,440 --> 00:29:43,280
Speaker 3: but then literalized into it. This piece of sci fi

538
00:29:43,360 --> 00:29:44,520
Speaker 3: technology m.

539
00:29:44,680 --> 00:29:46,840
Speaker 2: H and so they run with it. It is it's

540
00:29:46,920 --> 00:29:51,560
Speaker 2: it's weird. It's fun, but it is clunky, and it's

541
00:29:51,640 --> 00:29:53,280
Speaker 2: it's not something I'm super attached too.

542
00:29:53,800 --> 00:29:56,480
Speaker 3: Yeah. So he fights the stabbing robot and Paul is

543
00:29:56,520 --> 00:29:58,680
Speaker 3: shown to be very powerful at the weirding way.

544
00:29:59,280 --> 00:29:59,440
Speaker 2: Yeah.

545
00:29:59,600 --> 00:30:02,120
Speaker 3: Nice to track during this. I like it. Oh that's right,

546
00:30:02,200 --> 00:30:05,480
Speaker 3: yeah with the percussion. So later we see Paul meeting

547
00:30:05,560 --> 00:30:09,040
Speaker 3: other characters. He meets Duncan Idaho, who must go ahead

548
00:30:09,040 --> 00:30:11,680
Speaker 3: of them to Aracus. He is the sword master of

549
00:30:11,720 --> 00:30:13,880
Speaker 3: House A Treades, and I think he's going to go

550
00:30:13,920 --> 00:30:16,320
Speaker 3: ahead to sort of meet with the Fremen and try

551
00:30:16,360 --> 00:30:18,280
Speaker 3: to interface with them. Yeah.

552
00:30:18,400 --> 00:30:20,880
Speaker 2: Played here by Richard Jordan, who lived nineteen thirty seven

553
00:30:20,920 --> 00:30:24,360
Speaker 2: through nineteen ninety three, Emmy nominated actor whose credits include

554
00:30:24,400 --> 00:30:27,080
Speaker 2: seventy six is Logan's Run nineteen ninety is The Hunt

555
00:30:27,120 --> 00:30:30,240
Speaker 2: for Red October in nineteen ninety three is Gettysburg. Not

556
00:30:30,360 --> 00:30:32,240
Speaker 2: much really to say about him here, though, because he

557
00:30:32,320 --> 00:30:36,040
Speaker 2: has almost no screen time and he's just quickly forgotten.

558
00:30:36,640 --> 00:30:41,320
Speaker 2: He's an important character in the novel Dune and moving

559
00:30:41,400 --> 00:30:44,320
Speaker 2: forward in the Dune series, but he's treated like a

560
00:30:44,360 --> 00:30:47,560
Speaker 2: red shirt here. At least in this cut. The twenty

561
00:30:47,640 --> 00:30:50,760
Speaker 2: twenty one film with Jason Momoa in the role, is

562
00:30:51,000 --> 00:30:53,080
Speaker 2: I think the best version of the character we've seen

563
00:30:53,120 --> 00:30:56,000
Speaker 2: so far in an adaptation. And we'll just see where

564
00:30:56,040 --> 00:30:58,160
Speaker 2: it goes from there in the future. Ah.

565
00:30:58,240 --> 00:31:00,600
Speaker 3: Yeah, I didn't put it together yet. We may get

566
00:31:00,720 --> 00:31:02,080
Speaker 3: a Jason Momoa.

567
00:31:01,760 --> 00:31:04,040
Speaker 2: Gola a mamola if you will.

568
00:31:06,160 --> 00:31:09,320
Speaker 3: So we also meet here Duke Leto, the head of

569
00:31:09,360 --> 00:31:12,760
Speaker 3: house Atredes, who meets with his son Paul, and we

570
00:31:12,840 --> 00:31:15,320
Speaker 3: learned Duke Letto is very proud of his son. Duke

571
00:31:15,400 --> 00:31:19,719
Speaker 3: Leto is shown to be, within the context of the story,

572
00:31:19,880 --> 00:31:25,920
Speaker 3: a very a very kind, fair and you know, stern,

573
00:31:26,000 --> 00:31:29,280
Speaker 3: but just kind of ruler. And he, you know, he

574
00:31:29,400 --> 00:31:32,520
Speaker 3: encourages his son Paul and tells him he's proud of him.

575
00:31:32,520 --> 00:31:36,560
Speaker 3: He says, without change, something sleeps inside us and seldom awakens.

576
00:31:36,640 --> 00:31:38,320
Speaker 3: The sleeper must awaken.

577
00:31:39,160 --> 00:31:41,600
Speaker 2: Yeah, this is a great bit, recurring bit in this film.

578
00:31:41,840 --> 00:31:42,360
Speaker 3: I like it.

579
00:31:43,600 --> 00:31:47,480
Speaker 2: The Duke here is played by German actor Jurgen Procnow

580
00:31:48,040 --> 00:31:51,520
Speaker 2: born nineteen forty one. His big breakout role was, of course,

581
00:31:51,560 --> 00:31:54,480
Speaker 2: playing the captain in nineteen eighty one's The Boat or

582
00:31:54,680 --> 00:31:58,440
Speaker 2: Doss Boat or doss Boot if you will see previous

583
00:31:58,440 --> 00:32:02,239
Speaker 2: discussions on the title for this film. But actor with

584
00:32:02,440 --> 00:32:08,280
Speaker 2: a tremendous face and a great presence for playing stern, serious, distant,

585
00:32:08,480 --> 00:32:12,520
Speaker 2: and sometimes threatening characters. His filmography is all over the place,

586
00:32:12,560 --> 00:32:15,000
Speaker 2: but a few notable points include Michael Mann's The Keep

587
00:32:15,040 --> 00:32:18,480
Speaker 2: from eighty three, Twin Peaks Firewalk with Me in ninety two,

588
00:32:18,880 --> 00:32:21,720
Speaker 2: kind of continuing this trend of Lynch often bringing back

589
00:32:21,760 --> 00:32:25,280
Speaker 2: actors that he worked with on Doune for other projects.

590
00:32:25,960 --> 00:32:29,080
Speaker 2: He of course plays the author Sutter Kane and John

591
00:32:29,120 --> 00:32:31,680
Speaker 2: Carpenter's In the Mouth of Madness. He has a role

592
00:32:31,720 --> 00:32:34,120
Speaker 2: in the Judge Dread film from ninety five, and he

593
00:32:34,120 --> 00:32:36,440
Speaker 2: pops up in The English Patient in ninety six, but

594
00:32:37,400 --> 00:32:40,320
Speaker 2: lots of other credits. I think he even plays an

595
00:32:40,320 --> 00:32:45,000
Speaker 2: older Arnold Schwarzenegger in a TV bio movie about Arnold Schwarzenegger.

596
00:32:45,200 --> 00:32:45,440
Speaker 3: What.

597
00:32:46,640 --> 00:32:48,760
Speaker 2: Yeah, it was like an A A and E movie

598
00:32:48,880 --> 00:32:51,240
Speaker 2: or something. I remember it looked did not look.

599
00:32:51,160 --> 00:32:56,800
Speaker 3: Good, like a movie about an existing actor projecting that

600
00:32:56,880 --> 00:32:58,720
Speaker 3: ac actor into the future.

601
00:33:00,080 --> 00:33:02,880
Speaker 2: Yeah, I don't know, but at any rate, you know,

602
00:33:03,160 --> 00:33:07,240
Speaker 2: it ends up being a more distant feeling duke here,

603
00:33:07,640 --> 00:33:11,000
Speaker 2: And I think I think it works, you know, concerning

604
00:33:11,000 --> 00:33:13,720
Speaker 2: his relationship with Paul, and there are these moments of

605
00:33:13,800 --> 00:33:17,440
Speaker 2: warmth like the Sleeper Awaken speech. But I would say

606
00:33:17,480 --> 00:33:21,600
Speaker 2: he's my third favorite Duke Leedo, the first behind Oscar

607
00:33:21,640 --> 00:33:22,720
Speaker 2: Isaac and William Hurt.

608
00:33:24,080 --> 00:33:27,560
Speaker 3: I also really like Oscar Isaac's performance in the new film.

609
00:33:28,560 --> 00:33:31,800
Speaker 3: So so yeah, that's Paul's father. We also meet Paul's mother,

610
00:33:32,160 --> 00:33:37,240
Speaker 3: Lady Jessica, whom we meet walking through the rain in

611
00:33:37,280 --> 00:33:40,800
Speaker 3: the courtyard of the palace, hidden under this voluminous hood.

612
00:33:40,920 --> 00:33:44,360
Speaker 3: And she seems very interesting and mysterious when we first

613
00:33:44,360 --> 00:33:47,760
Speaker 3: meet her, because we hear her inner voice worrying about

614
00:33:47,760 --> 00:33:51,840
Speaker 3: Paul and saying that he must face the box. No

615
00:33:52,000 --> 00:33:54,760
Speaker 3: man has ever faced it before, and tonight she may

616
00:33:54,880 --> 00:33:57,920
Speaker 3: lose her son. So when we meet her, she's already

617
00:33:57,960 --> 00:34:01,960
Speaker 3: worrying that she may have committed her son to a

618
00:34:02,040 --> 00:34:03,040
Speaker 3: lethal challenge.

619
00:34:03,400 --> 00:34:06,000
Speaker 2: Yeah, and she was played here by Francesca and Niece

620
00:34:06,520 --> 00:34:10,239
Speaker 2: born nineteen forty five, English actor who also played the

621
00:34:10,280 --> 00:34:12,520
Speaker 2: Witch of the Web in nineteen eighty three Skroll. So

622
00:34:12,560 --> 00:34:16,880
Speaker 2: another Kroll connection. Extensive stage, screen and TV credits. She

623
00:34:16,920 --> 00:34:20,960
Speaker 2: played Lady Macbeth in that excellent nineteen seventy two film adaptation.

624
00:34:21,600 --> 00:34:23,239
Speaker 3: I like her in this role, and she plays it

625
00:34:23,280 --> 00:34:26,640
Speaker 3: with this interesting mix of deference and defiance. These two

626
00:34:26,680 --> 00:34:29,720
Speaker 3: elements come out in different moments. She's like a character

627
00:34:29,920 --> 00:34:33,520
Speaker 3: pulled back and forth between duty to authority and following

628
00:34:33,560 --> 00:34:36,640
Speaker 3: her own heart and her love for her family. And

629
00:34:37,600 --> 00:34:39,439
Speaker 3: so I really like her in this role. I feel

630
00:34:39,480 --> 00:34:42,719
Speaker 3: like she kind of gets her character gets downplayed in

631
00:34:42,760 --> 00:34:46,280
Speaker 3: the second half of the story here in the eighty

632
00:34:46,280 --> 00:34:50,440
Speaker 3: four adaptation, and I like more. I think what is

633
00:34:50,480 --> 00:34:54,680
Speaker 3: done with Rebecca Ferguson's role in the newer adaptations?

634
00:34:55,239 --> 00:34:58,160
Speaker 2: Agreed, Yeah, I think Rebecca Ferguson just gets more to

635
00:34:58,239 --> 00:35:01,279
Speaker 2: do with the character. We get a strong portrayal of

636
00:35:01,360 --> 00:35:05,880
Speaker 2: Lady Jessica both before and after the initial fall of

637
00:35:05,920 --> 00:35:06,680
Speaker 2: House Atreades.

638
00:35:07,200 --> 00:35:09,239
Speaker 3: Oh, but all of this is leading up to the

639
00:35:09,280 --> 00:35:11,640
Speaker 3: return of a character we've already met. We talked about

640
00:35:11,640 --> 00:35:15,719
Speaker 3: in the last episode, the Reverend Mother gaias Helen Moheim,

641
00:35:16,840 --> 00:35:19,880
Speaker 3: and we met her with the Emperor because she is

642
00:35:19,920 --> 00:35:22,799
Speaker 3: the Emperor's truth sayer. You know, she was supposed to

643
00:35:22,880 --> 00:35:25,520
Speaker 3: try to listen in on the meeting between the Emperor

644
00:35:25,520 --> 00:35:29,279
Speaker 3: and the Guild Navigator, and as she learns from that

645
00:35:29,320 --> 00:35:32,160
Speaker 3: meeting that there is some significance to Paula Trades, the

646
00:35:33,080 --> 00:35:36,000
Speaker 3: young heir of House Atreades, and that she and the

647
00:35:36,040 --> 00:35:39,160
Speaker 3: Benny Jester at Sisters must learn more about Paul to

648
00:35:39,200 --> 00:35:43,080
Speaker 3: find out what his significance is. So here she is yeah.

649
00:35:43,120 --> 00:35:45,640
Speaker 2: So, and this is where we get our goamja bar scene,

650
00:35:45,960 --> 00:35:49,360
Speaker 2: which is I think pretty effective here. I like it

651
00:35:49,400 --> 00:35:54,600
Speaker 2: in both this adaptation and the recent adaptation. You know,

652
00:35:54,760 --> 00:35:58,040
Speaker 2: it's one of the most famous scenes in the whole novel,

653
00:35:58,320 --> 00:36:00,279
Speaker 2: and it's also one of the first big scene in

654
00:36:00,280 --> 00:36:02,120
Speaker 2: the novel. As I think we've discussed before, Like it

655
00:36:02,280 --> 00:36:04,719
Speaker 2: happens almost immediately in your reading of.

656
00:36:04,680 --> 00:36:07,640
Speaker 3: The book, that's right. So the premise of the scene

657
00:36:08,239 --> 00:36:12,920
Speaker 3: is that the Reverend Mother arrives, she speaks with Lady Jessica,

658
00:36:13,520 --> 00:36:15,960
Speaker 3: and Paul sort of awakes and overhears them speaking a

659
00:36:15,960 --> 00:36:18,279
Speaker 3: little bit about something about his purpose and that he

660
00:36:18,400 --> 00:36:21,920
Speaker 3: must be tested. So Paul is woken in the night

661
00:36:21,960 --> 00:36:25,319
Speaker 3: and taken before the Reverend Mother. We do get some

662
00:36:25,400 --> 00:36:28,200
Speaker 3: chewing out of Lady Jessica by the Reverend Mother because

663
00:36:28,200 --> 00:36:31,960
Speaker 3: of her hubris, disobeying orders and having a son trying

664
00:36:32,000 --> 00:36:33,800
Speaker 3: you know, she's like you're trying to create the queens

665
00:36:33,800 --> 00:36:35,920
Speaker 3: Out's hatterak. You're not supposed to do that. That is

666
00:36:35,960 --> 00:36:38,920
Speaker 3: the super being of the universe. That's violation of orders.

667
00:36:39,120 --> 00:36:42,520
Speaker 3: So forth. Now, somewhere before we actually get the hand

668
00:36:42,560 --> 00:36:44,799
Speaker 3: in the Box, there's a moment here where we see

669
00:36:44,880 --> 00:36:47,920
Speaker 3: Duke Leto alone in his office, apparently maybe aware of

670
00:36:47,920 --> 00:36:52,040
Speaker 3: what's going on, but not intervening. I don't recall if

671
00:36:52,080 --> 00:36:54,840
Speaker 3: in the book he was aware or not, but anyway,

672
00:36:55,000 --> 00:36:57,200
Speaker 3: we see him sitting alone in his office. And this

673
00:36:57,280 --> 00:37:00,520
Speaker 3: is the first time we see the House of Trade pug.

674
00:37:01,760 --> 00:37:10,680
Speaker 3: Can we set off a pug alarm pug alert sidebar

675
00:37:10,760 --> 00:37:14,799
Speaker 3: on the pug, So we're gonna see this pug pop

676
00:37:14,880 --> 00:37:17,239
Speaker 3: up a number of times, like when they arrive on

677
00:37:17,280 --> 00:37:19,879
Speaker 3: the planet, they've got the pug with them. And then

678
00:37:19,920 --> 00:37:23,440
Speaker 3: also later when the Harconins attack the House of Tredes,

679
00:37:24,000 --> 00:37:27,680
Speaker 3: we see Gurnie Halleck Patrick Stewart running into battle with

680
00:37:27,840 --> 00:37:32,359
Speaker 3: like this science fiction rifle, clutching the pug to his chest.

681
00:37:32,880 --> 00:37:37,600
Speaker 3: I have always loved this detail. It seems so characteristically Lynchian.

682
00:37:38,560 --> 00:37:41,920
Speaker 3: The warriors of this feudal house have toy breed dogs

683
00:37:42,000 --> 00:37:44,480
Speaker 3: that they carry around with them from planet to planet,

684
00:37:44,560 --> 00:37:47,400
Speaker 3: even taking them into battle as if they are tokens

685
00:37:47,440 --> 00:37:52,880
Speaker 3: of good fortune or provide magical protection. There is. It's

686
00:37:53,120 --> 00:37:56,040
Speaker 3: like a lot of images in David Lynch movies, and

687
00:37:56,080 --> 00:37:57,879
Speaker 3: I think part of what makes him a really great

688
00:37:57,920 --> 00:38:02,560
Speaker 3: filmmaker and artist is he puts in these weird images

689
00:38:02,600 --> 00:38:05,640
Speaker 3: that on one hand feel kind of off, but on

690
00:38:05,680 --> 00:38:08,160
Speaker 3: the other hand you think about them and they just

691
00:38:08,200 --> 00:38:11,560
Speaker 3: feel right. Something about the pug works. I don't know

692
00:38:11,600 --> 00:38:14,200
Speaker 3: what it means, but it feels like, yeah, they would

693
00:38:14,280 --> 00:38:15,239
Speaker 3: have a pug like this.

694
00:38:15,840 --> 00:38:18,239
Speaker 2: Yeah, well, we saw the Emperor had his own dog

695
00:38:18,280 --> 00:38:20,680
Speaker 2: breeds running around, so it's weird, but it feels it's

696
00:38:20,719 --> 00:38:22,480
Speaker 2: also kind of fitting that a great house would have

697
00:38:22,560 --> 00:38:25,920
Speaker 2: its signature dog breed. The pug is also the closest

698
00:38:25,920 --> 00:38:28,120
Speaker 2: thing that we get to a chair dog, which we

699
00:38:28,320 --> 00:38:30,000
Speaker 2: get much later in the book series.

700
00:38:30,400 --> 00:38:32,480
Speaker 3: I think the pug is not mistreated. We see the

701
00:38:32,520 --> 00:38:35,040
Speaker 3: pug treated very lovingly and respectfully.

702
00:38:35,440 --> 00:38:37,640
Speaker 2: Well, cheer dogs are not mistreated either. They just do

703
00:38:38,320 --> 00:38:41,400
Speaker 2: they have a function you sit on them, and that

704
00:38:41,520 --> 00:38:43,279
Speaker 2: you're not mistreating a chair dog to sit on a

705
00:38:43,360 --> 00:38:43,759
Speaker 2: chair dog.

706
00:38:43,800 --> 00:38:47,440
Speaker 3: Surely, Oh okay, I misunderstood the.

707
00:38:47,640 --> 00:38:50,160
Speaker 2: Cheer dog doesn't have a face or presumably a butt.

708
00:38:50,280 --> 00:38:53,640
Speaker 2: I guess it's I don't know. There's probably some inherent

709
00:38:53,680 --> 00:38:56,919
Speaker 2: cruelty in the creation of a chair dog, but it's

710
00:38:57,000 --> 00:38:57,960
Speaker 2: never really explored.

711
00:38:58,520 --> 00:38:59,920
Speaker 3: Not to get too dark. I guess you could say

712
00:39:00,160 --> 00:39:02,120
Speaker 3: some cruelty in the creation of a pug as well,

713
00:39:02,160 --> 00:39:05,000
Speaker 3: but that's they don't have to go. But these, these

714
00:39:05,040 --> 00:39:08,359
Speaker 3: pugs are treated. These are beloved pugs. The atrendees love

715
00:39:08,400 --> 00:39:08,960
Speaker 3: their pugs.

716
00:39:09,200 --> 00:39:12,239
Speaker 2: Pugs are cuties, no doubt about it. We have made

717
00:39:12,280 --> 00:39:16,480
Speaker 2: a dog in the semblance of a human baby.

718
00:39:18,000 --> 00:39:20,879
Speaker 3: We were told we shall not, but you just can't

719
00:39:20,880 --> 00:39:24,520
Speaker 3: follow those rules. Okay, so sorry. We coming back to

720
00:39:24,520 --> 00:39:27,759
Speaker 3: the Gomjabar scene. So this is where the reverend Mother

721
00:39:27,840 --> 00:39:30,520
Speaker 3: confronts Paul alone in the study in the house on

722
00:39:30,600 --> 00:39:35,440
Speaker 3: Kaladan here and she starts to command him using the voice.

723
00:39:35,480 --> 00:39:38,360
Speaker 3: This is one of the many Beni Jesert arts having

724
00:39:38,400 --> 00:39:41,399
Speaker 3: a way of manipulating their voice so as to sort

725
00:39:41,400 --> 00:39:45,040
Speaker 3: of hypnotize and command people, even against their will. The

726
00:39:45,080 --> 00:39:47,759
Speaker 3: Reverend Mother tries to use the voice to command Paul,

727
00:39:47,800 --> 00:39:51,840
Speaker 3: but he's somewhat resistant at first. When she talks. In

728
00:39:51,880 --> 00:39:54,399
Speaker 3: this movie, it's kind of a lizard queen speaking through

729
00:39:54,400 --> 00:39:55,680
Speaker 3: a fan voice.

730
00:39:56,440 --> 00:39:58,960
Speaker 2: Yeah, it sounds it sounds really good in my opinion.

731
00:40:00,040 --> 00:40:02,920
Speaker 2: Also really like the way that it's brought to life

732
00:40:02,960 --> 00:40:06,680
Speaker 2: in the new film adaptations, and they feel similar. They're

733
00:40:06,680 --> 00:40:09,440
Speaker 2: probably not that similar if you line them up one

734
00:40:09,480 --> 00:40:12,160
Speaker 2: to one, but they're both effective for me.

735
00:40:12,719 --> 00:40:16,759
Speaker 3: Yeah, I agree. So Paul is given this trial, the

736
00:40:16,800 --> 00:40:19,919
Speaker 3: trial of the Box where the reverend. So he puts

737
00:40:19,960 --> 00:40:22,520
Speaker 3: his hand in a box that the reverend mother offers him,

738
00:40:22,840 --> 00:40:25,200
Speaker 3: and then she puts a sort of poisoned thimble with

739
00:40:25,280 --> 00:40:28,399
Speaker 3: a needle on it against his neck and tells him

740
00:40:28,400 --> 00:40:30,239
Speaker 3: there's going to be pain in the box. He will

741
00:40:30,239 --> 00:40:32,759
Speaker 3: want to remove his hand, but if he removes his hand,

742
00:40:32,800 --> 00:40:35,480
Speaker 3: she will stab him with the gum jabbar the poison needle,

743
00:40:35,719 --> 00:40:40,480
Speaker 3: and he will die. He's suffering, it's burning, the fire

744
00:40:40,560 --> 00:40:43,480
Speaker 3: is consuming the flesh down to the bone, he thinks,

745
00:40:43,600 --> 00:40:45,560
Speaker 3: or at least it feels that way. And the whole

746
00:40:45,600 --> 00:40:50,719
Speaker 3: point is that someone of inferior will would remove their

747
00:40:50,760 --> 00:40:53,360
Speaker 3: hand from the box in response to the pain. But

748
00:40:53,840 --> 00:40:56,719
Speaker 3: there's something she's testing for kind of will in Paul

749
00:40:56,880 --> 00:41:00,200
Speaker 3: to face the pain and keep his hand inside. And

750
00:41:00,560 --> 00:41:02,399
Speaker 3: in this scene when trying to get through the pain.

751
00:41:02,480 --> 00:41:06,520
Speaker 3: We hear Paul's inner voice reciting the Litany against Fear.

752
00:41:06,640 --> 00:41:09,759
Speaker 3: One of the great things from the novel and the

753
00:41:09,920 --> 00:41:13,160
Speaker 3: version of it used in the movie, is that he says,

754
00:41:13,200 --> 00:41:16,440
Speaker 3: I must not fear. Fear is the mind killer. Fear

755
00:41:16,520 --> 00:41:19,759
Speaker 3: is the little death that brings total obliteration. I will

756
00:41:19,800 --> 00:41:22,560
Speaker 3: face my fear. I will permit it to pass over

757
00:41:22,680 --> 00:41:25,400
Speaker 3: me and through me. And when it has gone past,

758
00:41:25,840 --> 00:41:28,560
Speaker 3: I will turn the inner eye to see its path.

759
00:41:29,000 --> 00:41:31,920
Speaker 3: Where the fear has gone, there will be nothing. Only

760
00:41:32,040 --> 00:41:32,960
Speaker 3: I will remain.

761
00:41:33,960 --> 00:41:36,800
Speaker 2: And I really like his reading of this with the

762
00:41:37,000 --> 00:41:40,400
Speaker 2: inner voice. It's kind of there's an urgency to it

763
00:41:40,440 --> 00:41:42,640
Speaker 2: because he is in pain. I heard the sample in

764
00:41:42,680 --> 00:41:45,200
Speaker 2: a mix once before. I believe it was an Autecher mix.

765
00:41:45,600 --> 00:41:47,719
Speaker 2: It was fay well, very well utilized.

766
00:41:48,080 --> 00:41:50,960
Speaker 3: I think there are slight changes to the Litany against

767
00:41:51,000 --> 00:41:53,600
Speaker 3: Fear here from in the book. I don't remember what

768
00:41:53,640 --> 00:41:55,520
Speaker 3: the changes are, but I like this version of it.

769
00:41:55,920 --> 00:41:58,320
Speaker 2: Yeah, yeah, it's still very much. It keeps most of

770
00:41:58,120 --> 00:42:00,560
Speaker 2: the words and definitely keeps the spirit of the thing.

771
00:42:02,520 --> 00:42:06,360
Speaker 3: And colwahad, He's okay, he passed the test. The reverend

772
00:42:06,400 --> 00:42:08,640
Speaker 3: mother says coolwahad, which is a phrase meaning I am

773
00:42:08,680 --> 00:42:13,120
Speaker 3: profoundly stirred, and she explains the prophecy of the quisats

774
00:42:13,160 --> 00:42:17,239
Speaker 3: Haderak to Paul, but Paul fears for his father, and

775
00:42:17,320 --> 00:42:19,920
Speaker 3: the reverend mother tells him what can be done to

776
00:42:19,960 --> 00:42:23,520
Speaker 3: protect his father has been done, So you know, it's

777
00:42:23,719 --> 00:42:25,600
Speaker 3: there's a kind of fatalism going on here.

778
00:42:26,000 --> 00:42:36,200
Speaker 2: Yeah, all right, it's time to planet hop again.

779
00:42:36,600 --> 00:42:39,080
Speaker 3: Oh boy, and now we're getting really depraved. So let's

780
00:42:39,080 --> 00:42:43,480
Speaker 3: go to Gidee Prime, home of House Harconin and lured.

781
00:42:43,560 --> 00:42:46,520
Speaker 3: The way the Harconins are realized in this movie, there

782
00:42:46,640 --> 00:42:51,960
Speaker 3: is a level of weirdness that again goes beyond the books,

783
00:42:52,560 --> 00:42:56,200
Speaker 3: is purely David Lynch, I think, so. First of all,

784
00:42:56,239 --> 00:42:58,520
Speaker 3: I just wanted to focus. They give us a brief

785
00:42:58,600 --> 00:43:01,359
Speaker 3: look at the exterior of Gidee Prime before we meet

786
00:43:01,400 --> 00:43:04,360
Speaker 3: the characters, and it appears to be a kind of

787
00:43:05,080 --> 00:43:10,200
Speaker 3: urban landscape of shadows and green light, with these unbroken

788
00:43:10,280 --> 00:43:14,280
Speaker 3: walls of industrial looking buildings stretching up until they vanish

789
00:43:14,320 --> 00:43:17,840
Speaker 3: into a dark sky. There's black smoke pouring out of

790
00:43:17,880 --> 00:43:21,400
Speaker 3: a hidden orifice in the city walls, towers of metal

791
00:43:21,480 --> 00:43:25,440
Speaker 3: struts in the foreground, almost like watchtowers or guard stations,

792
00:43:26,440 --> 00:43:31,000
Speaker 3: with some kind of tortured sculpture looming between the buildings.

793
00:43:31,040 --> 00:43:33,920
Speaker 3: And we see the sculpture many times. It is like

794
00:43:34,080 --> 00:43:38,440
Speaker 3: a giant porcelain face on which the eyes and nose

795
00:43:38,480 --> 00:43:42,279
Speaker 3: are hidden behind a shadow, and all that's visible is

796
00:43:42,360 --> 00:43:46,960
Speaker 3: a giant gaping mouth over a plump chin, almost like

797
00:43:47,000 --> 00:43:49,400
Speaker 3: the mouth of a fish, but on the head of

798
00:43:49,440 --> 00:43:53,120
Speaker 3: a human baby. So is this sculpture opening its mouth

799
00:43:53,200 --> 00:43:56,960
Speaker 3: to devour food, to scream in pain, or to gasp

800
00:43:57,000 --> 00:44:01,520
Speaker 3: for breath? All seem to be implied this design for

801
00:44:01,600 --> 00:44:03,960
Speaker 3: the home world of the Harconins, because it's like this

802
00:44:04,400 --> 00:44:08,160
Speaker 3: little sculpture with the eyes hidden, is like greed, pain, fear,

803
00:44:08,239 --> 00:44:12,640
Speaker 3: and desperation luxuriating in the ambiguity between them all.

804
00:44:13,040 --> 00:44:15,719
Speaker 2: And is it also piping out smoke or some sort

805
00:44:15,719 --> 00:44:19,440
Speaker 2: of vapor because the planet itself is supposed to be

806
00:44:19,480 --> 00:44:22,680
Speaker 2: heavily polluted. So yes, I kind of like see it

807
00:44:22,719 --> 00:44:25,040
Speaker 2: as that as well, like everything you said, but on

808
00:44:25,080 --> 00:44:27,720
Speaker 2: top of that, it's spouting pollution.

809
00:44:28,640 --> 00:44:31,799
Speaker 3: There you see smoke coming out. I interpreted as the

810
00:44:31,800 --> 00:44:34,719
Speaker 3: smoke coming out from behind the sculpture, but I don't know.

811
00:44:35,960 --> 00:44:38,560
Speaker 3: It could be it could be, but yeah, the planet

812
00:44:38,640 --> 00:44:40,800
Speaker 3: has a very I think a lot with the green

813
00:44:40,960 --> 00:44:45,920
Speaker 3: designs is to suggest not a natural green like plants,

814
00:44:45,960 --> 00:44:50,480
Speaker 3: but like a poisonous green, a kind of industrial green ooze.

815
00:44:51,000 --> 00:44:54,799
Speaker 2: Absolutely, yeah, I love this look. We only see like

816
00:44:54,880 --> 00:44:56,799
Speaker 2: really a glimpse of it here, but it's reminiscent of

817
00:44:56,960 --> 00:45:01,480
Speaker 2: hr Giger's original biomechanical designs for the planet from I

818
00:45:01,520 --> 00:45:06,040
Speaker 2: believe the Jodroowski adaptation that never came to fruition, but

819
00:45:06,480 --> 00:45:08,520
Speaker 2: little bits like that has kind of been passed down

820
00:45:08,600 --> 00:45:13,080
Speaker 2: and become part of the tradition of portraying Dune on film,

821
00:45:13,480 --> 00:45:16,680
Speaker 2: even in the recent DV adaptation. So we see a

822
00:45:16,680 --> 00:45:20,200
Speaker 2: lot more of this planet in part two, of course,

823
00:45:20,560 --> 00:45:25,040
Speaker 2: and they have their own wonderful and an inventive way

824
00:45:25,040 --> 00:45:28,880
Speaker 2: of envisioning it, but there is still that biomechanical gothic

825
00:45:28,960 --> 00:45:29,960
Speaker 2: aspect to everything.

826
00:45:30,320 --> 00:45:32,560
Speaker 3: Yeah. Yeah, Well in the new movie, I love that

827
00:45:32,640 --> 00:45:35,919
Speaker 3: they do it as a very desaturated or I don't

828
00:45:35,920 --> 00:45:38,040
Speaker 3: know if that's the right term. Actually it's a black

829
00:45:38,080 --> 00:45:41,400
Speaker 3: and white kind of environment with high contrast that I

830
00:45:41,400 --> 00:45:44,799
Speaker 3: think is explained by Gideye Prime having a black son

831
00:45:44,920 --> 00:45:47,200
Speaker 3: so they say there's no color on the surface of

832
00:45:47,239 --> 00:45:47,760
Speaker 3: the planet.

833
00:45:48,320 --> 00:45:50,080
Speaker 2: Yeah, yeah, I think that's supposed to be the reason

834
00:45:50,080 --> 00:45:51,800
Speaker 2: for it, and give him an excuse to shoot it

835
00:45:51,840 --> 00:45:52,880
Speaker 2: an infra red apparently.

836
00:45:55,200 --> 00:45:59,759
Speaker 3: So we meet here the Harkonen Mintat Piterer Devrees, who

837
00:45:59,800 --> 00:46:03,520
Speaker 3: is the you know, the court, the equivalent of Thufir

838
00:46:03,560 --> 00:46:07,480
Speaker 3: Hawat to house the Treades. This is played by.

839
00:46:08,680 --> 00:46:14,279
Speaker 2: Oh well, this of course is Brad Dorif born nineteen fifty. Yes,

840
00:46:14,320 --> 00:46:17,680
Speaker 2: one of American cinema's finest weird actors. We've talked about

841
00:46:17,719 --> 00:46:19,680
Speaker 2: it on the show before, in our episode on Toby

842
00:46:19,680 --> 00:46:24,279
Speaker 2: Hooper's Spontaneous Combustion from nineteen eighty nine. And he's one

843
00:46:24,320 --> 00:46:27,680
Speaker 2: of these actors that's enjoyable in pretty much anything, regardless

844
00:46:27,920 --> 00:46:32,239
Speaker 2: of overall film quality. You know, he's probably best known

845
00:46:32,239 --> 00:46:35,240
Speaker 2: for his performances in such films as nineteen seventy nine's

846
00:46:35,239 --> 00:46:39,280
Speaker 2: Wise Blood, which is generally excellent, nineteen eighty eight Child's

847
00:46:39,320 --> 00:46:42,200
Speaker 2: Play in two thousand and two's Lord of the Rings

848
00:46:42,360 --> 00:46:44,120
Speaker 2: the Two Towers.

849
00:46:43,880 --> 00:46:45,520
Speaker 3: In which he plays Grima worm tongue.

850
00:46:45,880 --> 00:46:48,919
Speaker 2: Yeah, he had great performance there in which he has

851
00:46:49,040 --> 00:46:53,279
Speaker 2: no eyebrows. But in this in Lynch's Doom, he of

852
00:46:53,360 --> 00:46:58,319
Speaker 2: course has Mintat eyebrows, and I do love him in this.

853
00:46:58,440 --> 00:47:03,960
Speaker 2: He captures the viciousness of Pider, But at the same time,

854
00:47:04,440 --> 00:47:07,000
Speaker 2: this is a Dune character that I dearly love, and

855
00:47:07,040 --> 00:47:10,080
Speaker 2: there's never enough time in any adaptation to explore him

856
00:47:10,200 --> 00:47:14,200
Speaker 2: and his delicious, dangerous relationship with the baron, where they

857
00:47:14,239 --> 00:47:18,759
Speaker 2: both expect to know that the other will try and

858
00:47:18,880 --> 00:47:21,360
Speaker 2: kill them at one point the other. It's like a

859
00:47:21,400 --> 00:47:22,440
Speaker 2: delicate balance.

860
00:47:22,840 --> 00:47:25,680
Speaker 3: Yeah, he is an evil, vicious character, but also for

861
00:47:25,719 --> 00:47:27,320
Speaker 3: some reason I find him pitiable.

862
00:47:28,280 --> 00:47:30,480
Speaker 2: Yeah, yeah, I mean he is a twisted mentat. He

863
00:47:30,600 --> 00:47:34,320
Speaker 2: is the product of some sort of either bizarre corruption

864
00:47:34,480 --> 00:47:38,040
Speaker 2: of a normal mentat or some corruption of the mentat process.

865
00:47:38,760 --> 00:47:40,440
Speaker 2: And with all these things you have to sort of

866
00:47:40,440 --> 00:47:42,120
Speaker 2: pick and choose how are you going to present him.

867
00:47:42,280 --> 00:47:48,080
Speaker 2: I do quite love David Datzmachian's performance in the recent

868
00:47:48,120 --> 00:47:51,319
Speaker 2: adaptation as well, but it's just a different slice of

869
00:47:51,360 --> 00:47:56,239
Speaker 2: the same character. He's more cerebral and withdrawn in that performance,

870
00:47:56,239 --> 00:47:58,840
Speaker 2: and it still works. It still captures a part of

871
00:47:58,880 --> 00:48:01,880
Speaker 2: what is a ultimately a brief but complex character.

872
00:48:02,360 --> 00:48:06,319
Speaker 3: Right. So, Pider, he's speaking to himself. He says, it

873
00:48:06,400 --> 00:48:08,480
Speaker 3: is by will alone, I set my mind in motion.

874
00:48:09,600 --> 00:48:14,719
Speaker 3: So he's reciting a kind of Mintat litany here, some

875
00:48:14,960 --> 00:48:18,400
Speaker 3: sort of equivalent to the Litany against Fear, except instead

876
00:48:18,440 --> 00:48:21,160
Speaker 3: of about avoiding fear, this is about, like, you know,

877
00:48:21,560 --> 00:48:24,719
Speaker 3: realizing your potential with the help of drugs. Because it

878
00:48:24,760 --> 00:48:26,360
Speaker 3: goes on to say it is by the juice of

879
00:48:26,400 --> 00:48:29,920
Speaker 3: Sappho that thoughts acquire speed, that lips acquire stains, the

880
00:48:29,960 --> 00:48:33,239
Speaker 3: stains become a warning, and then he says that a

881
00:48:33,239 --> 00:48:33,960
Speaker 3: bunch of times.

882
00:48:34,920 --> 00:48:38,239
Speaker 2: Yeah, this mintat Mantra is not from the books, but

883
00:48:38,480 --> 00:48:41,160
Speaker 2: it is. It's one of those additions that feels perfectly

884
00:48:41,200 --> 00:48:45,800
Speaker 2: at home in the Dune universe. It works, It absolutely works.

885
00:48:46,000 --> 00:48:47,680
Speaker 2: And the whole thing about the juice of the Sappho

886
00:48:47,840 --> 00:48:49,200
Speaker 2: is very much in the text.

887
00:48:49,560 --> 00:48:52,400
Speaker 3: Yeah, he's so this is a nervous and unhappy Mintat

888
00:48:52,480 --> 00:48:54,240
Speaker 3: in a dangerous situation.

889
00:48:54,800 --> 00:48:59,719
Speaker 2: Yeah, nervous, angry, scheming, all those things, and yeah, we

890
00:49:00,040 --> 00:49:01,000
Speaker 2: get it in this performance.

891
00:49:01,560 --> 00:49:04,400
Speaker 3: So there are more visions of Giddee Prime people in

892
00:49:04,480 --> 00:49:09,279
Speaker 3: pure white clothing walking through industrial mazes illuminated by green light.

893
00:49:10,160 --> 00:49:13,560
Speaker 3: It's a very striking vision. Again, I love the designs

894
00:49:13,600 --> 00:49:16,239
Speaker 3: of the planet here. I think they really work. We

895
00:49:16,320 --> 00:49:20,959
Speaker 3: see harconin soldiers standing lined up with multiple barreled firearms

896
00:49:20,960 --> 00:49:23,680
Speaker 3: in hand. Then finally we go to meet the Harconein

897
00:49:23,760 --> 00:49:27,080
Speaker 3: Royalty in a room that is almost like it's green,

898
00:49:27,239 --> 00:49:30,680
Speaker 3: like a bar of soap, and the Harconins are being

899
00:49:30,719 --> 00:49:35,360
Speaker 3: attended by servants with almost Clive Barker style body modifications.

900
00:49:35,840 --> 00:49:40,239
Speaker 3: Ears clipped and sown folded in on themselves, eyelids sewn

901
00:49:40,400 --> 00:49:44,200
Speaker 3: shut with threads and tacks driven into the eyes. Also,

902
00:49:44,320 --> 00:49:46,319
Speaker 3: everybody that has hair has red hair.

903
00:49:47,080 --> 00:49:49,640
Speaker 2: Yeah, and the red hair touch is nice and helps

904
00:49:49,719 --> 00:49:54,360
Speaker 2: us identify Harconins. But already this scene is too much

905
00:49:54,800 --> 00:50:01,160
Speaker 2: like the eyes and ears sewn up is is just

906
00:50:01,200 --> 00:50:04,160
Speaker 2: too much. And also that green, that green is too

907
00:50:04,200 --> 00:50:08,040
Speaker 2: much like a modern perspective. I'll occasionally see stills from

908
00:50:08,040 --> 00:50:11,680
Speaker 2: this and I'll initially think, oh, this is an unfinished sequence.

909
00:50:11,719 --> 00:50:14,560
Speaker 2: That's green screen, you know, like that's where my mind goes, like,

910
00:50:14,600 --> 00:50:16,920
Speaker 2: that's how alarming that green color is.

911
00:50:17,480 --> 00:50:21,279
Speaker 3: So we finally meet the patriarch of the villainous house Harconin. Here,

912
00:50:21,320 --> 00:50:25,719
Speaker 3: the Baron Vladimir Harconin being attended by doctors. So when

913
00:50:25,760 --> 00:50:29,400
Speaker 3: we first see him, his face is covered in boils

914
00:50:29,480 --> 00:50:32,919
Speaker 3: of some kind, and the doctors are doing something grotesque

915
00:50:32,960 --> 00:50:34,360
Speaker 3: with them with a needle.

916
00:50:35,000 --> 00:50:40,720
Speaker 2: Yeah. Now, this Baron Vladimir Harconin is played by Kenneth McMillan,

917
00:50:41,200 --> 00:50:44,320
Speaker 2: who lived nineteen thirty two through nineteen eighty nine. American

918
00:50:44,440 --> 00:50:47,080
Speaker 2: character actor who often played heavies and a reminder that

919
00:50:47,080 --> 00:50:51,040
Speaker 2: by heavies I mean like threatening or dominant antagonists. He

920
00:50:51,080 --> 00:50:54,520
Speaker 2: also played a lot of gruff authority figures. He didn't

921
00:50:54,560 --> 00:50:56,759
Speaker 2: apparently didn't pursue an acting career until he was in

922
00:50:56,800 --> 00:50:59,680
Speaker 2: his thirties, and he was forty before his first screen

923
00:50:59,760 --> 00:51:03,000
Speaker 2: TV credits appear, showing up in a couple episodes of

924
00:51:03,040 --> 00:51:05,760
Speaker 2: Dark Shadows, as well as an uncredited role in nineteen

925
00:51:05,840 --> 00:51:09,560
Speaker 2: seventy three Serpico. He followed this up with small roles

926
00:51:09,600 --> 00:51:13,000
Speaker 2: in the Taking of Pelham one, two three, The Stepford Wives,

927
00:51:13,080 --> 00:51:16,480
Speaker 2: and Dog Day Afternoon. A fair amount of TV followed,

928
00:51:16,520 --> 00:51:19,680
Speaker 2: including a role on the series Rota. He played a

929
00:51:19,719 --> 00:51:22,440
Speaker 2: cop in the nineteen seventy nine Salem's Lot mini series

930
00:51:22,440 --> 00:51:25,960
Speaker 2: from Toby Hooper, and he'd follow up Doune with a

931
00:51:26,040 --> 00:51:29,320
Speaker 2: role in nineteen eighty five's Runaway Train and then mostly

932
00:51:29,360 --> 00:51:30,000
Speaker 2: TV work.

933
00:51:30,680 --> 00:51:34,040
Speaker 3: So this version of Baron Harkonen likes to scream and

934
00:51:34,160 --> 00:51:36,360
Speaker 3: fly around in the air while screaming.

935
00:51:37,480 --> 00:51:40,839
Speaker 2: Yeah. This character, this characterization of the Baron is a

936
00:51:40,840 --> 00:51:45,120
Speaker 2: lot in the text. We are privy to his inner thoughts,

937
00:51:45,200 --> 00:51:48,720
Speaker 2: and there are various dimensions to the character of the Baron,

938
00:51:49,000 --> 00:51:52,280
Speaker 2: all of them evil. He is a man of vast

939
00:51:52,360 --> 00:51:57,560
Speaker 2: greed and ambition, of appetite, brutality, fear, and endless plotting,

940
00:51:57,600 --> 00:51:59,760
Speaker 2: and you can't possibly capture all of that on screen,

941
00:52:00,040 --> 00:52:02,400
Speaker 2: so you pick and choose what you can. The recent

942
00:52:02,440 --> 00:52:05,800
Speaker 2: adaptations do a great job focusing mostly on the brutal

943
00:52:05,840 --> 00:52:08,960
Speaker 2: plotting aspect of the character. While this version of the

944
00:52:09,000 --> 00:52:14,600
Speaker 2: Baron is a wild, gross demon of consumption, cackling, floating around, spitting,

945
00:52:14,760 --> 00:52:18,759
Speaker 2: oozing and so forth. It's just too much, But to

946
00:52:18,840 --> 00:52:24,040
Speaker 2: McMillan's credit, he rolls with it and delivers some nice menace.

947
00:52:24,719 --> 00:52:28,000
Speaker 2: I'd say ultimately he's my third favorite Baron behind stellin

948
00:52:28,080 --> 00:52:31,040
Speaker 2: Scars Guard. In the more recent adaptations, who's more of

949
00:52:31,120 --> 00:52:34,400
Speaker 2: like the threatening and cerebral Baron? And then I have

950
00:52:34,440 --> 00:52:36,759
Speaker 2: to say that Ian McNeice did a great job with

951
00:52:36,840 --> 00:52:39,560
Speaker 2: it in the mini series, the sci fi mini series

952
00:52:39,600 --> 00:52:39,959
Speaker 2: as well.

953
00:52:40,400 --> 00:52:43,360
Speaker 3: Yeah, this is a less serious portrayal of the Baron

954
00:52:43,400 --> 00:52:45,600
Speaker 3: than we get like with the Scar's Guard. Obviously, that

955
00:52:45,719 --> 00:52:49,880
Speaker 3: is a very deep, dark, scary baron. This Baron is

956
00:52:49,920 --> 00:52:54,719
Speaker 3: a lot funnier and that kind of continues with how

957
00:52:54,719 --> 00:52:57,960
Speaker 3: the rest of how Harkonin is portrayed. We meet the

958
00:52:57,960 --> 00:53:03,360
Speaker 3: baron's to nephew is a Fadea, and the Beast Rabon.

959
00:53:03,640 --> 00:53:05,840
Speaker 3: I think they're called the Beast by the people of

960
00:53:05,880 --> 00:53:10,040
Speaker 3: Irakus Rabon. What's his first name, Glossu or something, I believe.

961
00:53:10,080 --> 00:53:13,360
Speaker 2: So, yeah, So the Beast here is played by Paul L.

962
00:53:13,440 --> 00:53:18,160
Speaker 2: Smith of nineteen thirty six through twenty twelve, So this

963
00:53:18,239 --> 00:53:22,400
Speaker 2: is another over the top performance just by another noted

964
00:53:22,480 --> 00:53:26,160
Speaker 2: gruff character actor. So he's an American actor who played

965
00:53:26,719 --> 00:53:29,920
Speaker 2: Bluto in the nineteen eighty Pope Eye movie. Other credits

966
00:53:29,920 --> 00:53:33,520
Speaker 2: include Sam Raimi's Cohen Brothers scripted film Crime Way from

967
00:53:33,560 --> 00:53:37,560
Speaker 2: eighty five, Red Sonia from eighty five, Gore from eighty seven,

968
00:53:38,040 --> 00:53:41,200
Speaker 2: and the nineteen eighty two Spanish horror movie Pieces, which

969
00:53:41,239 --> 00:53:44,319
Speaker 2: is on our potential to do list. But yeah, basically,

970
00:53:44,480 --> 00:53:49,799
Speaker 2: this Beast is just a grotesque cartoon character. Dave Bautista

971
00:53:49,880 --> 00:53:53,400
Speaker 2: does a solid job as the character in the recent films,

972
00:53:53,440 --> 00:53:55,759
Speaker 2: and they really expand the role to make the role

973
00:53:55,800 --> 00:53:58,600
Speaker 2: more meaningful and give Bautista much more to do.

974
00:53:59,360 --> 00:54:01,920
Speaker 3: Like we were saying with Pider earlier, this is another

975
00:54:02,040 --> 00:54:07,000
Speaker 3: character who is totally completely evil but also ends up

976
00:54:07,040 --> 00:54:08,800
Speaker 3: being rather pitiable in the story.

977
00:54:09,320 --> 00:54:12,640
Speaker 2: Yeah, and now the other son is, of course the

978
00:54:12,760 --> 00:54:16,399
Speaker 2: golden child of House Harkonen. This is fate rap though,

979
00:54:16,400 --> 00:54:21,239
Speaker 2: like you said, played by Sting, Yeah, fifty one. I

980
00:54:21,320 --> 00:54:24,400
Speaker 2: believe this was only his fourth acting role, following nineteen

981
00:54:24,400 --> 00:54:27,560
Speaker 2: eighty two's Brimstone and Treckle. And he'd follow this up

982
00:54:27,600 --> 00:54:31,439
Speaker 2: by playing Frankenstein in nineteen eighty five's The Bride. That's

983
00:54:31,560 --> 00:54:35,200
Speaker 2: the Doctor, by the way, that the true Frankenstein, not

984
00:54:35,320 --> 00:54:40,200
Speaker 2: Frankenstein as a shorthand for the Monster. He's continued to

985
00:54:40,239 --> 00:54:42,759
Speaker 2: act on and off over the years, often you know,

986
00:54:42,840 --> 00:54:45,880
Speaker 2: really good, especially in small doses here and there. He

987
00:54:46,040 --> 00:54:49,400
Speaker 2: is an Oscar winner. But in the original song category.

988
00:54:49,840 --> 00:54:52,640
Speaker 3: Mm okay, I'm trying to think of what other movies

989
00:54:52,760 --> 00:54:54,799
Speaker 3: is he He was in that. He was in the

990
00:54:54,840 --> 00:54:59,160
Speaker 3: Who's Other Rock Opera? Not Tommy but Quadrophenia.

991
00:54:58,600 --> 00:55:01,120
Speaker 2: He was, Yeah, he was. I think he had a

992
00:55:01,160 --> 00:55:05,719
Speaker 2: small role in Lockstock and two smoking barrels much later,

993
00:55:05,960 --> 00:55:08,000
Speaker 2: and like that was one where it's a very small role,

994
00:55:08,000 --> 00:55:09,080
Speaker 2: but he's really good in it.

995
00:55:09,120 --> 00:55:11,759
Speaker 3: You know, what do I think of Sting's performance in

996
00:55:11,760 --> 00:55:15,480
Speaker 3: this movie? You know, it's absolutely memorable. I'm never gonna

997
00:55:15,880 --> 00:55:19,480
Speaker 3: not be thinking about him in this role, especially his

998
00:55:19,640 --> 00:55:22,319
Speaker 3: line delivery during the final fight scene, We'll get too

999
00:55:22,360 --> 00:55:25,120
Speaker 3: later with you. I will kill him, I will kill you.

1000
00:55:28,200 --> 00:55:31,560
Speaker 2: Yeah, it's a it's a lot to figure out because

1001
00:55:33,400 --> 00:55:35,640
Speaker 2: he is he is over the top, and it's weird.

1002
00:55:35,640 --> 00:55:40,279
Speaker 2: It's a weird performance. He looks amazing and Fade Rotha

1003
00:55:40,400 --> 00:55:43,880
Speaker 2: on top of that is a strange character, like and

1004
00:55:44,360 --> 00:55:47,560
Speaker 2: no film adaptation, in my opinion, has really done him

1005
00:55:47,600 --> 00:55:50,919
Speaker 2: complete justice. Like he we don't know a lot about

1006
00:55:51,000 --> 00:55:53,200
Speaker 2: him ultimately, but we know and we know enough about

1007
00:55:53,280 --> 00:55:55,880
Speaker 2: him in the book that he's he's brash, he's not

1008
00:55:55,960 --> 00:55:58,239
Speaker 2: the plotter in the planner that his uncle is. His

1009
00:55:58,360 --> 00:56:01,360
Speaker 2: uncle is doing a lot to try and ensure that

1010
00:56:01,440 --> 00:56:03,399
Speaker 2: he moves up in the world and becomes the new

1011
00:56:03,440 --> 00:56:07,040
Speaker 2: face of House Harkonen. But there seems to be a

1012
00:56:07,080 --> 00:56:11,799
Speaker 2: lot of frustration with his maturity level and his appreciation

1013
00:56:11,960 --> 00:56:14,080
Speaker 2: for all of this. And you know, we just we

1014
00:56:14,520 --> 00:56:17,000
Speaker 2: tend to see less of that in the film adaptations.

1015
00:56:17,320 --> 00:56:19,560
Speaker 3: Yeah, the new movie does a good job of setting

1016
00:56:19,640 --> 00:56:22,279
Speaker 3: him up as a foil to Paul, that there are

1017
00:56:22,440 --> 00:56:25,319
Speaker 3: sort of two sides of the same coin. Yeah.

1018
00:56:25,480 --> 00:56:28,640
Speaker 2: Yeah, Austin Butler does a great job in doing Part

1019
00:56:28,680 --> 00:56:31,440
Speaker 2: two as this character, but it's a it's a rather

1020
00:56:31,480 --> 00:56:34,280
Speaker 2: different read on him. Like, on one hand, he's still

1021
00:56:34,520 --> 00:56:38,000
Speaker 2: supposed to be a kind of hot and supposed to

1022
00:56:38,040 --> 00:56:44,520
Speaker 2: be a definite threat to Paul, though perplexingly the new

1023
00:56:44,520 --> 00:56:49,239
Speaker 2: adaptations portray him as an honorable fighter, which I'm still

1024
00:56:49,280 --> 00:56:51,279
Speaker 2: trying to figure that out. I need to view Part

1025
00:56:51,320 --> 00:56:53,839
Speaker 2: two again in order to figure out how I really

1026
00:56:53,880 --> 00:56:56,040
Speaker 2: feel about all this, because I think one of the

1027
00:56:56,040 --> 00:56:58,600
Speaker 2: appeals of the character in the book and in this

1028
00:56:58,719 --> 00:57:02,239
Speaker 2: adaptation is that he will absolutely cheat to win, Yes,

1029
00:57:02,360 --> 00:57:05,000
Speaker 2: And I feel like that helped that that actually makes

1030
00:57:05,040 --> 00:57:07,680
Speaker 2: him more of a threat to Paul, because this is

1031
00:57:07,680 --> 00:57:10,200
Speaker 2: a guy will that will win at any cost and

1032
00:57:10,320 --> 00:57:12,640
Speaker 2: is used to winning at any cost and feels no

1033
00:57:12,680 --> 00:57:13,360
Speaker 2: shame about it.

1034
00:57:13,600 --> 00:57:17,320
Speaker 3: Yeah. Originally, the Harconins are not like worthy opponents or

1035
00:57:17,400 --> 00:57:22,880
Speaker 3: you know, honorable honorable villains. They are They're absolute like

1036
00:57:23,080 --> 00:57:25,920
Speaker 3: liars and cheaters and dirty tricksters and they'll do whatever

1037
00:57:25,960 --> 00:57:26,320
Speaker 3: they can.

1038
00:57:27,000 --> 00:57:30,360
Speaker 2: Yeah, So I'm sure dv has has his reasons, And

1039
00:57:30,440 --> 00:57:32,680
Speaker 2: like I say, I need to watch Doing Part two

1040
00:57:32,720 --> 00:57:35,520
Speaker 2: again to sort of figure out exactly how I feel

1041
00:57:35,600 --> 00:57:37,120
Speaker 2: about that performance. Now.

1042
00:57:37,160 --> 00:57:39,080
Speaker 3: I do love the book, but I think there is

1043
00:57:39,120 --> 00:57:41,800
Speaker 3: a new There's a change made in the new movie

1044
00:57:41,880 --> 00:57:45,040
Speaker 3: that I appreciate, which is that it excises from the

1045
00:57:45,080 --> 00:57:49,520
Speaker 3: Harconin plot line and characterization some elements that I think

1046
00:57:49,560 --> 00:57:53,400
Speaker 3: you could fairly argue are homophobic in the original portrayal,

1047
00:57:53,440 --> 00:57:57,360
Speaker 3: where like these like the Harconin characters, especially the Baron,

1048
00:57:57,520 --> 00:58:01,520
Speaker 3: are portrayed as having same sec attraction and I think

1049
00:58:01,600 --> 00:58:04,360
Speaker 3: you can you can say fairly it is not incidental

1050
00:58:04,440 --> 00:58:06,800
Speaker 3: to the fact that they're villains, but more sort of

1051
00:58:06,800 --> 00:58:09,280
Speaker 3: portrayed as part of their deviousness.

1052
00:58:10,080 --> 00:58:12,680
Speaker 2: Yeah. I think that was a solid cut for for

1053
00:58:12,720 --> 00:58:17,800
Speaker 2: the the new adaptations for sure. And and it's it's

1054
00:58:17,800 --> 00:58:22,320
Speaker 2: something that is handled in this adaptation, in Lynch's adaptation

1055
00:58:22,760 --> 00:58:26,560
Speaker 2: in a way that has that has attracted a fair

1056
00:58:26,600 --> 00:58:28,120
Speaker 2: amount of criticism over the years.

1057
00:58:28,400 --> 00:58:31,160
Speaker 3: Yeah, from what I can tell, it seems more implicit

1058
00:58:31,240 --> 00:58:34,160
Speaker 3: in Lynch's movie and a little more explicit in the book.

1059
00:58:34,240 --> 00:58:36,480
Speaker 3: But still I think it's somewhat there in the movie.

1060
00:58:37,000 --> 00:58:40,920
Speaker 2: Yeah, but let's not detract from the utter weirdness of

1061
00:58:41,000 --> 00:58:43,760
Speaker 2: this absolute Lynchian circus of a scene.

1062
00:58:44,000 --> 00:58:46,360
Speaker 3: Yes, because the setting. We haven't even finished describing the

1063
00:58:46,480 --> 00:58:50,240
Speaker 3: room they're in that. Oh no, okay, So interesting things

1064
00:58:50,280 --> 00:58:53,920
Speaker 3: about this scene. There is boiling acid under the floor,

1065
00:58:54,400 --> 00:58:56,320
Speaker 3: and it just seems to be part of the culture

1066
00:58:56,560 --> 00:59:00,360
Speaker 3: of Gidee Prime that when you're done with things, like

1067
00:59:00,440 --> 00:59:02,720
Speaker 3: the way we might throw something in the garbage can,

1068
00:59:02,960 --> 00:59:05,760
Speaker 3: they can throw things through a hole in the floor

1069
00:59:05,800 --> 00:59:09,200
Speaker 3: grate into the boiling acid below. So they use the

1070
00:59:09,240 --> 00:59:13,120
Speaker 3: boiling acid as the dumpster, and it's just there underneath

1071
00:59:13,160 --> 00:59:15,760
Speaker 3: the floor at all times, and I guess they're presumably

1072
00:59:15,920 --> 00:59:17,960
Speaker 3: breathing the fumes from it constantly.

1073
00:59:18,560 --> 00:59:19,840
Speaker 2: It's world building, baby.

1074
00:59:20,200 --> 00:59:22,240
Speaker 3: I like the detail. It's good. I don't recall if

1075
00:59:22,280 --> 00:59:24,640
Speaker 3: there's anything like that in the book, but it makes

1076
00:59:24,680 --> 00:59:30,200
Speaker 3: sense in this movie. The doctors attending the baron also

1077
00:59:30,320 --> 00:59:33,200
Speaker 3: have a very David lynch quality to them. This seems

1078
00:59:33,200 --> 00:59:36,960
Speaker 3: like purely Lynchy and flourish. One of them is like

1079
00:59:37,160 --> 00:59:40,480
Speaker 3: saying a little sort of nursery rhyme to the boils

1080
00:59:40,560 --> 00:59:43,440
Speaker 3: as he is picking at them, so he says, like,

1081
00:59:43,480 --> 00:59:47,040
Speaker 3: put the pick in their peete, turn it round real neat.

1082
00:59:47,760 --> 00:59:51,480
Speaker 3: That kind of cutesy rhyming in this grotesque context is

1083
00:59:51,880 --> 00:59:54,240
Speaker 3: an extremely David Lynch kind of thing to do.

1084
00:59:54,960 --> 00:59:58,240
Speaker 2: Yeah, I'll just mention briefly that that's the Leonardo Chimino

1085
00:59:58,600 --> 01:00:02,080
Speaker 2: playing the Baron's Doctor livednineteen seventeen through twenty twelve. You

1086
01:00:02,280 --> 01:00:05,800
Speaker 2: probably saw him in water World or in nineteen eighty

1087
01:00:05,800 --> 01:00:08,000
Speaker 2: seven's The Monster Squad when he played where he plays

1088
01:00:08,000 --> 01:00:11,240
Speaker 2: the old German guy. But yeah, this is weird and

1089
01:00:11,280 --> 01:00:14,720
Speaker 2: not in the books and just just strange, just strange

1090
01:00:15,320 --> 01:00:16,120
Speaker 2: and grotesque.

1091
01:00:16,440 --> 01:00:19,200
Speaker 3: Speaking of strange and grotesque, what is the thing that

1092
01:00:19,760 --> 01:00:23,280
Speaker 3: Rabond like crushes and then drinks the juice of here?

1093
01:00:23,400 --> 01:00:26,640
Speaker 3: Is this in some way a spice based cocktail? I

1094
01:00:26,680 --> 01:00:29,440
Speaker 3: don't think, as far as I know, Rabond is not

1095
01:00:29,560 --> 01:00:32,080
Speaker 3: consuming spice, because do we see him with blue eyes

1096
01:00:32,120 --> 01:00:35,480
Speaker 3: at all? He crushes something in a glass box and

1097
01:00:35,520 --> 01:00:37,120
Speaker 3: then sucks up its juice.

1098
01:00:38,480 --> 01:00:42,360
Speaker 2: I don't think this is spice though. To be sure,

1099
01:00:42,400 --> 01:00:43,919
Speaker 2: in the book they mentioned that you know a lot

1100
01:00:43,960 --> 01:00:48,800
Speaker 2: of royal houses use spice because spice extends your human life,

1101
01:00:49,240 --> 01:00:51,640
Speaker 2: And so I mean it's maybe they're using spice and

1102
01:00:51,640 --> 01:00:54,160
Speaker 2: they just don't use it at the levels that frem

1103
01:00:54,200 --> 01:00:56,320
Speaker 2: and use it to gain their eyes.

1104
01:00:57,280 --> 01:00:58,200
Speaker 3: This, I don't know.

1105
01:00:58,200 --> 01:00:59,840
Speaker 2: I always kind of read this as some other kind

1106
01:00:59,840 --> 01:01:03,400
Speaker 2: of strange space drug in this universe of weird space drugs.

1107
01:01:03,760 --> 01:01:08,040
Speaker 2: It's like a mummified frog juice box. It's like you

1108
01:01:08,080 --> 01:01:11,360
Speaker 2: auto crush a petrified creature and then you inhale it,

1109
01:01:11,400 --> 01:01:13,160
Speaker 2: and then you, of course you chunk the juice box

1110
01:01:13,200 --> 01:01:16,800
Speaker 2: across the room. I'm not sure what this is all about.

1111
01:01:16,840 --> 01:01:19,160
Speaker 2: I don't think it's anything from the book or the books,

1112
01:01:19,480 --> 01:01:21,840
Speaker 2: but it is marvelously strange. I like it.

1113
01:01:22,280 --> 01:01:25,160
Speaker 3: So anyway, you know, they're talking about their plots against

1114
01:01:25,400 --> 01:01:30,280
Speaker 3: House of Treades and the Baron. Just a note, generally

1115
01:01:30,320 --> 01:01:32,560
Speaker 3: he often starts levitating up in the air when he

1116
01:01:32,560 --> 01:01:35,320
Speaker 3: gets really excited. Again, the difference I think from the

1117
01:01:35,320 --> 01:01:37,720
Speaker 3: book that like in the book they say the Baron

1118
01:01:37,760 --> 01:01:42,160
Speaker 3: has like suspensers that help him like stay aloft, like

1119
01:01:42,200 --> 01:01:44,240
Speaker 3: help him stand up or something like that. But this

1120
01:01:44,280 --> 01:01:46,240
Speaker 3: is he's just flying all the time here.

1121
01:01:46,920 --> 01:01:49,440
Speaker 2: Yeah. Yeah, this movie made the choice that he was

1122
01:01:49,440 --> 01:01:52,360
Speaker 2: going to fly around and float around, and all subsequent

1123
01:01:52,440 --> 01:01:56,320
Speaker 2: adaptations have gone on that route as well, though it's

1124
01:01:56,320 --> 01:01:59,080
Speaker 2: more comical in this version, and it's more threatening and

1125
01:01:59,240 --> 01:02:03,880
Speaker 2: ominous in dv's adaptations. But we're still not out of

1126
01:02:03,920 --> 01:02:07,280
Speaker 2: all the weird creations and recreations for this scene.

1127
01:02:07,440 --> 01:02:10,480
Speaker 3: Oh no, there's also like, oh, this grotesque thing where

1128
01:02:10,560 --> 01:02:13,840
Speaker 3: like many of the servants and people like the people

1129
01:02:13,840 --> 01:02:16,959
Speaker 3: who work for the atreadees or not the Atredees. Sorry,

1130
01:02:17,120 --> 01:02:20,720
Speaker 3: the Harconans have this like plug, this like a valve

1131
01:02:20,880 --> 01:02:24,440
Speaker 3: in their heart that the Harconans can just like pull

1132
01:02:24,520 --> 01:02:27,400
Speaker 3: out the plug and like all their blood runs out

1133
01:02:27,440 --> 01:02:29,680
Speaker 3: of their chest and they die. And it seems that

1134
01:02:29,760 --> 01:02:32,720
Speaker 3: the baron just sometimes removes people's plugs for fun.

1135
01:02:33,440 --> 01:02:35,320
Speaker 2: Yeah, this is not in the books, but it is.

1136
01:02:36,200 --> 01:02:38,520
Speaker 2: It is kind of a fitting invention for the hearkens

1137
01:02:38,600 --> 01:02:41,320
Speaker 2: on a hole because yeah, so the baron apparently likes

1138
01:02:41,360 --> 01:02:43,400
Speaker 2: to level the playing field with his servants in his

1139
01:02:43,480 --> 01:02:45,880
Speaker 2: underling so that he can kill them at will by

1140
01:02:45,920 --> 01:02:49,760
Speaker 2: simply pulling this thing out. But this sequence in particular

1141
01:02:49,960 --> 01:02:53,240
Speaker 2: that follows because basically a what I think he's credited

1142
01:02:53,280 --> 01:02:57,520
Speaker 2: as a flower boy, like a servant comes in and

1143
01:02:57,640 --> 01:03:01,680
Speaker 2: the baron approaches him rather lustily and then pulls out

1144
01:03:01,720 --> 01:03:05,520
Speaker 2: his heart plug and blood goes everywhere. And this sequence

1145
01:03:05,560 --> 01:03:08,280
Speaker 2: has generated for amount criticism over the years due to

1146
01:03:08,400 --> 01:03:12,919
Speaker 2: not only its grotesque qualities, but also questionable implications during

1147
01:03:12,960 --> 01:03:15,960
Speaker 2: the AIDS crisis of the nineteen eighties. Given that in

1148
01:03:16,040 --> 01:03:20,280
Speaker 2: Quick Secession we see same sex desire, physical illness on

1149
01:03:20,320 --> 01:03:23,280
Speaker 2: the part of the baron, and also blood spraying everywhere.

1150
01:03:23,520 --> 01:03:27,280
Speaker 2: I don't think any of that was actually intentional, and

1151
01:03:27,400 --> 01:03:30,800
Speaker 2: Lynch is drawing directly on elements from the book here

1152
01:03:30,880 --> 01:03:35,040
Speaker 2: in many cases. But there's longstanding social criticism of this sequence.

1153
01:03:35,360 --> 01:03:38,280
Speaker 3: Yeah, I can see, maybe an isolation, some of these

1154
01:03:38,320 --> 01:03:41,440
Speaker 3: weird elements working better individually, but put together like this,

1155
01:03:41,560 --> 01:03:43,760
Speaker 3: I can absolutely see what the critics are saying there.

1156
01:03:44,840 --> 01:03:47,400
Speaker 3: And again, I think it was a good choice in

1157
01:03:47,440 --> 01:03:51,080
Speaker 3: the newer movies to remove the same sex attraction element

1158
01:03:51,120 --> 01:03:53,840
Speaker 3: from the Harconins because it's just not really necessary and

1159
01:03:55,080 --> 01:03:58,440
Speaker 3: it avoids this kind of implication, the implication that like

1160
01:03:58,600 --> 01:04:01,640
Speaker 3: that in itself is part of their deviousness or is

1161
01:04:01,680 --> 01:04:05,080
Speaker 3: evil in some way. Okay, so I think we're done

1162
01:04:05,120 --> 01:04:10,360
Speaker 3: with Gidee Prime for now, right, Could we onto Aracus? No? No, no, no,

1163
01:04:10,440 --> 01:04:13,640
Speaker 3: not onto Aracus. We're gonna go back to Caladan first. Okay,

1164
01:04:14,680 --> 01:04:17,080
Speaker 3: So we see, you know, the the Atredes leaving the

1165
01:04:17,080 --> 01:04:19,920
Speaker 3: planet with their pug, Jessica, Letto and Paul. So they

1166
01:04:19,920 --> 01:04:22,080
Speaker 3: get on board the spaceship and blast off for Dune,

1167
01:04:22,440 --> 01:04:26,400
Speaker 3: and the spaceships we see them approaching the Guild Highliner,

1168
01:04:27,040 --> 01:04:29,480
Speaker 3: which is like an object that's sort of like a

1169
01:04:29,520 --> 01:04:32,680
Speaker 3: city sized baton floating in the void. And these are

1170
01:04:32,720 --> 01:04:35,680
Speaker 3: the ships that can travel through folded space. So you

1171
01:04:35,720 --> 01:04:37,960
Speaker 3: take a spaceship up to the Guild Highliner, I think,

1172
01:04:37,960 --> 01:04:40,320
Speaker 3: you get on board it, and then it takes you

1173
01:04:40,800 --> 01:04:44,800
Speaker 3: between the different stars in the galaxy. And so their

1174
01:04:44,840 --> 01:04:48,320
Speaker 3: ship enters the Guild Highliner through a huge opening framed

1175
01:04:48,320 --> 01:04:52,200
Speaker 3: by ornate gold decorations, like the frame of a Renaissance painting.

1176
01:04:52,240 --> 01:04:56,800
Speaker 3: I like that detail, and I really like this sequence

1177
01:04:56,880 --> 01:05:01,680
Speaker 3: because here space travel is true. We did with apprehension

1178
01:05:01,840 --> 01:05:06,640
Speaker 3: and reverence as a mystical, almost magical event. It's so

1179
01:05:06,880 --> 01:05:11,120
Speaker 3: far from the kind of casual jet fighter pilots in

1180
01:05:11,200 --> 01:05:13,640
Speaker 3: space themes that we would get in so many other

1181
01:05:13,680 --> 01:05:16,520
Speaker 3: sci fi movies of the time. I love the feeling

1182
01:05:16,600 --> 01:05:20,800
Speaker 3: created here that to travel on a Guild Highliner is

1183
01:05:20,840 --> 01:05:24,600
Speaker 3: to participate in a profound and unsettling mystery.

1184
01:05:25,120 --> 01:05:29,560
Speaker 2: Yeah, absolutely, and one that is managed by a reclusive

1185
01:05:29,760 --> 01:05:33,880
Speaker 2: cult that has a complete monopoly on space travel. A

1186
01:05:33,920 --> 01:05:36,960
Speaker 2: reminder that no one is moving star to star in

1187
01:05:37,000 --> 01:05:40,280
Speaker 2: the Doom universe except for the Guild. So there are

1188
01:05:40,280 --> 01:05:43,040
Speaker 2: no space battles because there's nobody to engage in those

1189
01:05:43,040 --> 01:05:45,720
Speaker 2: space battles. The Guild controls everything.

1190
01:05:46,400 --> 01:05:48,920
Speaker 3: Yeah, that's a really good point. But so I think

1191
01:05:48,960 --> 01:05:51,680
Speaker 3: this is something that the Lynch movie does especially well,

1192
01:05:51,760 --> 01:05:56,560
Speaker 3: is create this sense of awe and mystery and intrepidation

1193
01:05:56,680 --> 01:06:01,560
Speaker 3: and danger about interstellar travel. Yeah, you're at the mercy

1194
01:06:01,640 --> 01:06:09,040
Speaker 3: of this, this reclusive cult, as you said.

1195
01:06:13,240 --> 01:06:14,920
Speaker 2: All right, so we board up the high liner and

1196
01:06:14,920 --> 01:06:17,240
Speaker 2: then we set off onward to Aracus.

1197
01:06:17,520 --> 01:06:20,440
Speaker 3: That's right. Finally we're at Doune, So the planet appears

1198
01:06:20,480 --> 01:06:24,000
Speaker 3: as a reverse setting sun and they go down to

1199
01:06:24,040 --> 01:06:26,919
Speaker 3: the surface. Jessica, Letto and Paul arrive and set foot

1200
01:06:26,920 --> 01:06:29,960
Speaker 3: on the planet, and then Princess Irelon resumes the narration.

1201
01:06:30,800 --> 01:06:34,440
Speaker 3: Got to get more more voiceover narration. She says that

1202
01:06:34,520 --> 01:06:37,320
Speaker 3: House of Trades took control of Iracas sixty three standard

1203
01:06:37,360 --> 01:06:39,600
Speaker 3: days into the year ten thousand and one, ninety one,

1204
01:06:40,240 --> 01:06:43,360
Speaker 3: it was known that the Harconins, the former rulers of Aracus,

1205
01:06:43,360 --> 01:06:47,920
Speaker 3: would leave many suicide troops behind. A trade's patrols were doubled,

1206
01:06:48,800 --> 01:06:51,800
Speaker 3: and we learn in the following scenes that the Harconans

1207
01:06:51,840 --> 01:06:57,160
Speaker 3: have sabotaged machinery and defenses on the planet. We of

1208
01:06:57,160 --> 01:07:00,520
Speaker 3: course meet Duncan Idaho yet again. He comes to Duke Letto.

1209
01:07:00,640 --> 01:07:02,680
Speaker 3: He's dressed in a still suit. This is the first

1210
01:07:02,760 --> 01:07:05,000
Speaker 3: glimpse we get. I think of what the still suit

1211
01:07:05,000 --> 01:07:07,120
Speaker 3: looks like here, which it looks just kind of like

1212
01:07:07,320 --> 01:07:10,000
Speaker 3: a padded full body suit, but it's got the hose

1213
01:07:10,040 --> 01:07:13,360
Speaker 3: that connects to the nose. This is the local freemen attire,

1214
01:07:13,440 --> 01:07:16,840
Speaker 3: which allows one to survive in the desert without losing water.

1215
01:07:17,600 --> 01:07:21,120
Speaker 3: It recycles your sweat, the vapor in your breath, your urine,

1216
01:07:21,400 --> 01:07:24,240
Speaker 3: your feces, everything, All the water comes back.

1217
01:07:24,720 --> 01:07:27,600
Speaker 2: Yeah. Yeah, and the suits look pretty darn good in

1218
01:07:27,640 --> 01:07:30,320
Speaker 2: this film. In fact, I know people who prefer these

1219
01:07:30,360 --> 01:07:34,040
Speaker 2: suits to the new adaptations. But I like him in both.

1220
01:07:34,360 --> 01:07:37,560
Speaker 3: Yeah, I do too. So Duncan reports to the Duke

1221
01:07:37,640 --> 01:07:39,800
Speaker 3: that he's made contact with the Fremen and they could

1222
01:07:39,800 --> 01:07:43,720
Speaker 3: be powerful allies, especially since he believes there are many,

1223
01:07:43,760 --> 01:07:47,040
Speaker 3: many more of them than the Emperor realizes. They exist

1224
01:07:47,120 --> 01:07:51,600
Speaker 3: in vast numbers hidden from the Imperial census. So that's

1225
01:07:51,680 --> 01:07:56,120
Speaker 3: kind of threatening. So we watch the atreadees troops being

1226
01:07:56,200 --> 01:07:59,880
Speaker 3: trained to preserve water, and we meet a new character.

1227
01:08:00,040 --> 01:08:03,480
Speaker 3: We meet Leat Kines, the Judge of Change, which means

1228
01:08:03,600 --> 01:08:08,440
Speaker 3: he's supposed to oversee the change between the Harconean control

1229
01:08:08,480 --> 01:08:11,440
Speaker 3: of Iracus to a Trade's control of Iracus and then

1230
01:08:11,520 --> 01:08:14,200
Speaker 3: report to the lands Rad which is like the Parliament

1231
01:08:14,280 --> 01:08:18,960
Speaker 3: of this universe, and like make sure that everything has

1232
01:08:19,000 --> 01:08:22,240
Speaker 3: been done fairly. But he's also an ecologist. He's an

1233
01:08:22,240 --> 01:08:25,280
Speaker 3: imperial ecologist, and he's been on the planet a long time.

1234
01:08:25,400 --> 01:08:28,920
Speaker 3: I might have even been born here. He's sort of

1235
01:08:28,960 --> 01:08:31,880
Speaker 3: adapted to Fremen ways and he has blue eyes from

1236
01:08:31,920 --> 01:08:32,439
Speaker 3: the Spice.

1237
01:08:33,240 --> 01:08:35,920
Speaker 2: Yeah, And this is of course Max Foncito playing in

1238
01:08:35,920 --> 01:08:38,719
Speaker 2: the role I lived in nineteen twenty nine through twenty twenty.

1239
01:08:38,920 --> 01:08:41,479
Speaker 2: See our recent episode on Flash Gordon for a longer

1240
01:08:41,520 --> 01:08:45,240
Speaker 2: discussion on Max here. But he is as always a

1241
01:08:45,320 --> 01:08:48,880
Speaker 2: fine presence in a film, but he is barely in this.

1242
01:08:48,880 --> 01:08:52,679
Speaker 2: This character's presence is much reduced. We see a lot

1243
01:08:52,760 --> 01:08:55,160
Speaker 2: more of kinds in the recent films, played by Sharon

1244
01:08:55,240 --> 01:08:57,320
Speaker 2: Duncan Brewster, who is also great.

1245
01:08:57,560 --> 01:09:00,800
Speaker 3: Yes she is. I wonder why they use so little

1246
01:09:00,840 --> 01:09:04,680
Speaker 3: of doctor Kynes in this movie. Makes you wonder if

1247
01:09:04,720 --> 01:09:05,439
Speaker 3: stuff got cut.

1248
01:09:06,080 --> 01:09:08,000
Speaker 2: Oh yeah, I get the feeling. It's just like the

1249
01:09:08,040 --> 01:09:10,719
Speaker 2: economy of the cut here. And you know I should

1250
01:09:10,840 --> 01:09:13,280
Speaker 2: throw in I probably mentioned this in the last episode.

1251
01:09:13,360 --> 01:09:19,000
Speaker 2: There are those longer unauthorized cuts of nineteen eighty four's

1252
01:09:19,040 --> 01:09:23,160
Speaker 2: Dune that Lynch totally disowns. Those are like, you know,

1253
01:09:23,560 --> 01:09:28,760
Speaker 2: Smithy directed productions, and I really haven't seen those in full.

1254
01:09:28,840 --> 01:09:31,720
Speaker 2: So maybe we can have some listeners ride in with

1255
01:09:31,760 --> 01:09:34,640
Speaker 2: their thoughts on deleted scenes that pop up again in

1256
01:09:34,640 --> 01:09:38,200
Speaker 2: that longer cut. But certainly, in this the only official

1257
01:09:38,240 --> 01:09:41,719
Speaker 2: cut of David Lynch's Dune, this character is barely present.

1258
01:09:42,120 --> 01:09:45,559
Speaker 3: He is present long enough to observe that Paul wears

1259
01:09:45,600 --> 01:09:47,640
Speaker 3: a still suit as if he was born to it,

1260
01:09:47,680 --> 01:09:49,920
Speaker 3: because the you know, the treadees are putting on still

1261
01:09:49,920 --> 01:09:53,519
Speaker 3: suits to go out and survey spice production. Paul is

1262
01:09:53,520 --> 01:09:58,280
Speaker 3: wearing his like a pro so that's part of a prophecy. Actually, oh,

1263
01:09:58,280 --> 01:10:01,160
Speaker 3: how do you even? This is actually a good point

1264
01:10:01,320 --> 01:10:04,960
Speaker 3: to discuss the way that I think the Lynch movie.

1265
01:10:04,960 --> 01:10:09,960
Speaker 3: One way it sort of fails is it it plays

1266
01:10:10,080 --> 01:10:12,639
Speaker 3: up a lot about the Spacing Guild that is not

1267
01:10:12,720 --> 01:10:15,719
Speaker 3: really in the original Doune novel, But it really under

1268
01:10:15,760 --> 01:10:18,760
Speaker 3: sells the role of the Beni Jessert, I think, and

1269
01:10:19,000 --> 01:10:22,639
Speaker 3: like their whole plot to like establish, like seed these

1270
01:10:22,720 --> 01:10:27,519
Speaker 3: prophecies throughout the cultures of the galaxy that would later

1271
01:10:27,680 --> 01:10:30,720
Speaker 3: connect to the figure that they're going to use to

1272
01:10:30,760 --> 01:10:35,639
Speaker 3: attain power, the Quisat's Hatterak. And so they put all

1273
01:10:35,680 --> 01:10:39,879
Speaker 3: of these prophecies out among the people, and Paul arrives

1274
01:10:39,920 --> 01:10:42,680
Speaker 3: on this planet and is immediately observed by people who

1275
01:10:42,680 --> 01:10:45,760
Speaker 3: are familiar with these prophecies to fulfill them.

1276
01:10:46,200 --> 01:10:49,320
Speaker 2: Yeah. Yeah, like the ground has been prepared for one

1277
01:10:49,360 --> 01:10:52,519
Speaker 2: such as he, and that's it's an important factor. Yeah,

1278
01:10:52,560 --> 01:10:54,840
Speaker 2: that is just not as present in this adaptation.

1279
01:10:55,320 --> 01:10:57,639
Speaker 3: And that's something again I really appreciate about the new

1280
01:10:57,640 --> 01:11:00,600
Speaker 3: movies is they sort of downplay the role of the

1281
01:11:00,640 --> 01:11:03,479
Speaker 3: Spacing Guild and play no I mean, I don't know,

1282
01:11:03,760 --> 01:11:05,800
Speaker 3: the Spacing Guild is cool too, so it's not like

1283
01:11:05,840 --> 01:11:08,000
Speaker 3: I don't want to see them, but they focus more

1284
01:11:08,600 --> 01:11:11,519
Speaker 3: on the plots and politics of the Beni Jesert, which

1285
01:11:11,520 --> 01:11:14,679
Speaker 3: I think is a smart move. Ye anyway, and this

1286
01:11:14,720 --> 01:11:18,240
Speaker 3: is the scene where Letto, Paul and Kines go out

1287
01:11:18,240 --> 01:11:21,719
Speaker 3: in a flying machine to observe spice harvesters at work.

1288
01:11:22,040 --> 01:11:23,880
Speaker 3: They're seeing, you know, the machines out in the desert

1289
01:11:23,960 --> 01:11:26,320
Speaker 3: getting the spice from the sand. But uh oh, there

1290
01:11:26,439 --> 01:11:30,080
Speaker 3: is worm sign. This apparently is a common thing about

1291
01:11:30,080 --> 01:11:33,600
Speaker 3: how spice production takes place. The harvesters will work up

1292
01:11:33,680 --> 01:11:35,760
Speaker 3: until the last minute when a worm is about to

1293
01:11:35,880 --> 01:11:38,200
Speaker 3: arrive and eat them, and then they will be lifted

1294
01:11:38,200 --> 01:11:41,200
Speaker 3: away by a flying vehicle called a carry all and

1295
01:11:41,320 --> 01:11:45,200
Speaker 3: taken to safety. But uh oh, they're observing here that

1296
01:11:45,280 --> 01:11:47,800
Speaker 3: a spice harvester is working, a worm is on the way,

1297
01:11:48,120 --> 01:11:50,160
Speaker 3: and the carry all that is supposed to rescue it

1298
01:11:50,200 --> 01:11:54,760
Speaker 3: has been sabotaged. So Duke Leto leads a rescue of

1299
01:11:54,800 --> 01:11:57,960
Speaker 3: the men working. The spice harvester is leaving the spice behind,

1300
01:11:58,720 --> 01:12:02,960
Speaker 3: rescuing the workers and bringing them onto his ornithopter. And

1301
01:12:03,000 --> 01:12:05,599
Speaker 3: then we see a worm eat the harvester as they

1302
01:12:05,640 --> 01:12:08,880
Speaker 3: take off, and we hear Kine's inner voice saying, oh,

1303
01:12:09,000 --> 01:12:11,240
Speaker 3: I like this, Duke. He left the spice behind and

1304
01:12:11,280 --> 01:12:12,040
Speaker 3: saved the men.

1305
01:12:12,479 --> 01:12:16,240
Speaker 2: I talked a lot about ornithopters in Wednesday's short form episode,

1306
01:12:16,840 --> 01:12:20,200
Speaker 2: but briefly, I'll just say, yeah, the ornithopters in the

1307
01:12:20,240 --> 01:12:24,840
Speaker 2: recent adaptations are amazing. They're like apache helicopters combined with

1308
01:12:24,880 --> 01:12:27,680
Speaker 2: a dragonfly in a way that it's like terrifying and

1309
01:12:27,760 --> 01:12:33,320
Speaker 2: majestic on the screen. In this adaptation, especially the Atreades

1310
01:12:33,439 --> 01:12:36,639
Speaker 2: ornithopter is like a big metal berb, you know. It's

1311
01:12:36,760 --> 01:12:40,280
Speaker 2: it's clunky, it's chonky. It's got these little wings that

1312
01:12:40,400 --> 01:12:45,519
Speaker 2: seem decorative and not functional. The Harconin ornithopters, which I

1313
01:12:45,520 --> 01:12:46,960
Speaker 2: don't even know if we really get to see them

1314
01:12:47,000 --> 01:12:50,320
Speaker 2: all that much, but the design for those is a

1315
01:12:50,320 --> 01:12:54,840
Speaker 2: lot more interesting, but also still doesn't fully embrace the

1316
01:12:54,880 --> 01:12:56,599
Speaker 2: whole flapping of wings.

1317
01:12:56,960 --> 01:13:00,519
Speaker 3: Yeah. Okay, so we're getting into the plots here against

1318
01:13:00,560 --> 01:13:03,719
Speaker 3: House a Treadees. So first of all, Lady Jessica determines

1319
01:13:03,760 --> 01:13:07,439
Speaker 3: that doctor Yua has a secret concerning his wife and

1320
01:13:07,560 --> 01:13:10,599
Speaker 3: his hatred of the Harconans, but that is not fully

1321
01:13:10,600 --> 01:13:14,840
Speaker 3: fleshed out yet. We get to meet the housekeeper on

1322
01:13:15,520 --> 01:13:18,599
Speaker 3: Erken here, the capital of Iracus. This is shout out mapes.

1323
01:13:19,479 --> 01:13:22,599
Speaker 3: Paul tries spice for the first time, and he has

1324
01:13:23,040 --> 01:13:27,800
Speaker 3: visions the second moon the sleeper must awaken. And we

1325
01:13:27,840 --> 01:13:30,880
Speaker 3: also get the hunter Seeker attack on Paul, which is

1326
01:13:31,760 --> 01:13:35,240
Speaker 3: something that's realized in both movie adaptations, where there's like

1327
01:13:35,280 --> 01:13:39,560
Speaker 3: this little needlelike mosquito type creature that's trying to assassinate

1328
01:13:39,600 --> 01:13:41,640
Speaker 3: Paul and he manages to avoid it.

1329
01:13:42,200 --> 01:13:45,320
Speaker 2: Yeah, great sequence in both films and mapes. By the way,

1330
01:13:45,360 --> 01:13:48,479
Speaker 2: is played by Linda hunt Boord nineteen forty five Academy

1331
01:13:48,479 --> 01:13:51,559
Speaker 2: Award winning actor. She played Billy Kwan in the Year

1332
01:13:51,640 --> 01:13:55,040
Speaker 2: Living Dangerously from eighty two, so I have to single

1333
01:13:55,080 --> 01:13:55,439
Speaker 2: her out.

1334
01:13:56,120 --> 01:13:59,400
Speaker 3: Yeah. So, but here we're getting to the Harconin attack.

1335
01:13:59,760 --> 01:14:03,559
Speaker 3: The double Cross is in motion now, so there has

1336
01:14:03,760 --> 01:14:06,400
Speaker 3: we've we've received word that there was a trader among

1337
01:14:06,520 --> 01:14:09,400
Speaker 3: house the trades, and we finally learn it is doctor

1338
01:14:09,479 --> 01:14:13,280
Speaker 3: Yua here uh and there are reasons so uh. Doctor

1339
01:14:13,400 --> 01:14:16,240
Speaker 3: Ua ambushes Duke Letto in the night with a with

1340
01:14:16,280 --> 01:14:19,800
Speaker 3: a drugged dart that kind of paralyzes him, and then

1341
01:14:19,840 --> 01:14:24,480
Speaker 3: doctor Ua explains his plot. He has sabotaged the shields

1342
01:14:24,520 --> 01:14:28,240
Speaker 3: of the city, destroyed the weirding modules, and the Harconin

1343
01:14:28,280 --> 01:14:32,479
Speaker 3: troops are on the way, but He's like, Okay, it's

1344
01:14:32,520 --> 01:14:36,400
Speaker 3: not over, Duke Leto, you can still kill Baron Harconin,

1345
01:14:36,479 --> 01:14:40,559
Speaker 3: and he gives Leto the poison gas tooth. He tells him,

1346
01:14:40,560 --> 01:14:43,360
Speaker 3: when you see the baron, remember the tooth. And this

1347
01:14:43,439 --> 01:14:44,800
Speaker 3: is a great plot point.

1348
01:14:45,000 --> 01:14:47,720
Speaker 2: Yeah, the tooth stain is of course fittingly grosser in

1349
01:14:47,760 --> 01:14:51,519
Speaker 2: this adaptation, like even when uas like getting it out

1350
01:14:51,520 --> 01:14:53,600
Speaker 2: of its box to implant it, like it just like

1351
01:14:53,680 --> 01:14:55,879
Speaker 2: this is gonna hurt. This is gonna be a little gross.

1352
01:14:56,000 --> 01:14:58,200
Speaker 3: The idea is he'll bite down on it when the

1353
01:14:58,240 --> 01:15:01,320
Speaker 3: baron leans over him, and that will that'll spit the

1354
01:15:01,360 --> 01:15:04,840
Speaker 3: poison gas in the Baron's face and kill him. And

1355
01:15:05,880 --> 01:15:08,280
Speaker 3: we learn, of course doctor Yue is not doing this

1356
01:15:08,360 --> 01:15:12,960
Speaker 3: out of maliciousness toward House Atredees, but he wants revenge

1357
01:15:12,960 --> 01:15:17,800
Speaker 3: against the baron because the Harconans have for many years

1358
01:15:17,840 --> 01:15:20,920
Speaker 3: captured his wife and have probably murdered her.

1359
01:15:21,479 --> 01:15:23,400
Speaker 2: But he has to know for sure, and this is

1360
01:15:24,200 --> 01:15:25,559
Speaker 2: how he's going to get to know for sure. But

1361
01:15:25,640 --> 01:15:29,920
Speaker 2: he's also going to plot the destruction of the architect

1362
01:15:30,200 --> 01:15:32,479
Speaker 2: of his wife's probable death right.

1363
01:15:33,240 --> 01:15:36,639
Speaker 3: So the attack begins. The Harconin troops here look so creepy.

1364
01:15:36,680 --> 01:15:40,639
Speaker 3: They look like welders with these black full hood masks

1365
01:15:40,680 --> 01:15:44,400
Speaker 3: with a little green square window in the front, and

1366
01:15:44,439 --> 01:15:48,439
Speaker 3: so that looks really creepy. However, the actual violence in

1367
01:15:48,520 --> 01:15:51,840
Speaker 3: this battle scene is not very cool. It is mostly

1368
01:15:51,920 --> 01:15:53,519
Speaker 3: i think, unintentionally funny.

1369
01:15:54,240 --> 01:15:55,400
Speaker 2: Yeah, it's a little hockey.

1370
01:15:56,040 --> 01:15:59,000
Speaker 3: Baron Harconin leaves Paul and Jessica with Pyder Devrees with

1371
01:15:59,080 --> 01:16:01,800
Speaker 3: instructions to kill them. They are sent off to the

1372
01:16:01,840 --> 01:16:04,919
Speaker 3: desert to be left there to be eaten by worms

1373
01:16:04,960 --> 01:16:07,719
Speaker 3: so there will be no evidence this was doctor Yuay's idea.

1374
01:16:08,080 --> 01:16:10,200
Speaker 3: But actually it turns out Doctor Yua has been trying

1375
01:16:10,240 --> 01:16:13,760
Speaker 3: to protect them. He has packed still suits for them,

1376
01:16:14,160 --> 01:16:17,160
Speaker 3: and Paul and Jessica use the Beni Jesert voice to

1377
01:16:17,160 --> 01:16:21,759
Speaker 3: command the Harconean troops and escape into the desert. Meanwhile,

1378
01:16:21,840 --> 01:16:24,600
Speaker 3: Duke Letto's tooth strike against the Baron is about to

1379
01:16:24,720 --> 01:16:29,400
Speaker 3: unfold the Barons. They're gloating over him, but it fails

1380
01:16:29,439 --> 01:16:32,360
Speaker 3: to get the baron. Instead, it kills Pyder DeVries, it

1381
01:16:32,439 --> 01:16:35,960
Speaker 3: kills the house harcone in Mintat played by Brad Duraf,

1382
01:16:36,439 --> 01:16:39,400
Speaker 3: and the baron we get his reaction where he's like,

1383
01:16:39,479 --> 01:16:44,520
Speaker 3: I'm alive. I'm alive, floating in the air, screaming so inspiring.

1384
01:16:45,400 --> 01:16:49,840
Speaker 2: The poison tooth sequence, at least when they have when

1385
01:16:49,840 --> 01:16:53,400
Speaker 2: they refer back to it visually, it is, as you

1386
01:16:53,479 --> 01:16:56,640
Speaker 2: might expect, far more grotesque in this adaptation, because we

1387
01:16:56,680 --> 01:17:00,719
Speaker 2: see that it's like an explosion of gas stick gas

1388
01:17:00,760 --> 01:17:03,519
Speaker 2: has gone off in the Duke's mouth and is like

1389
01:17:03,560 --> 01:17:07,519
Speaker 2: eaten through his cheek. Even so, it's it's grim stuff. No.

1390
01:17:07,640 --> 01:17:09,679
Speaker 3: I know, we've been dwelling on a lot of detail

1391
01:17:09,720 --> 01:17:12,280
Speaker 3: in the plot, so I think maybe we should shift

1392
01:17:12,280 --> 01:17:14,720
Speaker 3: into moving a little more quickly through the movie. And

1393
01:17:14,880 --> 01:17:16,439
Speaker 3: this is a good place to do it, because this

1394
01:17:16,600 --> 01:17:20,479
Speaker 3: is also where the movie starts moving much more quickly

1395
01:17:20,560 --> 01:17:23,040
Speaker 3: through the plot. And this, I think is a is

1396
01:17:23,080 --> 01:17:27,120
Speaker 3: a fair major criticism of the eighty four Dune is

1397
01:17:27,120 --> 01:17:32,000
Speaker 3: that somewhere around right here things start happening way too fast.

1398
01:17:32,240 --> 01:17:35,800
Speaker 2: Yeah, it becomes fragmentary and kind of feels like Doune

1399
01:17:35,840 --> 01:17:38,920
Speaker 2: the scrap Book leading up to like the final confrontation.

1400
01:17:39,240 --> 01:17:42,160
Speaker 3: Yes, yes, okay, So Paul and Jessica escape into the desert.

1401
01:17:42,200 --> 01:17:44,720
Speaker 3: They go to the forbidden South Polar regions. They're trying

1402
01:17:44,760 --> 01:17:47,519
Speaker 3: to avoid being eaten by a worm. And this is

1403
01:17:47,560 --> 01:17:50,519
Speaker 3: where Paul really like he gets he gets deep spice,

1404
01:17:50,720 --> 01:17:53,800
Speaker 3: exposure to spice. In the desert, he sees the second moon,

1405
01:17:54,760 --> 01:17:57,280
Speaker 3: you know. He hears the voice saying the sleeper must awaken.

1406
01:17:57,560 --> 01:17:59,800
Speaker 3: He sees a hand reaching from space. He knows the

1407
01:18:00,320 --> 01:18:03,200
Speaker 3: and the Guild want him destroyed, and finally he hears

1408
01:18:03,200 --> 01:18:06,160
Speaker 3: that they will call him wad Deep. So that's a

1409
01:18:06,200 --> 01:18:09,400
Speaker 3: premonition of everything to come. And he realizes that the

1410
01:18:09,479 --> 01:18:12,439
Speaker 3: spice is in everything on the planet, and the spice

1411
01:18:12,479 --> 01:18:15,480
Speaker 3: is changing him. It's causing him to reach his potential

1412
01:18:15,520 --> 01:18:18,400
Speaker 3: as the chosen One, and he knows the future and

1413
01:18:18,479 --> 01:18:22,680
Speaker 3: his own terrible destiny. Also revealed here is that Jessica,

1414
01:18:22,760 --> 01:18:26,519
Speaker 3: Lady Jessica, is pregnant with Paul's sister, who is also

1415
01:18:26,640 --> 01:18:30,120
Speaker 3: faded for greatness in some way. And there's adventure in

1416
01:18:30,120 --> 01:18:32,639
Speaker 3: the desert as Paul and Jessica travel across the sand

1417
01:18:32,800 --> 01:18:35,519
Speaker 3: trying to avoid worms. They have to, of course, do

1418
01:18:36,400 --> 01:18:39,519
Speaker 3: the Fremen walk to walk without rhythm on the sand,

1419
01:18:40,080 --> 01:18:42,719
Speaker 3: and here we do see the worm in its full

1420
01:18:42,800 --> 01:18:46,320
Speaker 3: glory while it's chasing them. We see its trifled maw

1421
01:18:46,560 --> 01:18:49,000
Speaker 3: leaping out from the sand and its design is almost

1422
01:18:49,080 --> 01:18:52,960
Speaker 3: like a flower with petals opening around this toothy mouth.

1423
01:18:53,320 --> 01:18:55,479
Speaker 3: I really do like the design of the worms in

1424
01:18:55,479 --> 01:18:58,559
Speaker 3: this movie. I think they look great. They're scary and menacing.

1425
01:18:58,960 --> 01:19:03,519
Speaker 3: Some of the worm riding scenes, however, are quite funny

1426
01:19:03,560 --> 01:19:06,280
Speaker 3: and don't really have the same grandeur as when you're

1427
01:19:06,320 --> 01:19:10,599
Speaker 3: just seeing the worm in its opening mouth. Also, somewhere

1428
01:19:10,600 --> 01:19:13,200
Speaker 3: in the sequence we first see the use I think

1429
01:19:13,280 --> 01:19:16,960
Speaker 3: of the thumper, a very important technology in this movie.

1430
01:19:17,400 --> 01:19:21,240
Speaker 2: Thumpers are huge in this movie, and it works. Like

1431
01:19:21,920 --> 01:19:24,600
Speaker 2: you'll often see on the poster, there's Paul Addredes with

1432
01:19:24,680 --> 01:19:27,799
Speaker 2: something slung across his back in the desert. That's the thumper.

1433
01:19:28,600 --> 01:19:32,280
Speaker 2: So yeah, it's big, no criticism, it's just a big

1434
01:19:33,280 --> 01:19:34,640
Speaker 2: idea of what these things look like.

1435
01:19:35,200 --> 01:19:38,479
Speaker 3: So Paul and Jessica come across a Fremen seat, a

1436
01:19:38,560 --> 01:19:42,639
Speaker 3: Fremen encampment in the rocks. So they find man car

1437
01:19:42,800 --> 01:19:45,360
Speaker 3: steps and they go into the rocks and they just

1438
01:19:45,479 --> 01:19:47,240
Speaker 3: kind of walk up on it and all of the

1439
01:19:47,320 --> 01:19:50,439
Speaker 3: freemen are there, like as symboled waiting for them, eyes

1440
01:19:50,479 --> 01:19:53,320
Speaker 3: glowing blue. It's almost like they're standing at attention for

1441
01:19:53,360 --> 01:19:56,680
Speaker 3: their arrival. And here we meet Stilgar the leader of

1442
01:19:56,720 --> 01:19:59,160
Speaker 3: the Fremen group, and we're also going to meet Channi

1443
01:19:59,680 --> 01:20:01,000
Speaker 3: of the Yeah.

1444
01:20:01,000 --> 01:20:03,800
Speaker 2: So, still Gar is played by Everett McGill born nineteen

1445
01:20:03,880 --> 01:20:07,320
Speaker 2: forty five, accomplished American character actor with a very signature look.

1446
01:20:07,920 --> 01:20:10,880
Speaker 2: His other credits include eighty one's Quest for Fire, eighty

1447
01:20:10,920 --> 01:20:14,639
Speaker 2: five Silver Bullet, The Stephen King, Werewolf Movie, eighty six's

1448
01:20:14,720 --> 01:20:18,880
Speaker 2: Heartbreak Ridge, nineteen eighty seven's Werewolf, eighty nine's Licensed to Kill,

1449
01:20:19,120 --> 01:20:22,679
Speaker 2: Twin Peaks nineteen ninety ones, The People Under the Stairs

1450
01:20:23,040 --> 01:20:26,960
Speaker 2: under Siege two, and Lynches The Straight Story. Again, not

1451
01:20:27,000 --> 01:20:30,599
Speaker 2: really fair to compare this performance to Javier Bardam Stillgar

1452
01:20:30,680 --> 01:20:33,600
Speaker 2: in the new movies because he, again, like a lot

1453
01:20:33,680 --> 01:20:35,599
Speaker 2: of these characters, he had a lot more room to breathe,

1454
01:20:36,000 --> 01:20:37,920
Speaker 2: and there's a lot more space for that character to

1455
01:20:37,960 --> 01:20:38,439
Speaker 2: come alive.

1456
01:20:38,640 --> 01:20:41,760
Speaker 3: Yeah, this is speed still Gar. Yeah, I guess we

1457
01:20:41,760 --> 01:20:44,200
Speaker 3: should go ahead and introduce Chawny as well. Yeah.

1458
01:20:44,280 --> 01:20:47,599
Speaker 2: Channie is played by Sean Young born nineteen fifty nine,

1459
01:20:47,640 --> 01:20:50,680
Speaker 2: American actress who had previously appeared in nineteen eighty one

1460
01:20:50,800 --> 01:20:54,200
Speaker 2: Stripes and more importantly eighty two's Blade Runner as the

1461
01:20:54,240 --> 01:20:58,400
Speaker 2: replicant Rachel. Subsequent roles included eighty seven's No Way Out

1462
01:20:58,400 --> 01:21:01,439
Speaker 2: in Wall Street ninety one, Kiss Before Dying ninety four

1463
01:21:01,520 --> 01:21:04,800
Speaker 2: is Ace Venture a pet detective, and more recently Blade

1464
01:21:04,880 --> 01:21:08,839
Speaker 2: Runner twenty forty nine. In another case, hard to compare

1465
01:21:08,880 --> 01:21:11,960
Speaker 2: this Channey to the recent film, where Zendeia does a

1466
01:21:11,960 --> 01:21:16,000
Speaker 2: great job playing a more complex and I think arguably

1467
01:21:16,040 --> 01:21:19,400
Speaker 2: stronger vision of this character. Chani is a strong character

1468
01:21:19,880 --> 01:21:22,400
Speaker 2: in this nineteen sixty five novel, but I think some

1469
01:21:22,479 --> 01:21:25,080
Speaker 2: of our strengths had to be updated for like a

1470
01:21:25,120 --> 01:21:25,920
Speaker 2: modern audience.

1471
01:21:26,200 --> 01:21:28,840
Speaker 3: Well, also in the new movie, I think you could

1472
01:21:28,920 --> 01:21:31,840
Speaker 3: argue in some ways Part two is is you get

1473
01:21:31,880 --> 01:21:35,439
Speaker 3: a lot of the story from Channi's perspective, which makes

1474
01:21:35,479 --> 01:21:37,880
Speaker 3: a lot of sense. That's a good way to frame it,

1475
01:21:38,000 --> 01:21:42,920
Speaker 3: to see, like the way Paul changes. So I think

1476
01:21:43,000 --> 01:21:46,200
Speaker 3: that was a really strong choice. And like you said,

1477
01:21:46,360 --> 01:21:49,360
Speaker 3: Zendeia is great in the new one. I don't want

1478
01:21:49,400 --> 01:21:52,360
Speaker 3: to as is Harve or Barden. Also, they're both fantastic

1479
01:21:52,439 --> 01:21:55,519
Speaker 3: in the new movie. I don't want to blame Sean

1480
01:21:55,600 --> 01:21:58,839
Speaker 3: Young and Everett McGill for the shortcomings of these characters

1481
01:21:58,840 --> 01:22:00,679
Speaker 3: in this version. I think it is not the fault

1482
01:22:00,720 --> 01:22:02,439
Speaker 3: of the actors. I think it is the fault of

1483
01:22:02,520 --> 01:22:05,720
Speaker 3: the script and the editing that like, these actors are

1484
01:22:05,840 --> 01:22:09,320
Speaker 3: just not given time to portray these characters in the movie.

1485
01:22:09,360 --> 01:22:12,880
Speaker 3: It's just just lightning speed editing from now on. So,

1486
01:22:13,040 --> 01:22:15,320
Speaker 3: like what happens when they arrive at the siege is

1487
01:22:15,360 --> 01:22:19,240
Speaker 3: that you know still Gar. He's like, oh, hi, I'm Stillgar.

1488
01:22:19,280 --> 01:22:20,800
Speaker 3: You know I'm the leader of the Fremen group. The

1489
01:22:20,840 --> 01:22:23,559
Speaker 3: boy man will be taken into the tribe and then

1490
01:22:23,680 --> 01:22:26,800
Speaker 3: Lady Jessica like grabs him by the throat. Paul scrambles.

1491
01:22:27,080 --> 01:22:29,280
Speaker 3: He says, oh, she has the Weirding way. If you

1492
01:22:29,280 --> 01:22:31,200
Speaker 3: can do this to the strongest of us, you're worth

1493
01:22:31,240 --> 01:22:34,479
Speaker 3: ten times your weight in water. And then still Gar says,

1494
01:22:34,520 --> 01:22:37,040
Speaker 3: teach us the Weirding way, and you shall have sanctuary.

1495
01:22:37,240 --> 01:22:41,160
Speaker 3: And Jessica accepts, and Paul meets Johnny daughter Channi is

1496
01:22:41,200 --> 01:22:44,840
Speaker 3: the daughter of Leat Kinds. She's a member of the

1497
01:22:44,880 --> 01:22:48,519
Speaker 3: Fremen tribe here and you know he has seen her

1498
01:22:48,520 --> 01:22:51,679
Speaker 3: before in dreams and premonitions, like a warrior of great

1499
01:22:51,720 --> 01:22:55,280
Speaker 3: bravery and great beauty. Kyle, of course, is smitten. Here

1500
01:22:55,920 --> 01:22:58,360
Speaker 3: they introduce to still Gar. You know it's all going

1501
01:22:58,400 --> 01:23:00,519
Speaker 3: to be You're welcomed by the people. Oh you need

1502
01:23:00,560 --> 01:23:02,720
Speaker 3: a new name. Your name will be Usel that is

1503
01:23:02,760 --> 01:23:05,120
Speaker 3: the pillar of strength. Oh but what else can be

1504
01:23:05,160 --> 01:23:08,559
Speaker 3: your name? Your name will be wad deeb. Paul picks

1505
01:23:08,600 --> 01:23:11,479
Speaker 3: that because it's the name of the desert mouse, whose

1506
01:23:11,520 --> 01:23:13,879
Speaker 3: figure is seen on the second moon of the planet.

1507
01:23:14,680 --> 01:23:17,840
Speaker 3: And so they're brought into these subterranean caverns where the

1508
01:23:17,840 --> 01:23:20,679
Speaker 3: Fremen live. They discover that the Freemen have huge caches

1509
01:23:20,720 --> 01:23:24,519
Speaker 3: of water they are collecting from the atmosphere via wind traps,

1510
01:23:24,600 --> 01:23:27,879
Speaker 3: these vast pools in the dark. And this whole sequence

1511
01:23:27,920 --> 01:23:31,040
Speaker 3: where Jessica and Paul are welcomed into the Fremen world.

1512
01:23:31,880 --> 01:23:33,760
Speaker 3: You know, the cast is doing the best they can.

1513
01:23:33,880 --> 01:23:37,040
Speaker 3: The sets are cool and stuff, but it is so rushed.

1514
01:23:37,120 --> 01:23:40,160
Speaker 3: The introductions are not given a chance to breathe. It's

1515
01:23:40,200 --> 01:23:42,880
Speaker 3: just like, hi, oh wow, you were really strong. Now

1516
01:23:42,880 --> 01:23:44,800
Speaker 3: you're one of us. Here are all our secrets. I

1517
01:23:44,880 --> 01:23:47,120
Speaker 3: love you. And it comes so fast.

1518
01:23:47,760 --> 01:23:50,439
Speaker 2: Yeah, the new has a lot more time to work

1519
01:23:50,479 --> 01:23:53,519
Speaker 2: with this part of the story, with Paul and Jessica

1520
01:23:53,600 --> 01:23:58,839
Speaker 2: gradually changing from you know, endangered outsiders to tentative allies

1521
01:23:58,880 --> 01:24:02,200
Speaker 2: to the Fremen, valued members of a movement to members

1522
01:24:02,200 --> 01:24:06,200
Speaker 2: of its people, to leaders, and eventually, in Paul's case,

1523
01:24:06,400 --> 01:24:07,360
Speaker 2: to Messiah.

1524
01:24:07,439 --> 01:24:09,840
Speaker 3: What is at least half the run time of this

1525
01:24:10,400 --> 01:24:13,559
Speaker 3: recent movie is like, I don't know five minutes in

1526
01:24:13,600 --> 01:24:25,080
Speaker 3: this metalle, Okay, let's check in on the Harconins because

1527
01:24:25,080 --> 01:24:28,920
Speaker 3: they're doing some really good stuff here. So we come

1528
01:24:28,960 --> 01:24:31,479
Speaker 3: into them on They're on Arakine, I think, and Vladimir

1529
01:24:31,560 --> 01:24:34,599
Speaker 3: Harconin is laughing crazily as he flies around a big

1530
01:24:34,640 --> 01:24:38,360
Speaker 3: machine in his levitation suit. Rabon, who is supposed to

1531
01:24:38,400 --> 01:24:41,600
Speaker 3: be running spice production on the planet, he walks up to.

1532
01:24:42,240 --> 01:24:45,320
Speaker 3: This is what happens. There's like a dead cow hanging

1533
01:24:45,360 --> 01:24:49,040
Speaker 3: from the ceiling, and Rabon walks up to the dead cow,

1534
01:24:49,360 --> 01:24:52,760
Speaker 3: peels off part of its face starts eating the cow

1535
01:24:52,920 --> 01:24:56,799
Speaker 3: face raw. Then the baron tells Rabon to be harsh

1536
01:24:56,840 --> 01:25:00,160
Speaker 3: and brutal in ruling Aracus. And while he's saying this,

1537
01:25:00,240 --> 01:25:03,680
Speaker 3: he's like reaching his fingers into Rabond's mouth to like

1538
01:25:03,800 --> 01:25:08,200
Speaker 3: play with the chewed up cow face as he explains this, Yeah,

1539
01:25:08,800 --> 01:25:13,280
Speaker 3: I have no words. Then Rabond leaves then out comes

1540
01:25:13,360 --> 01:25:18,120
Speaker 3: Fade wearing like this wings of victory speedo. That's amazing.

1541
01:25:19,280 --> 01:25:25,360
Speaker 3: Top all time Top five movie speedo, and the Baron

1542
01:25:25,439 --> 01:25:28,360
Speaker 3: reveals that after Rabon has become despised by the people

1543
01:25:28,360 --> 01:25:30,439
Speaker 3: of Doune, he's going to give the planet to Fade

1544
01:25:30,479 --> 01:25:32,760
Speaker 3: so that he can be loved by contrast.

1545
01:25:33,560 --> 01:25:36,599
Speaker 2: Yep, yep, that's the whole plan. I mean, that's part

1546
01:25:36,600 --> 01:25:38,479
Speaker 2: of the plan. It is legitimately part of the plan.

1547
01:25:39,000 --> 01:25:42,320
Speaker 2: Rabond's gonna crush the planet, get the spice levels up,

1548
01:25:42,439 --> 01:25:45,439
Speaker 2: the spice production levels up. Everyone's gonna hate him, and

1549
01:25:45,479 --> 01:25:47,479
Speaker 2: then Fade's going to come in as the savior and

1550
01:25:47,560 --> 01:25:50,479
Speaker 2: will be at least to some degree beloved by the people,

1551
01:25:50,520 --> 01:25:53,879
Speaker 2: or as much as you can love a hard conean despot.

1552
01:25:54,479 --> 01:25:57,800
Speaker 3: Yeah, and but the Baron's face boils just keep looking

1553
01:25:57,840 --> 01:26:02,280
Speaker 3: worse and worse. We also see here the captured Sufir

1554
01:26:02,360 --> 01:26:05,760
Speaker 3: hawat the mintat of House the Treads. They explained to

1555
01:26:05,840 --> 01:26:08,880
Speaker 3: him that he must milk a hairless cat that has

1556
01:26:08,920 --> 01:26:11,600
Speaker 3: a rat taped to it every day in order to

1557
01:26:11,640 --> 01:26:14,360
Speaker 3: acquire the antidote to a poison that the Hearks have

1558
01:26:14,439 --> 01:26:15,240
Speaker 3: given him.

1559
01:26:17,600 --> 01:26:22,080
Speaker 2: Yeah. This is also unnecessary and so weird, especially the

1560
01:26:22,200 --> 01:26:25,160
Speaker 2: cat rat thing. It almost feels like Lynch is trolling

1561
01:26:25,240 --> 01:26:25,920
Speaker 2: us a little bit.

1562
01:26:26,680 --> 01:26:27,240
Speaker 3: In the book.

1563
01:26:27,800 --> 01:26:31,839
Speaker 2: This basic situation exists, but it's essentially just a poison

1564
01:26:31,920 --> 01:26:36,760
Speaker 2: anecdote con like, hey, loyal a tradees mintet, you have

1565
01:26:36,840 --> 01:26:39,640
Speaker 2: to work for us now, isn't that delightful? And if

1566
01:26:39,680 --> 01:26:41,799
Speaker 2: you don't, you're going to die because of this poison

1567
01:26:41,800 --> 01:26:45,840
Speaker 2: in your system. And they apparently filmed sequences of this

1568
01:26:45,920 --> 01:26:49,479
Speaker 2: plotline for Dune Part two and just had to cut

1569
01:26:49,479 --> 01:26:51,800
Speaker 2: it for time, which you know, is a shame, but

1570
01:26:51,880 --> 01:26:54,080
Speaker 2: I guess understandable given them all that's going on in

1571
01:26:54,120 --> 01:26:54,519
Speaker 2: the movie.

1572
01:26:54,840 --> 01:26:58,720
Speaker 3: Yeah. So, back at the Sieeche of the Freemen, Lady

1573
01:26:58,840 --> 01:27:01,760
Speaker 3: Jessica is offered to Chants to become the reverend mother

1574
01:27:01,880 --> 01:27:04,360
Speaker 3: of the Seech, but to do so, she has to

1575
01:27:04,479 --> 01:27:08,800
Speaker 3: drink the poisonous water of life and survive. And this

1576
01:27:08,840 --> 01:27:12,200
Speaker 3: calls back to a prophecy about the Quisat's Hatterak that

1577
01:27:12,280 --> 01:27:15,280
Speaker 3: young Paul would drink the water of life and survive.

1578
01:27:15,439 --> 01:27:18,479
Speaker 3: Other men who have tried have died, but maybe Paul

1579
01:27:18,520 --> 01:27:21,759
Speaker 3: could survive it as well. But before that, Lady Jessica

1580
01:27:21,840 --> 01:27:25,040
Speaker 3: has to drink it. She does, and this causes her

1581
01:27:25,120 --> 01:27:28,160
Speaker 3: later to give birth to When she gives birth to

1582
01:27:28,240 --> 01:27:31,760
Speaker 3: her daughter named Alia, Alia is like born with all

1583
01:27:31,840 --> 01:27:34,439
Speaker 3: the knowledge and power of a reverend mother and like

1584
01:27:34,560 --> 01:27:37,959
Speaker 3: matures very rapidly, so we've got like a super genius

1585
01:27:38,040 --> 01:27:40,600
Speaker 3: Benny jesser At baby and that's just that's just not

1586
01:27:40,640 --> 01:27:46,160
Speaker 3: what you want, abomination. She's scary as heck when we

1587
01:27:46,200 --> 01:27:49,720
Speaker 3: see her later in the in the finale, it's one

1588
01:27:49,720 --> 01:27:52,200
Speaker 3: of the creepiest things ever committed to film.

1589
01:27:52,520 --> 01:27:56,240
Speaker 2: Yeah, yeah, she is super creepy. Herbert in general likes

1590
01:27:56,680 --> 01:28:01,719
Speaker 2: creepy super babies and super creepy super children. They pop

1591
01:28:01,800 --> 01:28:07,280
Speaker 2: up elsewhere in the Doom novels. Obviously, DV went in

1592
01:28:07,320 --> 01:28:10,639
Speaker 2: a slightly different direction with the way this is portrayed

1593
01:28:10,640 --> 01:28:15,559
Speaker 2: in the film, and again, interesting, I think it's interesting

1594
01:28:15,560 --> 01:28:18,720
Speaker 2: what they did. It'll be also interesting to see how

1595
01:28:18,760 --> 01:28:23,960
Speaker 2: this is incorporated into subsequent adaptations of especially done Messiah.

1596
01:28:24,080 --> 01:28:27,280
Speaker 3: Yeah. Also here we see more of Paul and Chahnnie

1597
01:28:27,280 --> 01:28:30,080
Speaker 3: falling in love. But also we get Paul addressing the

1598
01:28:30,400 --> 01:28:33,040
Speaker 3: assembled Frimen fighters and he's like, hey, look, we got

1599
01:28:33,040 --> 01:28:35,800
Speaker 3: a common enemy, the Harconins. We've got to destroy him.

1600
01:28:35,960 --> 01:28:37,360
Speaker 3: My mom and I are going to teach you the

1601
01:28:37,400 --> 01:28:40,919
Speaker 3: weirding way. We've got to attack and destroy the spice trade.

1602
01:28:41,560 --> 01:28:44,080
Speaker 3: So we see a lot of weirding way training sessions

1603
01:28:44,120 --> 01:28:46,920
Speaker 3: with the weirding module where they're saying like chuck sah

1604
01:28:47,120 --> 01:28:49,479
Speaker 3: and it you know, makes it shoot a little blast

1605
01:28:49,520 --> 01:28:53,559
Speaker 3: out that they say will paralyzed nerves, shatter bones, set fires,

1606
01:28:53,600 --> 01:28:57,000
Speaker 3: suffocate an enemy, or burst his organs, and they're just

1607
01:28:57,040 --> 01:29:00,120
Speaker 3: going to keep on attacking the Harconins until they have victory.

1608
01:29:00,520 --> 01:29:02,880
Speaker 3: This is also the my name is a killing word

1609
01:29:02,960 --> 01:29:05,519
Speaker 3: scene where he discovers that in the name wadd but

1610
01:29:05,600 --> 01:29:07,519
Speaker 3: will like make things break and shatter.

1611
01:29:07,880 --> 01:29:10,639
Speaker 2: All right, we're getting the troops together. We're gonna we're

1612
01:29:10,680 --> 01:29:15,360
Speaker 2: gonna bring spice production to its knees and eventually take

1613
01:29:15,400 --> 01:29:16,639
Speaker 2: out the hearken it so okay.

1614
01:29:16,840 --> 01:29:19,679
Speaker 3: Now we also get the worm taming scene here where

1615
01:29:19,720 --> 01:29:22,360
Speaker 3: Paul has to go learn to ride a worm because

1616
01:29:22,360 --> 01:29:24,479
Speaker 3: you can't be a true freemen unless you can ride

1617
01:29:24,479 --> 01:29:27,320
Speaker 3: a worm. And so we go. He goes out with

1618
01:29:27,400 --> 01:29:31,080
Speaker 3: his worm riding materials, the thumper, the hooks, which are

1619
01:29:31,120 --> 01:29:34,080
Speaker 3: a gift from the Siech, and the freemen are gathered

1620
01:29:34,080 --> 01:29:36,720
Speaker 3: on the sand dune looking on Stillgar has a very

1621
01:29:36,760 --> 01:29:40,160
Speaker 3: cold look, but Paul like he sets the thumber going.

1622
01:29:40,240 --> 01:29:42,960
Speaker 3: He does the Litany against fear. They realize he is

1623
01:29:43,000 --> 01:29:46,200
Speaker 3: called a very big worm. And this is again along

1624
01:29:46,240 --> 01:29:48,200
Speaker 3: with the prophecies of what the freemen called the Lissan

1625
01:29:48,280 --> 01:29:51,360
Speaker 3: al Kayib, the you know, the voice from the outer world,

1626
01:29:51,560 --> 01:29:56,040
Speaker 3: the messiah figure they're waiting for. So we get some

1627
01:29:56,280 --> 01:29:58,880
Speaker 3: shots of Paul getting onto the worm, like using the

1628
01:29:59,320 --> 01:30:02,200
Speaker 3: hooks and ro over on the top. Not the best

1629
01:30:02,200 --> 01:30:04,439
Speaker 3: looking shots in the movie. A couple of these do

1630
01:30:04,760 --> 01:30:07,240
Speaker 3: look kind of kind of cheap, But then when we

1631
01:30:07,280 --> 01:30:10,240
Speaker 3: see the worm by itself, it looks awesome and the

1632
01:30:10,280 --> 01:30:13,840
Speaker 3: flower petals open and we see the big mouth heavy

1633
01:30:13,960 --> 01:30:17,960
Speaker 3: dune theme playing on the soundtrack, as like Stilgar comes

1634
01:30:18,000 --> 01:30:20,800
Speaker 3: to climb the trailing rope behind Paul and join him

1635
01:30:20,840 --> 01:30:23,320
Speaker 3: on the worm. But Rob, I think we may have

1636
01:30:23,320 --> 01:30:26,440
Speaker 3: alluded to this earlier. There is a very funny soundtrack

1637
01:30:26,479 --> 01:30:29,200
Speaker 3: moment here where like the heavy horns of the dune

1638
01:30:29,240 --> 01:30:33,800
Speaker 3: theme give way to rock and distorted guitars. And I

1639
01:30:33,920 --> 01:30:35,840
Speaker 3: enjoy this because it's funny, but I don't think it

1640
01:30:35,920 --> 01:30:37,439
Speaker 3: quite has the intended effect.

1641
01:30:37,960 --> 01:30:41,080
Speaker 2: Yeah, yeah, it's a little a little goofy. In general,

1642
01:30:41,120 --> 01:30:44,200
Speaker 2: I have to reiterate love the Toto score. I have

1643
01:30:44,360 --> 01:30:46,519
Speaker 2: listened to it all the way through a couple of

1644
01:30:46,560 --> 01:30:49,880
Speaker 2: times since we recorded part one of This Weird House.

1645
01:30:51,160 --> 01:30:53,679
Speaker 2: But yeah, it's a little little comical here with the guitar.

1646
01:30:54,000 --> 01:30:56,840
Speaker 3: Oh Man, that desert I mean, it's right on the edge,

1647
01:30:56,880 --> 01:31:01,400
Speaker 3: like that desert theme. It is pure velveta, Like it

1648
01:31:01,479 --> 01:31:05,679
Speaker 3: is so smooth and cheesy and rock yacht rock sounding,

1649
01:31:05,800 --> 01:31:09,480
Speaker 3: but it's also great and it fills me with feelings

1650
01:31:09,520 --> 01:31:13,360
Speaker 3: I can't deny it. Yeah, So a bunch of time passes,

1651
01:31:13,400 --> 01:31:15,920
Speaker 3: we see Paul and Stilgar leading frem and attacks on

1652
01:31:15,960 --> 01:31:18,760
Speaker 3: the Hearken and spice mining operations. You know, they're using

1653
01:31:18,760 --> 01:31:21,479
Speaker 3: the weirding modules to say boom and zap and make

1654
01:31:21,520 --> 01:31:27,160
Speaker 3: things explode. And then of course Paul thinks he is

1655
01:31:27,240 --> 01:31:29,599
Speaker 3: going to be able to get his revenge because when

1656
01:31:29,600 --> 01:31:32,679
Speaker 3: the spice flow stops, that's going to summon the Baron

1657
01:31:32,760 --> 01:31:34,760
Speaker 3: and the Emperor to the planet because they're going to

1658
01:31:34,920 --> 01:31:38,599
Speaker 3: come there be forced to deal with us. Yeah. Of course,

1659
01:31:38,680 --> 01:31:40,960
Speaker 3: the Baron and the Emperor become aware of this figure

1660
01:31:41,000 --> 01:31:44,400
Speaker 3: called wad Deep that like there they're wounded fighters come

1661
01:31:44,439 --> 01:31:47,599
Speaker 3: back to them and they're muttering what Deep? What Deep?

1662
01:31:47,960 --> 01:31:50,200
Speaker 3: So like who is this guy? And you know they're like,

1663
01:31:50,200 --> 01:31:54,080
Speaker 3: we've got to destroy him. We get some more voiceover

1664
01:31:54,160 --> 01:31:57,240
Speaker 3: from Virginia Madsen telling us that wad Deep and the

1665
01:31:57,240 --> 01:32:02,360
Speaker 3: Frimen pretty much completely shut down spice production and that

1666
01:32:02,520 --> 01:32:04,920
Speaker 3: Rabond is trying to hide this from his uncle but

1667
01:32:05,000 --> 01:32:08,800
Speaker 3: apparently not succeeding, and things are getting really dire so

1668
01:32:08,800 --> 01:32:10,599
Speaker 3: soon I think the Emperor is going to have to come.

1669
01:32:10,680 --> 01:32:13,479
Speaker 3: Oh but before that, we get Paul's reunion with Gurney

1670
01:32:13,520 --> 01:32:16,680
Speaker 3: Halleck with Patrick Stewart. They like run into each other.

1671
01:32:16,720 --> 01:32:20,160
Speaker 3: I guess Garnie Halleck is now working for the Harconins

1672
01:32:20,240 --> 01:32:24,440
Speaker 3: or working maybe independently as like a spice harvester protector

1673
01:32:24,520 --> 01:32:28,439
Speaker 3: here in the desert, and Paul and Gurney run into

1674
01:32:28,439 --> 01:32:31,479
Speaker 3: one another and reunite. Of course, Gurney thought Paul was

1675
01:32:31,560 --> 01:32:34,360
Speaker 3: dead this whole time. By the way, there is maximum

1676
01:32:34,400 --> 01:32:37,599
Speaker 3: Toto all over the soundtrack in the background of this section,

1677
01:32:37,880 --> 01:32:41,960
Speaker 3: overdriven guitars wailing the whole thing, and eventually we see

1678
01:32:42,000 --> 01:32:45,440
Speaker 3: the circumstances they're going to drive us toward the terrible conclusion.

1679
01:32:45,560 --> 01:32:49,200
Speaker 3: So back at the Imperial Palace, the space in Guild

1680
01:32:49,240 --> 01:32:52,000
Speaker 3: shows back up once again to harass the Emperor some more.

1681
01:32:53,040 --> 01:32:55,679
Speaker 3: No Guild Navigator. This time, it's only like the Holy

1682
01:32:55,720 --> 01:33:00,479
Speaker 3: Brotherhood of Hazmatt in their industrial religious looking robes. Once again,

1683
01:33:00,520 --> 01:33:05,240
Speaker 3: they speak a foreign language that is like automatically translated

1684
01:33:05,240 --> 01:33:08,000
Speaker 3: by this weird microphone and the language itself. I was

1685
01:33:08,080 --> 01:33:10,840
Speaker 3: listening to it. It sounds like kind of feral. So

1686
01:33:10,880 --> 01:33:13,799
Speaker 3: there's kind of grunts and snarling like a wild animal,

1687
01:33:13,800 --> 01:33:19,080
Speaker 3: but also notes of igor in the monster mash. Yeah,

1688
01:33:19,120 --> 01:33:22,640
Speaker 3: and so they speak to him, and they the conversation

1689
01:33:22,720 --> 01:33:24,800
Speaker 3: that very much has the effect of wait, who's the

1690
01:33:24,840 --> 01:33:28,240
Speaker 3: emperor here? Because the Spacing Guild is really browbeating him.

1691
01:33:28,280 --> 01:33:30,479
Speaker 3: They're like, look, if you don't get the spice mining

1692
01:33:30,520 --> 01:33:34,120
Speaker 3: back under control immediately, you are going to live out

1693
01:33:34,120 --> 01:33:37,000
Speaker 3: the rest of your life in a pain amplifier. I

1694
01:33:37,000 --> 01:33:39,080
Speaker 3: don't know what a pain amplifier is, but I get

1695
01:33:39,120 --> 01:33:39,639
Speaker 3: the idea.

1696
01:33:40,000 --> 01:33:42,120
Speaker 2: Yeah, I feel like they this is a moment where

1697
01:33:42,120 --> 01:33:44,880
Speaker 2: they kind of overplay the power of the Guild here

1698
01:33:45,120 --> 01:33:47,480
Speaker 2: because all tim I mean, the Guild is very powerful

1699
01:33:47,840 --> 01:33:50,720
Speaker 2: in the Dune universe, but so is the Benajestrit, so

1700
01:33:50,880 --> 01:33:55,080
Speaker 2: is House Carino. So everything is in kind of like

1701
01:33:55,120 --> 01:33:59,720
Speaker 2: a precarious balance of power. Yes, and here we're just

1702
01:33:59,800 --> 01:34:02,519
Speaker 2: kind of like, yeah, the Guild pushes everybody around, which

1703
01:34:02,560 --> 01:34:05,040
Speaker 2: is not really the flavor of the Guild and the

1704
01:34:05,320 --> 01:34:06,360
Speaker 2: actual source material.

1705
01:34:06,840 --> 01:34:09,439
Speaker 3: I totally agree, but I also do like that the

1706
01:34:09,479 --> 01:34:13,200
Speaker 3: Emperor is not portrayed as just all powerful, that he

1707
01:34:13,400 --> 01:34:16,760
Speaker 3: has factions that he must appease. And you know, if,

1708
01:34:16,880 --> 01:34:19,200
Speaker 3: like if the lands Rod and the Space and Guild

1709
01:34:19,280 --> 01:34:21,599
Speaker 3: and people are turning against him, that is a threat

1710
01:34:21,640 --> 01:34:24,320
Speaker 3: to him. And it's not like he can just crush

1711
01:34:24,320 --> 01:34:27,200
Speaker 3: them all. That's true anyway. So the Emperor is going

1712
01:34:27,240 --> 01:34:30,240
Speaker 3: to take Sardikar to the planet Iracus. He's like, I

1713
01:34:30,280 --> 01:34:32,400
Speaker 3: know how we're going to deal with this complete destruction

1714
01:34:32,479 --> 01:34:34,439
Speaker 3: of every life on the planet. We're just going to

1715
01:34:34,680 --> 01:34:38,160
Speaker 3: just destroy them all. Meanwhile, we get the sequence where

1716
01:34:38,160 --> 01:34:41,000
Speaker 3: Paul is finally going to fulfill the prophecy and drink

1717
01:34:41,080 --> 01:34:43,960
Speaker 3: the water of life. Of course, he tells Channi that

1718
01:34:44,040 --> 01:34:45,800
Speaker 3: he had a vision and he must do this. She

1719
01:34:45,920 --> 01:34:48,840
Speaker 3: doesn't like the idea, but he thinks he has no choice.

1720
01:34:48,840 --> 01:34:50,640
Speaker 3: He's got to do it. So Paul is led out

1721
01:34:50,680 --> 01:34:53,760
Speaker 3: into the desert. Chany pledges her love to him, and

1722
01:34:53,800 --> 01:34:56,200
Speaker 3: they give him the water of Life to drink, and

1723
01:34:56,280 --> 01:34:58,599
Speaker 3: he has many more visions of like in a water

1724
01:34:58,720 --> 01:35:01,400
Speaker 3: dripping in a cavern and the mouth of a worm opening,

1725
01:35:01,840 --> 01:35:03,559
Speaker 3: and I like how the mouth of the worm is

1726
01:35:03,600 --> 01:35:06,280
Speaker 3: innercut with an extreme close up of a human eye,

1727
01:35:06,360 --> 01:35:09,639
Speaker 3: so like the worm's mouth is like the pupil within

1728
01:35:09,720 --> 01:35:11,439
Speaker 3: the iris. I thought that was pretty cool.

1729
01:35:11,880 --> 01:35:13,920
Speaker 2: And here come the worm jets, because I think this

1730
01:35:13,960 --> 01:35:16,840
Speaker 2: is where we get the track that Eno collaborated on.

1731
01:35:17,240 --> 01:35:20,920
Speaker 3: Oh interesting with the visions here, I think so, I

1732
01:35:20,920 --> 01:35:25,479
Speaker 3: think so. But worms gather from the desert around the

1733
01:35:25,520 --> 01:35:27,960
Speaker 3: Fremen to sort of keep a vigil beside Paul, and

1734
01:35:28,000 --> 01:35:31,160
Speaker 3: they don't attack. It's almost if the worms are showing

1735
01:35:31,240 --> 01:35:34,840
Speaker 3: reverence from what deep And eventually he is awakened in

1736
01:35:34,920 --> 01:35:38,719
Speaker 3: Chinese's arms with a new sense of determination and terrible purpose.

1737
01:35:38,760 --> 01:35:41,120
Speaker 3: He's ready to be the messiah of the Fremen now

1738
01:35:41,520 --> 01:35:44,040
Speaker 3: and he stands before them in this great underground hall

1739
01:35:44,080 --> 01:35:46,320
Speaker 3: and gives a speech that is in some ways kind

1740
01:35:46,320 --> 01:35:50,040
Speaker 3: of powerful but unfortunately contains the sentence a storm is coming.

1741
01:35:52,360 --> 01:35:55,479
Speaker 3: Oh man, if writers just just skip over that one,

1742
01:35:55,520 --> 01:35:59,840
Speaker 3: you don't need the storm is coming, yeah, but his

1743
01:36:00,000 --> 01:36:02,120
Speaker 3: this kind of differences. He's like, you know, when it arrives,

1744
01:36:02,120 --> 01:36:04,960
Speaker 3: it will shake the universe. He swears vengeance against the

1745
01:36:05,000 --> 01:36:09,000
Speaker 3: Emperor and chance long live the fighters. So the Fremen

1746
01:36:09,080 --> 01:36:11,559
Speaker 3: warriors stream out of their seech and prepare for war,

1747
01:36:11,680 --> 01:36:14,400
Speaker 3: and we also see the Emperor in his Sardikar arriving

1748
01:36:14,479 --> 01:36:16,920
Speaker 3: on Oracus from deep space with the help of the

1749
01:36:16,960 --> 01:36:21,160
Speaker 3: Guild highliners. And the final battle comes about. So the

1750
01:36:21,200 --> 01:36:24,720
Speaker 3: Fremen Mountain assault on Irakan, led by Paul Stilgar and

1751
01:36:24,760 --> 01:36:28,960
Speaker 3: Gurney Halleck. They will use the a treades house atomics

1752
01:36:29,120 --> 01:36:32,120
Speaker 3: as well as the power of the worm. So they

1753
01:36:32,160 --> 01:36:35,120
Speaker 3: deploy all these thumpers and some of what Stilgar calls

1754
01:36:35,240 --> 01:36:39,840
Speaker 3: worm sign the likes of which God has never seen. Yeah,

1755
01:36:39,880 --> 01:36:40,200
Speaker 3: I don't know.

1756
01:36:41,360 --> 01:36:43,160
Speaker 2: I'm not going to geek out on a bunch of

1757
01:36:43,439 --> 01:36:43,920
Speaker 2: din stuff.

1758
01:36:43,920 --> 01:36:44,080
Speaker 3: Bet.

1759
01:36:44,120 --> 01:36:45,680
Speaker 2: Yeah, I don't like that line, And I don't think

1760
01:36:45,720 --> 01:36:47,559
Speaker 2: of a Fremen would say it like quite like that.

1761
01:36:47,800 --> 01:36:50,520
Speaker 3: I don't think so either. Yeah, that's a little uncharacteristic.

1762
01:36:50,560 --> 01:36:53,400
Speaker 3: But the worms are cool here. I like the way

1763
01:36:53,439 --> 01:36:55,960
Speaker 3: the worms are depicted is coming into the battle.

1764
01:36:56,360 --> 01:36:59,720
Speaker 2: Oh yeah, I love the addition of having these kind

1765
01:36:59,760 --> 01:37:03,120
Speaker 2: of like static electrical discharges in the air around them.

1766
01:37:03,439 --> 01:37:06,360
Speaker 3: Yeah, it looks really cool as the battle is going on.

1767
01:37:06,400 --> 01:37:09,680
Speaker 3: There's a confrontation between Baron Harkonen and the Emperor. The

1768
01:37:09,720 --> 01:37:13,120
Speaker 3: Emperor has killed Rabon and like stuck his head on

1769
01:37:13,160 --> 01:37:16,519
Speaker 3: a big spike, and then he's gathered people in his

1770
01:37:16,920 --> 01:37:20,640
Speaker 3: portable throne room. So they got Princess Erilan there, the

1771
01:37:20,680 --> 01:37:23,639
Speaker 3: Reverend mother, a bunch of Sardocar members of the Space

1772
01:37:23,680 --> 01:37:26,160
Speaker 3: and Guild. The Emperor gives the baron a very I'm

1773
01:37:26,200 --> 01:37:30,479
Speaker 3: disappointed in you speech. But before the Baron can suffer

1774
01:37:30,520 --> 01:37:33,120
Speaker 3: a similar fate to Rabond, they are interrupted by the

1775
01:37:33,200 --> 01:37:36,320
Speaker 3: arrival of someone in black robes. It is a child.

1776
01:37:36,960 --> 01:37:40,400
Speaker 3: Uh oh, it's Paul's sister Alia, and she is instantly

1777
01:37:40,720 --> 01:37:45,720
Speaker 3: so so unsettlingly creepy with this horrible voice voiced by

1778
01:37:45,720 --> 01:37:49,439
Speaker 3: an adult. I think we actually see her talk her voice.

1779
01:37:49,479 --> 01:37:51,920
Speaker 3: I would describe it like putting on a shoe and

1780
01:37:51,960 --> 01:37:54,559
Speaker 3: then feeling something start moving under your toes.

1781
01:37:56,160 --> 01:38:00,479
Speaker 2: Yeah, this kid is perfectly unsettling in a way very

1782
01:38:00,520 --> 01:38:05,080
Speaker 2: similar to the accidental unsettling character of the kid in

1783
01:38:05,080 --> 01:38:09,559
Speaker 2: a House by the Cemetery. Yeah, where Bob's voice was

1784
01:38:09,680 --> 01:38:14,000
Speaker 2: dubbed by an adult woman and he comes off in

1785
01:38:14,080 --> 01:38:17,519
Speaker 2: some sort of like a like a strange being, but

1786
01:38:17,880 --> 01:38:20,960
Speaker 2: it's intentional here and it absolutely works. This kid's creepy.

1787
01:38:21,280 --> 01:38:24,439
Speaker 3: So Alia, the sort of reverend mother child, has a

1788
01:38:24,479 --> 01:38:29,240
Speaker 3: confrontation with the Emperor and with the Reverend mother guys

1789
01:38:29,280 --> 01:38:32,920
Speaker 3: Helen Moheim. She's like, I am a messenger from what deep,

1790
01:38:33,280 --> 01:38:36,919
Speaker 3: poor Emperor. I'm afraid my brother won't be very pleased

1791
01:38:36,960 --> 01:38:41,599
Speaker 3: with you. It's it's I can't really do it justice.

1792
01:38:41,640 --> 01:38:45,200
Speaker 3: It's so creepy, and the Reverend mother is like she's

1793
01:38:45,240 --> 01:38:48,680
Speaker 3: an abomination. But oh she also screams get out of

1794
01:38:48,720 --> 01:38:51,320
Speaker 3: my mind, exactly like David Bowie and The Man who

1795
01:38:51,320 --> 01:38:55,080
Speaker 3: Fell to Earth. Oh yeah, anyway, So Paul and the

1796
01:38:55,080 --> 01:38:57,960
Speaker 3: freemen used the house atomics to blow up the mountains

1797
01:38:58,000 --> 01:39:00,200
Speaker 3: that are shielding the approach to our Keene, and they

1798
01:39:00,240 --> 01:39:04,000
Speaker 3: mount their assault. They bring lots of loose worms alongside them,

1799
01:39:04,880 --> 01:39:07,679
Speaker 3: and the freemen and their worms clash with the Emperor's sardikar.

1800
01:39:08,479 --> 01:39:11,360
Speaker 3: At some point, we see the Emperor personally controlling a

1801
01:39:11,439 --> 01:39:14,360
Speaker 3: mounted gun to fire at the worms. Not sure about

1802
01:39:14,360 --> 01:39:16,320
Speaker 3: that choice, like he doesn't seem like much of a

1803
01:39:16,360 --> 01:39:21,559
Speaker 3: hands on warrior, but also also the Emperor tasks Baron

1804
01:39:21,600 --> 01:39:25,760
Speaker 3: Harkonen with destroying Alia. But of course Alia, I think

1805
01:39:25,800 --> 01:39:28,240
Speaker 3: she's going to get the better of this encounter. And

1806
01:39:28,280 --> 01:39:32,000
Speaker 3: she does. She Like, what exactly does she do to

1807
01:39:32,040 --> 01:39:32,479
Speaker 3: the baron?

1808
01:39:32,960 --> 01:39:36,120
Speaker 2: She jabs him with the with the gomdjabar.

1809
01:39:35,640 --> 01:39:38,160
Speaker 3: I believe, Oh yeah, okay.

1810
01:39:37,880 --> 01:39:40,120
Speaker 2: And kills him like this is the death blow. She

1811
01:39:40,280 --> 01:39:41,720
Speaker 2: is Alia of the knife after all.

1812
01:39:42,160 --> 01:39:44,800
Speaker 3: Oh okay. Yeah, we see her like she's so happy

1813
01:39:44,840 --> 01:39:47,280
Speaker 3: about it. She's dancing around with her eyes closed holding

1814
01:39:47,320 --> 01:39:50,479
Speaker 3: a knife, and we also see the baron he flies

1815
01:39:50,560 --> 01:39:53,000
Speaker 3: away as he is dying and then is chomped by

1816
01:39:53,520 --> 01:39:55,600
Speaker 3: a worm from the That's a bit much. That's a

1817
01:39:55,640 --> 01:39:59,519
Speaker 3: bit much, okay. So the final confrontation, you know, the

1818
01:39:59,520 --> 01:40:02,280
Speaker 3: freemen are victorious in the battle. They've taken the city.

1819
01:40:02,280 --> 01:40:05,519
Speaker 3: They gather everybody, all of the power players in like

1820
01:40:05,600 --> 01:40:08,439
Speaker 3: the big room in the palace at Arikine, and Paul

1821
01:40:08,479 --> 01:40:10,960
Speaker 3: goes up to the emperor and his retinue and demonstrates

1822
01:40:10,960 --> 01:40:14,639
Speaker 3: his power. He intimidates the Emperor and silences the reverend

1823
01:40:14,640 --> 01:40:18,120
Speaker 3: mother with a powerful word. Also, she's like, ah, and

1824
01:40:18,200 --> 01:40:19,679
Speaker 3: she appears to have metal teeth.

1825
01:40:19,760 --> 01:40:22,320
Speaker 2: Now, oh wow, maybe she has X and teeth.

1826
01:40:23,560 --> 01:40:26,240
Speaker 3: I don't know, maybe, but so Paul is confronted by

1827
01:40:26,320 --> 01:40:29,040
Speaker 3: the remaining member of how Sarcona and the young Fade Rautha.

1828
01:40:29,040 --> 01:40:31,080
Speaker 3: They're going to have to face one another, of course,

1829
01:40:31,560 --> 01:40:34,519
Speaker 3: and Fade Rautha takes the Emperor's blade in his hand

1830
01:40:34,600 --> 01:40:36,519
Speaker 3: for the fight. This is going to be a knife

1831
01:40:36,560 --> 01:40:39,439
Speaker 3: fight to the death. There are things I really like

1832
01:40:39,479 --> 01:40:41,719
Speaker 3: about this fight. I like how there are people playing

1833
01:40:41,760 --> 01:40:43,160
Speaker 3: pyramid shaped drums.

1834
01:40:43,479 --> 01:40:44,439
Speaker 2: Yeah, those are cool.

1835
01:40:46,000 --> 01:40:47,760
Speaker 3: Sting keeps yelling I will kill you.

1836
01:40:50,120 --> 01:40:51,880
Speaker 2: I love that line. This has always been one of

1837
01:40:51,920 --> 01:40:54,840
Speaker 2: my favorite cheesy lines from this film and just in

1838
01:40:54,880 --> 01:40:55,880
Speaker 2: from film in general.

1839
01:40:56,080 --> 01:40:58,080
Speaker 3: We already talked about this difference, but I do like

1840
01:40:58,160 --> 01:41:00,439
Speaker 3: that this keeps Fade Rautha as a cheater. He's not

1841
01:41:00,560 --> 01:41:04,160
Speaker 3: the kind of honorable fighter in a way honorable fighter

1842
01:41:04,240 --> 01:41:07,920
Speaker 3: that they make Fade Rotha in the new movie Fade

1843
01:41:07,960 --> 01:41:10,800
Speaker 3: Rotha here tries to cheat with a poisoned barb, but

1844
01:41:10,880 --> 01:41:13,479
Speaker 3: Paul gets arounded by saying, I will bend like a

1845
01:41:13,560 --> 01:41:16,040
Speaker 3: reed in the wind. And he sort of like bends

1846
01:41:16,080 --> 01:41:19,800
Speaker 3: and lets Fade come around him and then stabs him

1847
01:41:19,880 --> 01:41:22,719
Speaker 3: in a very very strange way.

1848
01:41:23,680 --> 01:41:25,840
Speaker 2: Yeah, this is this is a quality kill, and this

1849
01:41:25,880 --> 01:41:28,120
Speaker 2: is I think this falls in line with what you

1850
01:41:28,120 --> 01:41:30,839
Speaker 2: were talking about in the first episode we did about

1851
01:41:31,360 --> 01:41:36,160
Speaker 2: the Lynchian approach to portrayals of death, because he drives

1852
01:41:36,920 --> 01:41:41,519
Speaker 2: his knife up through a Fade's chin into his brain,

1853
01:41:42,080 --> 01:41:45,200
Speaker 2: and then after Fade has fallen dead under the floor,

1854
01:41:45,439 --> 01:41:48,679
Speaker 2: he uses the weirding voice to shatter the stone floor

1855
01:41:48,800 --> 01:41:52,360
Speaker 2: beneath him, a moment that really feels to reson like

1856
01:41:52,400 --> 01:41:54,760
Speaker 2: it resonates with a kind of biblical power. You know.

1857
01:41:55,600 --> 01:41:58,080
Speaker 2: It's a moment that I think really legitimately rules in

1858
01:41:58,120 --> 01:42:02,200
Speaker 2: this film and cements the ascendant might of paul A Triades.

1859
01:42:02,680 --> 01:42:05,679
Speaker 3: I agree. I think it's very cool. They also say,

1860
01:42:05,720 --> 01:42:08,360
Speaker 3: you know, Usul no longer needs a weirding module. He

1861
01:42:08,360 --> 01:42:10,479
Speaker 3: can just like speak a word without the module and

1862
01:42:10,520 --> 01:42:13,120
Speaker 3: make things shatter. And from here we just sort of

1863
01:42:13,160 --> 01:42:16,759
Speaker 3: get a rather quick wrap up. Like the Princess, Irelan

1864
01:42:16,920 --> 01:42:19,759
Speaker 3: narrates that MAUDIEB had become the hand of God fulfilling

1865
01:42:19,760 --> 01:42:22,400
Speaker 3: the frim and prophecy. Where there was war MODEEP would

1866
01:42:22,439 --> 01:42:25,120
Speaker 3: now bring peace where there was hatred MADEEP would bring love,

1867
01:42:25,240 --> 01:42:29,640
Speaker 3: et cetera. Uh Yeah, yeah, is that what the story is?

1868
01:42:29,760 --> 01:42:33,960
Speaker 3: I don't think so, not so much. Yeah, So in

1869
01:42:34,040 --> 01:42:37,840
Speaker 3: the end, yeah, we get this very heroic kind of conclusion,

1870
01:42:37,960 --> 01:42:41,320
Speaker 3: and in fact it goes beyond heroic and becomes like transcendent,

1871
01:42:41,400 --> 01:42:45,280
Speaker 3: almost religious, where Paul literally causes a miracle.

1872
01:42:46,000 --> 01:42:50,400
Speaker 2: Yes, Paul makes it rain on Racus. It's in a way,

1873
01:42:50,439 --> 01:42:52,200
Speaker 2: I have to be fair. It is a great visual

1874
01:42:52,280 --> 01:42:54,800
Speaker 2: capper for the film, but it is one that makes

1875
01:42:54,920 --> 01:42:57,400
Speaker 2: zero sense within the context of the film and has

1876
01:42:57,439 --> 01:43:00,720
Speaker 2: no footing in the novel. Because Paul not control the

1877
01:43:00,760 --> 01:43:04,240
Speaker 2: weather and greening efforts on Aracus, which have been alluded

1878
01:43:04,280 --> 01:43:08,479
Speaker 2: to and are part of the world of Dune. These

1879
01:43:08,479 --> 01:43:10,280
Speaker 2: are going to be gradual, These are going to be

1880
01:43:10,280 --> 01:43:13,519
Speaker 2: focused on particular parts of the planet. So this moment

1881
01:43:13,560 --> 01:43:15,160
Speaker 2: is all feels and no sense.

1882
01:43:15,600 --> 01:43:18,599
Speaker 3: Yeah. Yeah, So it's a very different kind of ending

1883
01:43:18,720 --> 01:43:21,360
Speaker 3: than we get from Dune Part two, the New one,

1884
01:43:21,400 --> 01:43:25,840
Speaker 3: which does go a longer way to try to to

1885
01:43:26,000 --> 01:43:29,639
Speaker 3: show Paul's change and change not for the better, his

1886
01:43:29,880 --> 01:43:33,799
Speaker 3: arc toward tyranny and his coldness, especially the most painful

1887
01:43:33,840 --> 01:43:35,519
Speaker 3: thing being at the end of the movie, the way

1888
01:43:35,560 --> 01:43:40,080
Speaker 3: he rejects Shawni for his you know, political alliance with

1889
01:43:40,560 --> 01:43:43,559
Speaker 3: House Corono by saying he's going to marry Princess Erolan.

1890
01:43:43,720 --> 01:43:44,559
Speaker 3: In the new movie.

1891
01:43:44,920 --> 01:43:46,920
Speaker 2: Yeah, yeah, the movie does a great job of playing

1892
01:43:47,040 --> 01:43:49,439
Speaker 2: up the fact that this is leading into a massive

1893
01:43:49,439 --> 01:43:52,960
Speaker 2: holy war, Interstellar Holy war. It is not going to

1894
01:43:53,000 --> 01:43:56,439
Speaker 2: be peace and love across the universe. It is going

1895
01:43:56,520 --> 01:43:59,960
Speaker 2: to be pretty grim days ahead, and it is because

1896
01:44:00,040 --> 01:44:02,840
Speaker 2: as Paul has risen to such power.

1897
01:44:03,080 --> 01:44:04,800
Speaker 3: On the other hand, if you're just trying to make

1898
01:44:04,800 --> 01:44:07,599
Speaker 3: a standalone film, the Lynch movie has a much more

1899
01:44:07,640 --> 01:44:10,280
Speaker 3: feel good ending. Yeah. I don't know if that's something.

1900
01:44:10,360 --> 01:44:13,240
Speaker 3: I don't know if that's good. It's not really what

1901
01:44:13,320 --> 01:44:18,080
Speaker 3: the story is, but it doesn't feel as sad as

1902
01:44:18,120 --> 01:44:19,080
Speaker 3: the ending of the new one.

1903
01:44:19,479 --> 01:44:22,320
Speaker 2: Yeah. Yeah, the new film has a grimness and a

1904
01:44:22,320 --> 01:44:27,280
Speaker 2: sadness to it. My son watched the has only seen

1905
01:44:27,320 --> 01:44:30,679
Speaker 2: these the new adaptations, and he when I was asking

1906
01:44:31,000 --> 01:44:33,880
Speaker 2: him about how he felt about the movies, he was like, Oh,

1907
01:44:33,920 --> 01:44:37,080
Speaker 2: it's it's really cool, but it's kind of joyless. And

1908
01:44:37,600 --> 01:44:39,960
Speaker 2: then that is true. I mean, the film is not

1909
01:44:40,080 --> 01:44:47,600
Speaker 2: a joyful experience, especially as it wraps up. And I

1910
01:44:47,640 --> 01:44:51,360
Speaker 2: would say that Dune in general is a very joyful thing,

1911
01:44:51,400 --> 01:44:54,439
Speaker 2: and certainly in my own life, but a lot of

1912
01:44:54,439 --> 01:44:56,479
Speaker 2: that is in the details of everything in the world

1913
01:44:56,479 --> 01:45:00,360
Speaker 2: building and the ecology and the philosophy and the use

1914
01:45:00,360 --> 01:45:04,160
Speaker 2: of religion and history. It's like the sum of the

1915
01:45:04,160 --> 01:45:09,519
Speaker 2: whole is joy, but the actual events that occur in

1916
01:45:09,560 --> 01:45:12,000
Speaker 2: the film here, especially towards the end, are not.

1917
01:45:12,600 --> 01:45:14,280
Speaker 3: I feel like there's so much more I could say,

1918
01:45:14,280 --> 01:45:17,000
Speaker 3: but we've gone on way too long already, so I

1919
01:45:17,000 --> 01:45:18,479
Speaker 3: think we must wrap it up.

1920
01:45:18,880 --> 01:45:23,000
Speaker 2: Yeah, if there's any unfinished business and we can discuss

1921
01:45:23,040 --> 01:45:25,720
Speaker 2: it in future listener mail installments, that'll be a good

1922
01:45:25,720 --> 01:45:29,120
Speaker 2: place for that. And likewise, Yeah, if you have thoughts

1923
01:45:29,240 --> 01:45:34,160
Speaker 2: on the new Dune adaptations, the nineteen eighty four's Dune

1924
01:45:34,280 --> 01:45:36,360
Speaker 2: that we've been discussing in this episode, your history with

1925
01:45:36,400 --> 01:45:39,120
Speaker 2: the film, any of the merch any of that weird

1926
01:45:39,160 --> 01:45:42,040
Speaker 2: merchandise they put out, like those strange action figures. Are

1927
01:45:42,040 --> 01:45:45,360
Speaker 2: these legitimately cool revel model kits that I don't think

1928
01:45:45,360 --> 01:45:48,280
Speaker 2: anybody bought initially, but now go for you know, one

1929
01:45:48,320 --> 01:45:51,400
Speaker 2: hundreds of dollars online right in We would love to

1930
01:45:51,439 --> 01:45:55,080
Speaker 2: hear from you. We'll even hear thoughts about those. The

1931
01:45:55,120 --> 01:45:57,599
Speaker 2: mini series, the sci fi mini series, which again has

1932
01:45:57,600 --> 01:46:01,360
Speaker 2: a great cast, but some CGI that is really not aged. Well,

1933
01:46:02,800 --> 01:46:04,880
Speaker 2: just a reminder to everybody that's stuff to Blow Your

1934
01:46:04,880 --> 01:46:07,559
Speaker 2: Mind is primarily a science culture podcast, with core episodes

1935
01:46:07,600 --> 01:46:10,680
Speaker 2: on Tuesdays and Thursday, short form episode on Wednesdays. On

1936
01:46:10,760 --> 01:46:12,800
Speaker 2: Mondays we do listener mail, and on Fridays we just

1937
01:46:12,800 --> 01:46:15,080
Speaker 2: set aside most serious concerns to just talk about a

1938
01:46:15,080 --> 01:46:18,000
Speaker 2: weird movie on Weird House Cinema. If you want a

1939
01:46:18,000 --> 01:46:19,680
Speaker 2: complete list of all the movies we've covered so far,

1940
01:46:19,720 --> 01:46:21,640
Speaker 2: and sometimes a peek ahead of the future, go to

1941
01:46:21,760 --> 01:46:23,600
Speaker 2: letterbox dot com. It's l E T T E r

1942
01:46:23,640 --> 01:46:26,280
Speaker 2: boxd dot com. We are Weird House on there and

1943
01:46:26,280 --> 01:46:27,720
Speaker 2: we've got a list for you to look at.

1944
01:46:28,120 --> 01:46:32,240
Speaker 3: Huge thanks as always to our excellent audio producer Jjpousway.

1945
01:46:32,680 --> 01:46:34,400
Speaker 3: If you would like to get in touch with us

1946
01:46:34,439 --> 01:46:37,040
Speaker 3: with feedback on this episode or any other, to suggest

1947
01:46:37,120 --> 01:46:39,240
Speaker 3: topic for the future, or just to say hi, you

1948
01:46:39,240 --> 01:46:41,920
Speaker 3: can email us at contact at stuff to Blow your

1949
01:46:41,960 --> 01:46:49,360
Speaker 3: Mind dot com.

1950
01:46:49,479 --> 01:46:52,439
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1951
01:46:52,520 --> 01:46:55,320
Speaker 1: more podcasts from my Heart Radio, visit the iHeartRadio app,

1952
01:46:55,479 --> 01:46:58,720
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.