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Speaker 1: Hey, you welcome to Weird House Cinema. Rewind. This is

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Speaker 1: Rob lam and we're going to air the second of

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Speaker 1: our two part look at David Lynch's Dune from nineteen

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Speaker 1: eighty four. This was an episode that published three point

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Speaker 1: fifteen twenty four. Big Dune fan, Obviously, we love David

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Speaker 1: Lynch as well, so let's jump in and discuss the

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Speaker 1: second half of this marvelously weird motion picture.

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Speaker 2: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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Speaker 1: Hey you 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 1: I mean depends on which which version, which cut you're going, right,

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Speaker 1: But yeah, we just we had to split this one

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Speaker 1: into because there's just too much weirdness because it is

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Speaker 1: a David Lynch film, and it is based on the

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Speaker 1: already weird book Dune by Frank Herbert published in nineteen

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Speaker 1: sixty five. And then and then we just have such

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Speaker 1: a rich cast that we have to at least acknowledge

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Speaker 1: these various performers who really give it their all. And then,

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Speaker 1: on top of all of this, Dune Part two just

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Speaker 1: came out in cinemas. It is already a huge hit.

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Speaker 1: Everyone's loving this film. Dune is in the air again.

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Speaker 1: The spice is in the air again. And so we figured, well,

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Speaker 1: if we're gonna cut a weird house cinema episode into

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Speaker 1: two like this, this is the movie and this is

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Speaker 1: 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

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Speaker 3: Man 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 Dune 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 we're

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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 towards 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 1: Yeah yeah, and ultimately lands on a very heroic note.

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Speaker 1: We see Paul as a savior at the end of

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Speaker 1: this film, and we'll get into all this, But ven

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Speaker 1: News film is a different beast. While being very true

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Speaker 1: to the book, I believe that the spirit of his

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Speaker 1: portrayal of Paul is very much in keeping with the

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Speaker 1: book 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 more about this as we go on, But obviously,

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Speaker 3: if you have not heard part one of this Weird

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Speaker 3: House series, you should go back. Listen to part one

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Speaker 3: of our talk on Dune from last Friday. First brief recap.

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Speaker 3: Let's see, we talked about the novel Dune and Frank Herbert.

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Speaker 3: We talked about David Lynch and his sort of film

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Speaker 3: career and some of the common themes and characteristics of

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Speaker 3: his filmmaking, some of the story behind the making of

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Speaker 3: nineteen eighty four's Dune where David Lynch. This movie is

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Speaker 3: largely regarded as sort of an outlier in David Lynch's filmography,

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Speaker 3: and he has to some extent disowned it.

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Speaker 1: He was very.

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Speaker 3: Dissatisfied with the final product that was released, and he'd

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Speaker 3: even said that working on this version of Dune, produced

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Speaker 3: by Dino de Laurentis, sort of taught him that he

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Speaker 3: would rather not make a movie at all than make

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Speaker 3: a movie that he didn't have full creative control over

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Speaker 3: and he would go on to make many more in

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Speaker 3: the wake of this where he did have creative control

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Speaker 3: and are celebrated by many as a very strange, interesting,

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Speaker 3: excellent artistic achievements.

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Speaker 1: Dune was not.

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Speaker 3: Beloved by critics at the time it came out. I

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

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

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

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Speaker 3: did 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 doing 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 1: Yeah, I think, especially as time has gone by, I

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Speaker 1: think more and more people I think people who have

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Speaker 1: attempted to adapt it can recognize this and know more

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Speaker 1: about the history of adaptation regarding this novel. But I

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Speaker 1: think the more the time, the more time has passed,

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Speaker 1: the more a lot of people have realized that this

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Speaker 1: was still a commendable effort. It's still it's still a

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Speaker 1: pretty great telling of a Dune story, even if there

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Speaker 1: are some very important thematic notes and ultimately happenings that

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Speaker 1: they we'll discuss that I don't love. But still a

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Speaker 1: lot of it. Is there, a lot of the look

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Speaker 1: of Dune. Is there, a lot of the feel of Dune.

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Speaker 1: Is there, lots of great performances, So you know, it's

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Speaker 1: and even throwing on the fact that he had to

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Speaker 1: cut it down so much, given all of these limitations,

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Speaker 1: the finished product is a lot of fun. It has

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Speaker 1: a lot of greatness in it.

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Speaker 3: You know, I noticed something when watching the new movie

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Speaker 3: Dune Part two that made me think differently on some

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Speaker 3: stuff I said in part one of the series. So

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Speaker 3: last time, we talked about how difficult Duane is to

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Speaker 3: adapt for multiple reasons. On one hand, it's difficult because

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Speaker 3: so much of the story is contextual at stuff about

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

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

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

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Speaker 3: other 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 ooh, dune iraq, you know, thinking through something.

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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.

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Speaker 1: Yeah. Yeah, So we're going to continue to talk about

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Speaker 1: these these differences, some of these choices as we roll

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Speaker 1: on through here. Let's see, we got into the plot

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Speaker 1: a bit in the last episode, and one key thing

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Speaker 1: in case you've forgotten, or if you have, you're gonna

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Speaker 1: ignore us and you're just gonna roll into part two

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Speaker 1: without listening to part one, is that the one thing

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Speaker 1: we're doing different with this differently with this Weird House

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Speaker 1: Cinema episode is instead of rolling through the entire cast

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Speaker 1: or notable members of the cast before going into the plot,

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Speaker 1: we are touching in on cast members as we go,

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Speaker 1: and this was in order to try and make the

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Speaker 1: split between the two episodes a little less 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 Straades 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 1: Yeah, and then we had to cut for time. So

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Speaker 1: we're jumping back in here with more build up to

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Speaker 1: the key plot. We're on a different planet. We're on

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Speaker 1: a wet planet, so let let's jump right in Okay.

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Speaker 3: So here we are at the planet Calidan. This is

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

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

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

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

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

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

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

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

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

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Speaker 3: She says, the powerful Benni Jeserts Sisterhood for ninety generations

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

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

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

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

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

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Speaker 3: Paul Paul Atreides. Now, even all that exposition raises some questions,

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Speaker 3: but like I think it was part of the story

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Speaker 3: that the Benni jests they have many powers that they

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Speaker 3: train for. They have powers of mind, the mind that

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

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

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Speaker 3: of 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 1: So Paula Trades in this film is played by Kyle

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Speaker 1: McLachlin born nineteen fifty nine. Kyle would have been in

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Speaker 1: his early to mid twenties here, I believe, And it's

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Speaker 1: awkward and it's difficult casting, but he, you know, awkwardly

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Speaker 1: feels a bit too old in the first half of

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Speaker 1: 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 McLachlin 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 epess really. Instead,

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Speaker 3: he comes off as Kyle MacLaughlin 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 m macglaughlin'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 1: Yeah, he never feels like a boy. He always feels

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Speaker 1: like a young man or you know, a guy in

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Speaker 1: his twenties anyway, And I guess the moments where I

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Speaker 1: think he is best are the sort of cold moments.

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Speaker 1: Sometimes it's even a moment with the internal voice going on.

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Speaker 1: And in these moments, it's almost like Paul is more

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Speaker 1: of a cipher, you know, Paul kind of seen through

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Speaker 1: the lens of, say, the protagonist in David Clintenberg Scanners.

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Speaker 1: You know, someone whose mental reality, whose relationship with his

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Speaker 1: own thoughts and the world around him is so different

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Speaker 1: from ours that he feels a little alien, you know, personality. Yeah,

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Speaker 1: so there are moments like that that that worked for me.

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Speaker 1: And yeah, for the most part, I don't think it's

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Speaker 1: a bad performance. You know, We've seen plenty of movies

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Speaker 1: where the central handsome lead is not a good actor

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Speaker 1: and is not good in any of his scenes. So

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Speaker 1: it's nothing like that. It's a totally different beast. And

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Speaker 1: it is very difficult and ultimately not fair to compare

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Speaker 1: him in his performance to Timothy Chalomey in the New

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Speaker 1: Dune movies, because in my opinion, Chalomy is just absolutely

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Speaker 1: perfect because, for one, on one hand, he is able

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Speaker 1: to capture the youthfulness of Paul. In part one, he

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Speaker 1: really does look like a kid that is maybe fifteen,

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Speaker 1: which I believe is his age in the book. And

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Speaker 1: yet he is still label and I wasn't I was

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Speaker 1: doubtful until I went into part two. He's still able

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Speaker 1: to deliver that more serious, awaken Paul, that dangerous Paul

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Speaker 1: that we get in the second half of of dv's

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Speaker 1: version 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 that awakening

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Speaker 3: to the terrible purpose, the sort of arc toward tyranny

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

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Speaker 3: see that come on with with such convincing intensity in

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Speaker 3: the second film, and he I think he does a really,

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Speaker 3: 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 1: Yeah, you know, despite the fact that you know, I remember,

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Speaker 1: I think I've read in places that he was like

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Speaker 1: a real student of the book, you know, and like

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Speaker 1: came in and was was you know, done his homework,

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Speaker 1: and certainly, you know, like you said, he'd go on

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Speaker 1: to have a very accomplished career. He is a two

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Speaker 1: time Emmy Award winner for his work on Lynch's Twin Peaks.

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Speaker 1: This was his film debut, which he followed up with

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Speaker 1: with Lynch's doune follow up, The neo noir Blue Velvet.

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Speaker 1: And this is not a surprise for anyone, but because

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Speaker 1: he's probably seen him in something. He's a terrific comedic

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Speaker 1: actor as well. He has great comedic timing. I really

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Speaker 1: enjoyed on Portlandia for example. Yes, he played the mayor.

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Speaker 1: I think, yeah he did. All right, Well, what's what's

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Speaker 1: Paul doing. What's Paul up 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 what basically what we're going to get

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Speaker 3: in this scene is yet another sizeable exposition dump, serving

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

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Speaker 1: Yeah, yeah, they better not have computers, Yes, because that's

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Speaker 1: of course, a whole big deal in the universe that

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Speaker 1: we have the Butlerrian Jahad that eradicated thinking machines, and

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Speaker 1: we have this strong dictate, you know, religious and cultural

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Speaker 1: that thou shalt not make a machine in the likeness

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Speaker 1: 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 Aracus, which attack all rhythmic vibrations. And we

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Speaker 3: learned that the Harkonins are the sworn enemy of Houseitreades

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

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Speaker 3: to Oracus.

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Speaker 1: It is interesting that this film decides to go ahead

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Speaker 1: and lay out stuff, you know, information concerning that tay Lasu,

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Speaker 1: who are not going to be important in this film

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Speaker 1: at all, Like they were clearly thinking ahead to subsequent films.

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Speaker 1: I mean they're part of it, like their work is

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Speaker 1: present here, but you don't actually need to bring them up. Likewise,

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Speaker 1: later we're gonna get a mixtion. And you know, previously

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Speaker 1: we had a mention of IX, and IX is not

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Speaker 1: really important to this film either. So it seems like

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Speaker 1: if you wanted to like cut down on the amount

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Speaker 1: of information you're hitting the viewer with, these would would

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Speaker 1: have been things you could have left on the cutting

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Speaker 1: room floor.

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

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Speaker 1: Yes.

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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 Aitraades. There

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Speaker 3: is Thufir hawat the mentat, and his eyebrows would function

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Speaker 3: 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.

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Speaker 1: Yeah.

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Speaker 3: We also meet in the scene Gerney Halleck, the war

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Speaker 3: master who trains Paul in the Marshall Virtues, and we

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Speaker 3: meet doctor Wellington Ua, the physician of hous Aitraades. He's

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Speaker 3: a called a suk doctor and the Suk school of

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Speaker 3: medicine is I think like the it's like the main

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Speaker 3: sort of way medicine is done in the world of Doune.

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Speaker 1: All right, let's go ahead and lay out these three

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Speaker 1: actors then, because they come in like next to each other.

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Speaker 1: It's almost kind of comedic the way they come out.

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Speaker 1: But you know, and and so first of all, we

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Speaker 1: have we have Howitt played by Freddie Jones, who lived

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Speaker 1: nineteen twenty seven through twenty nineteen, British character actor who

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Speaker 1: we talked about in our episode on eighty three's Kroll.

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Speaker 1: He had previously been in Lynch's The Elephant Man, and

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Speaker 1: he has a slew of other credits, including nineteen sixty

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Speaker 1: nine's Frankenstein Must Be Destroyed, though that is generally I

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Speaker 1: think one that a lot of people choose to skip

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Speaker 1: in the Hammer of Frankenstein legacy. But in anyway, he's

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Speaker 1: perfectly fine in this, if a bit doddering for my taste.

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Speaker 1: I always picture Howitt as being a little more I

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Speaker 1: don't know, he's more aloof here, which is in fitting

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Speaker 1: with a mentat but I tend to imagine him always

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Speaker 1: as being a bit more assertive. I mean, he's the

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Speaker 1: 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 Doune Part one.

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Speaker 1: Absolutely yeah, And I do love the eyebrows, like this

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Speaker 1: is a film that does commit to helping the viewer

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Speaker 1: out by having a lot of visual cues regarding factions

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Speaker 1: how and different types of psychically enhanced people. And so

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Speaker 1: the Mintats all have just out of control eyebrows and

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Speaker 1: I'll allow it. It's gonna neat, okay.

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Speaker 3: And he's got the red stained lips from the juice

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Speaker 3: that the mintat straight.

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Speaker 1: Yes, yes, more on that in a minute.

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Speaker 3: But okay, So that's the fear how the mintat. But

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

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Speaker 1: Yeah Hallick is of course. Gurney here is played by

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Speaker 1: Patrick Stewart born in nineteen forty, So you know who

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Speaker 1: Patrick Stewart is. We're talking about Captain Jeohn Luke McCard.

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Speaker 1: We're talking about Charles Xavier. His pre track films also

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Speaker 1: include nineteen eighty five's Life Force. He was born in

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Speaker 1: nineteen forty. We talked about him briefly in our episode

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Speaker 1: on Nyazaki's Nausicaa because he did one of the voices,

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Speaker 1: so one of the key voices for that and did

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Speaker 1: an excellent job. But yeah, he is our troubadour warrior

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Speaker 1: and 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's 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 1: Yeah, yeah, Well, Meanwhile, in the recent Dune films, Josh

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Speaker 1: Brolin had really had had more of an opportunity, I think,

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Speaker 1: to inhabit this role and ultimately is just tremendous in it.

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Speaker 1: So Josh Brolin easily my favorite Gurney that we've seen

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Speaker 1: 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 1: Yeah, anytime he's on camera bravely defending the a treedee

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Speaker 1: strategic stockpile of pugs, he's a joy, all right. And

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Speaker 1: then we have Yeah, we have Doctor Wellington Ua played

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Speaker 1: by Dean Stockwell nineteen thirty six through twenty twenty one,

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Speaker 1: a wonderful American actor that we discussed in depth for

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Speaker 1: our episode on The Dunwich Horror in which he starred

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Speaker 1: as the warlock Wilburt Wetley. Definitely go back and listen

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Speaker 1: to that episode if you want to hear us talk

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Speaker 1: more about Dean Stockwell. But I think he does a

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Speaker 1: fine job here. It makes for a very sympathetic Ua.

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Speaker 1: Chang Chin is also great in the twenty twenty one adaptation.

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Speaker 1: I agree.

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Speaker 3: I feel like Doctor Yue is one of those characters

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Speaker 3: that is hard to realize on screen because so much

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Speaker 3: of his drama is internal. Like we were talking about that,

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Speaker 3: you know, like he has sort of the reader in

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Speaker 3: the book is given access to some of his internal

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Speaker 3: thoughts that give a lot of meaning to his activity,

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Speaker 3: to his his sort of tragic character arc.

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Speaker 1: Yeah. Yeah, but if you're going into it cold, you

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Speaker 1: really only you're still only encountering him for a short

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Speaker 1: amount of time. So there's a lot of emotion and

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Speaker 1: turmoil to pack into that performance in a very short time.

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Speaker 1: I think both of these two gentlemen do a great

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Speaker 1: job with it in their own way. And clearly this

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Speaker 1: is something we'll touch on later, but clearly they shot

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Speaker 1: more scenes with Dean stockwell, because at times they'll just

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Speaker 1: like they'll like zoom zoo, they'll like fade into a

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Speaker 1: scene where he's having like a really emotional moment about

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Speaker 1: what he's about to do, and then we we fade

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Speaker 1: back out of that. Like, clearly this was a longer

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Speaker 1: scene that was going to be in the the intended

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Speaker 1: 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 from

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

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Speaker 3: men have all sort of been involved in training Paul

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00:23:49,800 --> 00:23:51,600
Speaker 3: to become a superhuman of sorts.

432
00:23:52,160 --> 00:23:52,280
Speaker 4: Uh.

433
00:23:52,440 --> 00:23:55,680
Speaker 3: He For example, when they walk into the room, he

434
00:23:55,680 --> 00:23:59,040
Speaker 3: he grins, very pleased with himself and claims that he

435
00:23:59,080 --> 00:24:02,520
Speaker 3: could tell who was approaching him from behind without looking.

436
00:24:03,400 --> 00:24:06,040
Speaker 3: You know, he seems almost giddy with how powerful his

437
00:24:06,160 --> 00:24:11,720
Speaker 3: ears are, and Gurney engages. Gurney comes up and he's like, Okay,

438
00:24:11,760 --> 00:24:13,800
Speaker 3: time to knife fight Paul. So they're gonna have a

439
00:24:13,840 --> 00:24:17,399
Speaker 3: knife sparring match. Paul is trained to fight with the

440
00:24:17,440 --> 00:24:22,040
Speaker 3: blade using energy shields, and at first Paul says, you know,

441
00:24:22,080 --> 00:24:25,040
Speaker 3: we already did our knife training this morning. I'm not

442
00:24:25,080 --> 00:24:27,960
Speaker 3: in the mood for more, and Garnie Hallick says, moods

443
00:24:28,000 --> 00:24:33,359
Speaker 3: a thing for cattle and love play, not fighting. So

444
00:24:33,760 --> 00:24:36,040
Speaker 3: that's a pretty good moment for Patrick Stewart. But anyway,

445
00:24:36,119 --> 00:24:39,720
Speaker 3: so they go into this fight, and the way the

446
00:24:39,880 --> 00:24:45,240
Speaker 3: energy shields are represented in this movie kind of makes

447
00:24:45,280 --> 00:24:47,920
Speaker 3: it so you can't really see the actors anymore. They're

448
00:24:48,000 --> 00:24:51,920
Speaker 3: represented as these animated prisms that extend over the body

449
00:24:52,200 --> 00:24:55,119
Speaker 3: from a device on the belt, and they make the

450
00:24:55,200 --> 00:24:58,960
Speaker 3: characters look like sort of blocky early CGI characters like

451
00:24:59,000 --> 00:25:00,440
Speaker 3: in the Money for Nothing video.

452
00:25:01,080 --> 00:25:04,440
Speaker 1: Yeah, this this was disappointing for me rewatching the movie,

453
00:25:04,440 --> 00:25:07,840
Speaker 1: because these effects were much better in my memory. I

454
00:25:07,960 --> 00:25:12,320
Speaker 1: like the concept of the shield technology being you know,

455
00:25:12,400 --> 00:25:14,800
Speaker 1: kind of blocky. I like the idea of it being

456
00:25:14,800 --> 00:25:17,480
Speaker 1: this kind of like brownish color. The color schemes good

457
00:25:18,680 --> 00:25:22,400
Speaker 1: and interestingly enough, I'd recently watched an extra about the

458
00:25:22,400 --> 00:25:25,760
Speaker 1: the excellent Loki series mini series that came out way

459
00:25:25,800 --> 00:25:27,560
Speaker 1: I guess it's more than many series went two seasons,

460
00:25:27,600 --> 00:25:30,840
Speaker 1: but they were inspired by these effects to create their

461
00:25:30,880 --> 00:25:35,479
Speaker 1: portal doors, which are important to the plot of Loki.

462
00:25:35,720 --> 00:25:38,560
Speaker 1: So clearly it resonated with other people. But yeah, rewatching it.

463
00:25:38,840 --> 00:25:41,359
Speaker 1: They just end up hiding almost all of the action.

464
00:25:42,240 --> 00:25:44,480
Speaker 1: The new films do a much better job, not only

465
00:25:44,560 --> 00:25:48,000
Speaker 1: just effects wise, but also creating a complex shield tech

466
00:25:48,080 --> 00:25:51,720
Speaker 1: on the screen that makes instant visual sense because there

467
00:25:51,720 --> 00:25:53,160
Speaker 1: are a lot of ins and outs to the way

468
00:25:53,160 --> 00:25:56,920
Speaker 1: they work, and it's pivotal for understanding various things about

469
00:25:57,000 --> 00:25:58,360
Speaker 1: combat and the done universe.

470
00:25:58,600 --> 00:26:01,040
Speaker 3: Yeah, it's a difficult thing to rep resent, but they

471
00:26:01,080 --> 00:26:02,639
Speaker 3: do a good job in the new movie. So the

472
00:26:02,720 --> 00:26:08,080
Speaker 3: idea is that these personal energy shields deflect fast moving

473
00:26:08,160 --> 00:26:10,680
Speaker 3: incoming objects. So if you try to stab somebody or

474
00:26:10,680 --> 00:26:14,119
Speaker 3: shoot them, the shield will deflect that. So the way

475
00:26:14,160 --> 00:26:16,840
Speaker 3: to harm someone with wearing one of these shields is

476
00:26:16,960 --> 00:26:20,080
Speaker 3: quote the slow blade. You have to slowly move the

477
00:26:20,160 --> 00:26:24,480
Speaker 3: knife through the shield. So it's counterintuitive to normal you know,

478
00:26:24,560 --> 00:26:27,840
Speaker 3: fighting instincts. And the way it's represented in the new

479
00:26:27,880 --> 00:26:31,040
Speaker 3: movies is that something that comes in fast and is

480
00:26:31,080 --> 00:26:34,560
Speaker 3: deflected by the shield, the shield glows blue, but when

481
00:26:34,600 --> 00:26:37,479
Speaker 3: something slowly is able to move through the shield, it

482
00:26:37,520 --> 00:26:38,200
Speaker 3: turns red.

483
00:26:38,840 --> 00:26:41,320
Speaker 1: Yeah, which is a great visual system for the viewer,

484
00:26:41,880 --> 00:26:44,119
Speaker 1: you know, let us understand what's happening on the screen

485
00:26:45,040 --> 00:26:47,240
Speaker 1: in the same way that mentats have giant eyebrows in

486
00:26:47,240 --> 00:26:47,720
Speaker 1: this movie.

487
00:26:48,080 --> 00:26:59,600
Speaker 3: Right, So, after the fight, Paul and doctor Ua trade

488
00:26:59,600 --> 00:27:04,200
Speaker 3: information about Iracus. Paul is extremely interested in the worms,

489
00:27:04,760 --> 00:27:07,480
Speaker 3: and we also learned about the people called the Freemen

490
00:27:07,600 --> 00:27:11,160
Speaker 3: who live on Dune and have extreme blue eyes from

491
00:27:11,200 --> 00:27:14,720
Speaker 3: their use of the spice millange. Also in this scene,

492
00:27:14,760 --> 00:27:19,159
Speaker 3: Paul reveals that he suspects the Emperor is supporting the

493
00:27:19,240 --> 00:27:23,560
Speaker 3: Harconins against them, again revealing a lot right at the beginning.

494
00:27:23,600 --> 00:27:26,240
Speaker 3: So not only does the Emperor explain his whole plot

495
00:27:26,240 --> 00:27:29,080
Speaker 3: at the beginning of this movie, Paul says like I've

496
00:27:29,119 --> 00:27:31,440
Speaker 3: just figured it out. I know it before it happens.

497
00:27:32,359 --> 00:27:34,960
Speaker 3: So the attreinees like no, Aracus is a trap, but

498
00:27:35,000 --> 00:27:36,040
Speaker 3: they're going to go anyway.

499
00:27:36,440 --> 00:27:40,040
Speaker 1: Yep. And you know that alone, that statement alone is

500
00:27:40,080 --> 00:27:42,879
Speaker 1: perhaps not completely out of keeping, Like there are people

501
00:27:43,080 --> 00:27:46,879
Speaker 1: in house Atredes that realize that this is this is

502
00:27:46,920 --> 00:27:50,159
Speaker 1: a trap. But key is that they think it is

503
00:27:50,200 --> 00:27:54,000
Speaker 1: a trap that they can turn to their advantage. Right.

504
00:27:55,160 --> 00:27:58,480
Speaker 3: Oh, and then we get even more fight training this one.

505
00:27:58,640 --> 00:28:01,679
Speaker 3: This one is a real upgrade thing from the energy

506
00:28:01,680 --> 00:28:03,960
Speaker 3: shield scene. Now we're going to get the weirding module

507
00:28:04,040 --> 00:28:07,400
Speaker 3: with the stabbing robot. So they say, doctor Ua put

508
00:28:07,400 --> 00:28:11,840
Speaker 3: the weirding module on him, rob How would you describe

509
00:28:11,880 --> 00:28:14,080
Speaker 3: what the weirding module is and what it does?

510
00:28:14,520 --> 00:28:16,719
Speaker 1: I mean, it looks like an underwater camera housing, That's

511
00:28:16,760 --> 00:28:21,000
Speaker 1: what it looks like. And I guess this is not

512
00:28:21,040 --> 00:28:24,639
Speaker 1: in the book, but it is supposedly some sort of

513
00:28:24,800 --> 00:28:28,200
Speaker 1: thing that turns your voice into a weapon. The weirding

514
00:28:28,280 --> 00:28:32,119
Speaker 1: way is a movement technique martial arts of the Benagest

515
00:28:32,400 --> 00:28:35,560
Speaker 1: that is in the books. But if memory serves the

516
00:28:35,560 --> 00:28:39,040
Speaker 1: filmmakers here, and I think maybe Lynch in particular wanted

517
00:28:39,080 --> 00:28:43,200
Speaker 1: to avoid putting martial arts in their film. I think

518
00:28:43,320 --> 00:28:46,080
Speaker 1: there's something about like Lynch didn't want to see karate

519
00:28:46,280 --> 00:28:50,040
Speaker 1: on the Dunes of Aracus, or this might also be

520
00:28:50,080 --> 00:28:54,200
Speaker 1: classified as something you could consider like the fear of

521
00:28:54,200 --> 00:28:58,080
Speaker 1: looking silly and cinematic adaptations of Dune, which is something

522
00:28:58,120 --> 00:29:01,600
Speaker 1: you see, and at least the and the more recent adaptations,

523
00:29:02,160 --> 00:29:04,120
Speaker 1: there seem to be some choices that were made where

524
00:29:04,120 --> 00:29:06,160
Speaker 1: they're like, Okay, we can't do that. That might look

525
00:29:06,200 --> 00:29:08,600
Speaker 1: too silly, or at least that's the way I read

526
00:29:08,640 --> 00:29:10,680
Speaker 1: into some of those changes. So, you know, fair enough,

527
00:29:11,200 --> 00:29:14,400
Speaker 1: but the device and the concept here are kind of clunky,

528
00:29:14,720 --> 00:29:17,000
Speaker 1: and it forces us to have to figure out another

529
00:29:17,080 --> 00:29:21,720
Speaker 1: strange technology after just having experienced the shields. That's right.

530
00:29:21,760 --> 00:29:24,360
Speaker 3: But the weirding module is silly.

531
00:29:24,440 --> 00:29:24,840
Speaker 1: I'm sorry.

532
00:29:24,840 --> 00:29:27,240
Speaker 3: I mean I like it. I wouldn't want it removed

533
00:29:27,240 --> 00:29:30,040
Speaker 3: from the movie. But it's funny because, as you said,

534
00:29:30,240 --> 00:29:35,040
Speaker 3: it translates like sounds or voices into lethal energy attacks.

535
00:29:35,360 --> 00:29:38,680
Speaker 3: So it's like a blaster that you operate by saying.

536
00:29:38,560 --> 00:29:43,960
Speaker 1: Zap, yeah, zap, zong, et cetera. You can use that

537
00:29:44,000 --> 00:29:46,160
Speaker 1: et cetera can be a killing word. That's right.

538
00:29:46,200 --> 00:29:50,040
Speaker 3: I think I read somewhere that as you said, you know,

539
00:29:50,080 --> 00:29:53,480
Speaker 3: so the Weirding module is original to Lynch's movie. It's

540
00:29:53,520 --> 00:29:56,480
Speaker 3: not in the book, and I read somewhere that this

541
00:29:56,560 --> 00:29:59,480
Speaker 3: might be like a strange literalization of a line in

542
00:29:59,520 --> 00:30:02,960
Speaker 3: the novel about the name of maudieb the name later

543
00:30:03,040 --> 00:30:05,840
Speaker 3: taken by Paul when he joins the Fremen, that name

544
00:30:06,000 --> 00:30:08,840
Speaker 3: being a quote killing word, which I think may have

545
00:30:08,880 --> 00:30:12,680
Speaker 3: been a metaphor in the original context, but then literalized

546
00:30:12,720 --> 00:30:15,440
Speaker 3: into it this piece of sci fi technology.

547
00:30:16,000 --> 00:30:18,640
Speaker 1: And so they run with it. It's weird, it's fun,

548
00:30:18,880 --> 00:30:23,400
Speaker 1: but it is clunky, and it's not something I'm super

549
00:30:23,400 --> 00:30:24,800
Speaker 1: attached too. Yeah.

550
00:30:24,840 --> 00:30:27,520
Speaker 3: So he fights the stabbing robot, and Paul is shown

551
00:30:27,560 --> 00:30:29,440
Speaker 3: to be very powerful at the weirding way.

552
00:30:30,000 --> 00:30:32,080
Speaker 1: Yeah. Nice Toto track during this. I like it.

553
00:30:32,280 --> 00:30:35,320
Speaker 3: Oh that's right, Yeah, with the percussion. So later we

554
00:30:35,360 --> 00:30:38,960
Speaker 3: see Paul meeting other characters. He meets Duncan Idaho, who

555
00:30:39,040 --> 00:30:41,479
Speaker 3: must go ahead of them to Iracus. He is the

556
00:30:41,520 --> 00:30:44,280
Speaker 3: sword master of House A Treades, and I think he's

557
00:30:44,280 --> 00:30:46,240
Speaker 3: going to go ahead to sort of meet with the

558
00:30:46,240 --> 00:30:48,640
Speaker 3: Fremen and try to interface with them.

559
00:30:48,840 --> 00:30:51,400
Speaker 1: Yeah. Played here by Richard Jordan who lived nineteen thirty

560
00:30:51,400 --> 00:30:54,760
Speaker 1: seven through nineteen ninety three. Emmy nominated actor. His credits

561
00:30:54,800 --> 00:30:57,920
Speaker 1: include seventy six is Logan's run nineteen ninety's The Hunted

562
00:30:57,960 --> 00:31:01,280
Speaker 1: Red October in nineteen ninety three is Getty's not much

563
00:31:01,320 --> 00:31:03,240
Speaker 1: really to say about him here, though, because he has

564
00:31:03,440 --> 00:31:07,760
Speaker 1: almost no screen time and it's just quickly forgotten. He's

565
00:31:07,800 --> 00:31:12,560
Speaker 1: an important character in the novel Dune and moving forward

566
00:31:12,640 --> 00:31:15,320
Speaker 1: in the Dune series, but he's treated like a red

567
00:31:15,320 --> 00:31:18,640
Speaker 1: shirt here, at least in this cut. The twenty twenty

568
00:31:18,680 --> 00:31:21,800
Speaker 1: one film with Jason Momoa in the role is I

569
00:31:21,840 --> 00:31:23,960
Speaker 1: think the best version of the character we've seen so

570
00:31:24,080 --> 00:31:26,880
Speaker 1: far in an adaptation, and we'll just see where it

571
00:31:26,920 --> 00:31:28,920
Speaker 1: goes from there in the future. Ah.

572
00:31:29,000 --> 00:31:31,120
Speaker 3: Yeah, I didn't put it together yet, but we make

573
00:31:31,480 --> 00:31:37,000
Speaker 3: a Jason Momoa gola a Momola if you will. So

574
00:31:37,360 --> 00:31:40,280
Speaker 3: we also meet here Duke Leto, the head of house

575
00:31:40,320 --> 00:31:43,480
Speaker 3: a Treades, who meets with his son Paul, and we

576
00:31:43,560 --> 00:31:46,080
Speaker 3: learned Duke Letto is very proud of his son. Duke

577
00:31:46,160 --> 00:31:50,480
Speaker 3: Leto is shown to be, within the context of the story,

578
00:31:50,640 --> 00:31:56,640
Speaker 3: a very a very kind, fair and you know, stern,

579
00:31:56,760 --> 00:31:59,880
Speaker 3: but just kind of ruler. And he, you know, he

580
00:32:00,160 --> 00:32:03,240
Speaker 3: encourages his son Paul and tells him he's proud of him.

581
00:32:03,280 --> 00:32:07,280
Speaker 3: He says, without change something sleeps inside us and seldom awakens.

582
00:32:07,400 --> 00:32:09,040
Speaker 3: The sleeper must awaken.

583
00:32:09,880 --> 00:32:11,880
Speaker 1: Yeah, this is a great bit, a recurring bit in

584
00:32:11,880 --> 00:32:15,360
Speaker 1: this film. I like it. The Duke here is played

585
00:32:15,400 --> 00:32:21,000
Speaker 1: by German actor Jurgen Procnow born nineteen forty one. His

586
00:32:21,040 --> 00:32:23,080
Speaker 1: big breakout role was, of course, playing the captain in

587
00:32:23,160 --> 00:32:26,680
Speaker 1: nineteen eighty one's The Boat or Doss Boat or Doss

588
00:32:26,680 --> 00:32:30,120
Speaker 1: Boot if you will see previous discussions on the title

589
00:32:30,160 --> 00:32:34,680
Speaker 1: for this film. But actor with a tremendous face and

590
00:32:34,720 --> 00:32:39,880
Speaker 1: a great presence for playing stern, serious, distant and sometimes

591
00:32:39,920 --> 00:32:43,360
Speaker 1: threatening characters. His filmography is all over the place, but

592
00:32:43,400 --> 00:32:45,920
Speaker 1: a few notable points include Michael Mann's The Keep from

593
00:32:45,920 --> 00:32:49,200
Speaker 1: eighty three, Twin Peaks Firewalk with Me in ninety two,

594
00:32:49,640 --> 00:32:52,440
Speaker 1: kind of continuing this trend of Lynch often bringing back

595
00:32:52,520 --> 00:32:56,040
Speaker 1: actors that he worked with on Doune for other projects.

596
00:32:56,720 --> 00:33:00,000
Speaker 1: He of course plays the author Sutter Kane and John Carr.

597
00:33:00,160 --> 00:33:02,440
Speaker 1: There's in the Mouth of Madness. He has a role

598
00:33:02,440 --> 00:33:04,840
Speaker 1: in the Judge Dread film from ninety five, and he

599
00:33:04,880 --> 00:33:07,160
Speaker 1: pops up in The English Patient in ninety six, but

600
00:33:08,160 --> 00:33:11,040
Speaker 1: lots of other credits. I think he even plays an

601
00:33:11,080 --> 00:33:17,640
Speaker 1: older Arnold Schwarzenegger in a TV bio movie about Arnold Swarzenegger. What. Yeah,

602
00:33:17,800 --> 00:33:20,040
Speaker 1: it was like an A A and E movie or something.

603
00:33:20,080 --> 00:33:22,360
Speaker 1: I remember it looked did not look good.

604
00:33:24,040 --> 00:33:27,880
Speaker 3: Like a movie about an existing actor projecting that actor

605
00:33:28,120 --> 00:33:29,440
Speaker 3: actor into the future.

606
00:33:30,720 --> 00:33:33,640
Speaker 1: Yeah. I don't know, but at any rate, you know,

607
00:33:33,920 --> 00:33:38,000
Speaker 1: it ends up being a more distant feeling duke here,

608
00:33:38,360 --> 00:33:41,720
Speaker 1: and I think I think it works, you know, concerning

609
00:33:41,720 --> 00:33:44,480
Speaker 1: his relationship with Paul, and there are these moments of

610
00:33:44,520 --> 00:33:48,080
Speaker 1: warmth like the Sleeper Awaken speech. But I would say

611
00:33:48,240 --> 00:33:52,320
Speaker 1: he's my third favorite duke leto the first, behind Oscar

612
00:33:52,400 --> 00:33:53,600
Speaker 1: Isaac and William Hurt.

613
00:33:54,840 --> 00:33:58,280
Speaker 3: I also really like Oscar Isaac's performance in the new film.

614
00:34:00,080 --> 00:34:03,960
Speaker 3: Yeah that's Paul's father. We also meet Paul's mother, Lady Jessica,

615
00:34:05,160 --> 00:34:08,719
Speaker 3: whom we meet walking through the rain in the courtyard

616
00:34:08,760 --> 00:34:11,880
Speaker 3: of the palace, hidden under this voluminous hood, and she

617
00:34:11,960 --> 00:34:15,480
Speaker 3: seems very interesting and mysterious when we first meet her,

618
00:34:15,520 --> 00:34:19,440
Speaker 3: because we hear her inner voice worrying about Paul and

619
00:34:19,520 --> 00:34:23,160
Speaker 3: saying that he must face the box. No man has

620
00:34:23,200 --> 00:34:26,520
Speaker 3: ever faced it before, and tonight she may lose her son.

621
00:34:27,040 --> 00:34:29,799
Speaker 3: So when we meet her, she's already worrying that she

622
00:34:29,960 --> 00:34:33,880
Speaker 3: may have committed her son to a lethal challenge.

623
00:34:34,160 --> 00:34:36,760
Speaker 1: Yeah, and she has played here by Francesca her Niece

624
00:34:37,280 --> 00:34:40,960
Speaker 1: born nineteen forty five, English actor who also played the

625
00:34:41,000 --> 00:34:43,279
Speaker 1: Witch of the Web in nineteen eighty three Skrawl. So

626
00:34:43,320 --> 00:34:47,600
Speaker 1: another Krawl connection. Extensive stage, screen and TV credits. She

627
00:34:47,680 --> 00:34:51,719
Speaker 1: played Lady Macbeth in that excellent nineteen seventy two film adaptation.

628
00:34:52,360 --> 00:34:54,000
Speaker 3: I like her in this role, and she plays it

629
00:34:54,000 --> 00:34:57,399
Speaker 3: with this interesting mix of deference and defiance. These two

630
00:34:57,400 --> 00:35:00,480
Speaker 3: elements come out in different moments. She's like a character

631
00:35:00,680 --> 00:35:04,280
Speaker 3: pulled back and forth between duty to authority and following

632
00:35:04,280 --> 00:35:07,400
Speaker 3: her own heart and her love for her family. And

633
00:35:08,320 --> 00:35:10,200
Speaker 3: so I really like her in this role. I feel

634
00:35:10,200 --> 00:35:13,480
Speaker 3: like she kind of gets her character gets downplayed in

635
00:35:13,520 --> 00:35:17,000
Speaker 3: the second half of the story here in the eighty

636
00:35:17,000 --> 00:35:21,160
Speaker 3: four adaptation, and I like more. I think what is

637
00:35:21,200 --> 00:35:25,400
Speaker 3: done with Rebecca Ferguson's role in the newer adaptations?

638
00:35:26,000 --> 00:35:28,920
Speaker 1: Agreed, Yeah, I think Rebecca Ferguson just gets more to

639
00:35:28,960 --> 00:35:32,000
Speaker 1: do with the character. We get a stronger portrayal of

640
00:35:32,120 --> 00:35:36,600
Speaker 1: Lady Jessica both before and after the initial fall of

641
00:35:36,640 --> 00:35:37,520
Speaker 1: House of Tredes.

642
00:35:37,920 --> 00:35:39,960
Speaker 3: Oh, but all of this is leading up to the

643
00:35:40,000 --> 00:35:42,319
Speaker 3: return of a character we've already met. We talked about

644
00:35:42,400 --> 00:35:46,480
Speaker 3: in the last episode, the Reverend Mother gaias Helen Mohem,

645
00:35:47,600 --> 00:35:50,640
Speaker 3: and we met her with the Emperor because she is

646
00:35:50,640 --> 00:35:53,560
Speaker 3: the Emperor's truth sayer. You know, she was supposed to

647
00:35:53,600 --> 00:35:56,240
Speaker 3: try to listen in on the meeting between the Emperor

648
00:35:56,239 --> 00:36:00,040
Speaker 3: and the Guild Navigator, and as she learns from that

649
00:36:00,120 --> 00:36:02,840
Speaker 3: meeting that there is some significance to paul A Trades,

650
00:36:02,880 --> 00:36:06,680
Speaker 3: the young heir of House Atreadees, and that she and

651
00:36:06,680 --> 00:36:09,439
Speaker 3: the Benny Jester at Sisters must learn more about paul

652
00:36:09,560 --> 00:36:11,680
Speaker 3: to find out what his significance is.

653
00:36:12,080 --> 00:36:14,759
Speaker 1: So here she is, yeah, and this is where we

654
00:36:14,800 --> 00:36:18,640
Speaker 1: get our goamja Bar scene, which is I think pretty

655
00:36:18,640 --> 00:36:23,120
Speaker 1: effective here. I like it in both this adaptation and

656
00:36:23,440 --> 00:36:26,080
Speaker 1: the recent adaptation. You know, it's one of the most

657
00:36:26,120 --> 00:36:29,759
Speaker 1: famous scenes in the whole novel, and it's also one

658
00:36:29,760 --> 00:36:31,600
Speaker 1: of the first big scenes in the novel. As I

659
00:36:31,600 --> 00:36:34,759
Speaker 1: think we've discussed before, Like it happens almost immediately in

660
00:36:34,800 --> 00:36:36,520
Speaker 1: your reading of the book, that's right.

661
00:36:36,560 --> 00:36:40,120
Speaker 3: So the premise of the scene is that the Reverend

662
00:36:40,120 --> 00:36:44,920
Speaker 3: Mother arrives, she speaks with Lady Jessica and Paul sort

663
00:36:44,960 --> 00:36:47,359
Speaker 3: of awakes and overhears them speaking a little bit about

664
00:36:47,440 --> 00:36:49,960
Speaker 3: something about his purpose and that he must be tested.

665
00:36:50,840 --> 00:36:53,359
Speaker 3: So Paul is woken in the night and taken before

666
00:36:53,400 --> 00:36:56,840
Speaker 3: the Reverend Mother. We do get some chewing out of

667
00:36:56,920 --> 00:36:59,799
Speaker 3: Lady Jessica by the Reverend Mother because of her hubris

668
00:37:00,200 --> 00:37:03,360
Speaker 3: disobeying orders and having a son trying. You know, She's like,

669
00:37:03,400 --> 00:37:05,800
Speaker 3: you're trying to create the Queisout's hatterak, You're not supposed

670
00:37:05,800 --> 00:37:08,080
Speaker 3: to do that. That is the super being of the universe.

671
00:37:08,160 --> 00:37:09,640
Speaker 3: That's violation of orders.

672
00:37:09,840 --> 00:37:10,360
Speaker 1: So forth.

673
00:37:10,920 --> 00:37:13,880
Speaker 3: Now, somewhere before we actually get the Hand in the Box,

674
00:37:14,160 --> 00:37:16,640
Speaker 3: there's a moment here where we see Duke Letto alone

675
00:37:16,719 --> 00:37:19,319
Speaker 3: in his office, apparently maybe aware of what's going on,

676
00:37:19,440 --> 00:37:23,279
Speaker 3: but not intervening. I don't recall if in the book

677
00:37:23,280 --> 00:37:26,279
Speaker 3: he was aware or not, but anyway, we see him

678
00:37:26,400 --> 00:37:28,480
Speaker 3: sitting alone in his office. And this is the first

679
00:37:28,520 --> 00:37:32,719
Speaker 3: time we see the House of Trades pug. Can we

680
00:37:32,719 --> 00:37:42,000
Speaker 3: set off a pug alarm pug alert sidebar on the pug.

681
00:37:43,200 --> 00:37:45,840
Speaker 3: So we're going to see this pug pop up a

682
00:37:45,920 --> 00:37:48,560
Speaker 3: number of times, Like when they arrive on the planet,

683
00:37:48,560 --> 00:37:51,360
Speaker 3: they've got the pug with them. And then also later

684
00:37:51,440 --> 00:37:55,760
Speaker 3: when the Harconins attack the house Atrdes, we see Gurnie

685
00:37:55,760 --> 00:38:00,400
Speaker 3: Hallick Patrick Stewart running into battle with like this science fictionifle,

686
00:38:00,719 --> 00:38:03,120
Speaker 3: clutching the pug to his chest.

687
00:38:03,239 --> 00:38:03,560
Speaker 1: Yeah.

688
00:38:03,600 --> 00:38:08,320
Speaker 3: I have always loved this detail. It seems so characteristically Lynchian.

689
00:38:09,280 --> 00:38:12,680
Speaker 3: The warriors of this feudal house have toy breed dogs

690
00:38:12,719 --> 00:38:15,200
Speaker 3: that they carry around with them from planet to planet,

691
00:38:15,280 --> 00:38:18,160
Speaker 3: even taking them into battle as if they are tokens

692
00:38:18,160 --> 00:38:23,920
Speaker 3: of good fortune or provide magical protection there. It's like

693
00:38:24,080 --> 00:38:26,880
Speaker 3: a lot of images in David lynch movies, and I

694
00:38:26,920 --> 00:38:29,279
Speaker 3: think part of what makes him a really great filmmaker

695
00:38:29,880 --> 00:38:33,480
Speaker 3: and artist is he puts in these weird images that

696
00:38:33,600 --> 00:38:36,520
Speaker 3: on one hand feel kind of off, but on the

697
00:38:36,560 --> 00:38:39,560
Speaker 3: other hand you think about them and they just feel right.

698
00:38:39,719 --> 00:38:43,080
Speaker 3: Something about the pug works. I don't know what it means,

699
00:38:43,160 --> 00:38:45,560
Speaker 3: but it feels like, yeah, they would have a pug

700
00:38:45,680 --> 00:38:45,960
Speaker 3: like this.

701
00:38:46,560 --> 00:38:48,960
Speaker 1: Yeah. Well, we saw the Emperor had his own dog

702
00:38:49,000 --> 00:38:51,839
Speaker 1: breeds running around, so it's weird, but it's also kind

703
00:38:51,840 --> 00:38:53,920
Speaker 1: of fitting that a great house would have its signature

704
00:38:53,960 --> 00:38:56,960
Speaker 1: dog breed. The pug is also the closest thing that

705
00:38:57,000 --> 00:38:59,520
Speaker 1: we get to a chair dog, which we get much

706
00:38:59,600 --> 00:39:00,760
Speaker 1: later in the book series.

707
00:39:01,160 --> 00:39:03,200
Speaker 3: I think the pug is not mistreated. We see the

708
00:39:03,239 --> 00:39:05,799
Speaker 3: pug treated very lovingly and respectfully.

709
00:39:06,200 --> 00:39:08,360
Speaker 1: Well, cheer dogs are not mistreated either, They just do

710
00:39:09,080 --> 00:39:11,399
Speaker 1: they were. They have a function. You sit on them,

711
00:39:11,480 --> 00:39:13,799
Speaker 1: and that you're not mistreating a chair dog to sit

712
00:39:13,880 --> 00:39:14,520
Speaker 1: on a chair dog.

713
00:39:14,560 --> 00:39:17,359
Speaker 3: Surely, Oh okay, I misunderstood.

714
00:39:18,120 --> 00:39:20,919
Speaker 1: The cheer dog doesn't have a face or presumably a butt.

715
00:39:21,040 --> 00:39:24,360
Speaker 1: I guess it's I don't know. There's probably some inherent

716
00:39:24,400 --> 00:39:27,640
Speaker 1: cruelty in the creation of a cheer dog, but it's

717
00:39:27,719 --> 00:39:28,719
Speaker 1: never really explored.

718
00:39:29,280 --> 00:39:30,719
Speaker 3: Not to get too dark, I guess you could say

719
00:39:30,719 --> 00:39:32,839
Speaker 3: there's some cruelty in the creation of a pug as well,

720
00:39:32,880 --> 00:39:35,719
Speaker 3: but that's they don't have to go. But these, these

721
00:39:35,760 --> 00:39:39,120
Speaker 3: pugs are treated. These are beloved pugs. The atreadees love

722
00:39:39,120 --> 00:39:39,720
Speaker 3: their pugs.

723
00:39:39,960 --> 00:39:43,000
Speaker 1: Pugs are cuties, no doubt about it. We have made

724
00:39:43,000 --> 00:39:47,919
Speaker 1: a dog in the semblance of a human baby.

725
00:39:48,360 --> 00:39:51,600
Speaker 3: We were told we shall not. But you just can't

726
00:39:51,640 --> 00:39:55,160
Speaker 3: follow those rules. Okay, so sorry, we could Coming back

727
00:39:55,200 --> 00:39:57,920
Speaker 3: to the Gomja bar scene. So this is where the

728
00:39:57,960 --> 00:40:01,160
Speaker 3: reverend mother confronts Paul alone in the in the house

729
00:40:01,200 --> 00:40:01,720
Speaker 3: on Kaladan.

730
00:40:01,800 --> 00:40:03,600
Speaker 1: Here and she.

731
00:40:03,800 --> 00:40:06,759
Speaker 3: Starts to command him using the voice. This is one

732
00:40:06,800 --> 00:40:10,080
Speaker 3: of the many Benni Jesert arts having a way of

733
00:40:10,120 --> 00:40:13,000
Speaker 3: manipulating their voice so as to sort of hypnotize and

734
00:40:13,040 --> 00:40:16,760
Speaker 3: command people, even against their will. The Reverend Mother tries

735
00:40:16,840 --> 00:40:19,200
Speaker 3: to use the voice to command Paul, but he's somewhat

736
00:40:19,239 --> 00:40:23,160
Speaker 3: resistant at first. When she talks in this movie, it's

737
00:40:23,200 --> 00:40:26,400
Speaker 3: kind of a lizard queen speaking through a fan voice.

738
00:40:27,160 --> 00:40:30,919
Speaker 1: Yeah, it sounds really good in my opinion. I also

739
00:40:31,000 --> 00:40:33,799
Speaker 1: really like the way that it's brought to life in

740
00:40:33,840 --> 00:40:37,800
Speaker 1: the new film adaptations, and they feel similar. They're probably

741
00:40:37,800 --> 00:40:40,520
Speaker 1: not that similar if you line them up one to one,

742
00:40:40,560 --> 00:40:44,320
Speaker 1: but they're both effective for me. Yeah, I agree.

743
00:40:44,800 --> 00:40:48,080
Speaker 3: So Paul is given this trial, the Trial of the

744
00:40:48,120 --> 00:40:51,239
Speaker 3: Box where the reverend. So he puts his hand in

745
00:40:51,320 --> 00:40:53,839
Speaker 3: a box that the Reverend Mother offers him, and then

746
00:40:53,880 --> 00:40:56,520
Speaker 3: she puts a sort of poisoned thimble with a needle

747
00:40:56,560 --> 00:40:59,440
Speaker 3: on it against his neck and tells him there's going

748
00:40:59,480 --> 00:41:01,319
Speaker 3: to be pain in the box. He will want to

749
00:41:01,360 --> 00:41:03,640
Speaker 3: remove his hand, but if he removes his hand, she

750
00:41:03,680 --> 00:41:06,240
Speaker 3: will stab him with the gom jabbar, the poison needle,

751
00:41:06,480 --> 00:41:11,240
Speaker 3: and he will die. He's suffering. It's burning. The fire

752
00:41:11,280 --> 00:41:14,240
Speaker 3: is consuming the flesh down to the bone, he thinks,

753
00:41:14,320 --> 00:41:16,319
Speaker 3: or at least it feels that way. And the whole

754
00:41:16,320 --> 00:41:21,440
Speaker 3: point is that someone of inferior will would remove their

755
00:41:21,480 --> 00:41:24,080
Speaker 3: hand from the box in response to the pain. But

756
00:41:24,560 --> 00:41:27,480
Speaker 3: there's something she's testing for kind of will in Paul

757
00:41:27,600 --> 00:41:30,919
Speaker 3: to face the pain and keep his hand inside. And

758
00:41:31,280 --> 00:41:33,160
Speaker 3: in this scene, when trying to get through the pain,

759
00:41:33,200 --> 00:41:37,240
Speaker 3: we hear Paul's inner voice reciting the Litany against Fear.

760
00:41:37,360 --> 00:41:40,520
Speaker 3: One of the great things from the novel and the

761
00:41:40,640 --> 00:41:43,920
Speaker 3: version of it used in the movie, is that he says,

762
00:41:43,960 --> 00:41:47,160
Speaker 3: I must not fear. Fear is the mind killer. Fear

763
00:41:47,280 --> 00:41:50,520
Speaker 3: is the little death that brings total obliteration. I will

764
00:41:50,560 --> 00:41:53,319
Speaker 3: face my fear. I will permit it to pass over

765
00:41:53,400 --> 00:41:56,120
Speaker 3: me and through me. And when it has gone past,

766
00:41:56,560 --> 00:41:59,280
Speaker 3: I will turn the inner eye to see its path.

767
00:42:00,080 --> 00:42:01,920
Speaker 3: The fear has gone, there will be nothing.

768
00:42:02,320 --> 00:42:06,080
Speaker 1: Only I will remain. And I really like his reading

769
00:42:06,120 --> 00:42:08,880
Speaker 1: of this with the inner voices, so it's kind of

770
00:42:10,000 --> 00:42:12,200
Speaker 1: there's an urgency to it because he is in pain.

771
00:42:12,560 --> 00:42:14,839
Speaker 1: I heard the sample in a mix once before, I believe,

772
00:42:14,880 --> 00:42:17,719
Speaker 1: in an autech or mix. It was very well, very

773
00:42:17,719 --> 00:42:18,440
Speaker 1: well utilized.

774
00:42:18,840 --> 00:42:21,720
Speaker 3: I think There are slight changes to the Litany against

775
00:42:21,760 --> 00:42:24,359
Speaker 3: Fear here from in the book. I don't remember what

776
00:42:24,360 --> 00:42:26,279
Speaker 3: the changes are, but I like this version of it.

777
00:42:26,680 --> 00:42:29,040
Speaker 1: Yeah, yeah, it's still it very much keeps most of

778
00:42:28,840 --> 00:42:31,279
Speaker 1: the words and definitely keeps the spirit of the thing.

779
00:42:33,239 --> 00:42:36,799
Speaker 3: And col wahad, he's okay, he passed the test. The

780
00:42:36,840 --> 00:42:39,200
Speaker 3: Reverend Mother says, coolwahad, which is a phrase meaning I

781
00:42:39,280 --> 00:42:43,239
Speaker 3: am profoundly stirred. And she explains the prophecy of the

782
00:42:43,280 --> 00:42:47,680
Speaker 3: Quisat's Haderak to Paul. But Paul fears for his father,

783
00:42:47,880 --> 00:42:50,520
Speaker 3: and the Reverend Mother tells him what can be done

784
00:42:50,560 --> 00:42:54,000
Speaker 3: to protect his father has been done, So you know,

785
00:42:54,080 --> 00:42:56,319
Speaker 3: it's there's a kind of fatalism going on here.

786
00:42:56,760 --> 00:43:06,960
Speaker 4: Yeah, all right, it's time to planet hop again.

787
00:43:07,320 --> 00:43:09,839
Speaker 3: Oh boy, and now we're getting really depraved. So let's

788
00:43:09,840 --> 00:43:14,200
Speaker 3: go to giedde Prime, home of House Harconin and Lord.

789
00:43:14,320 --> 00:43:17,280
Speaker 3: The way the Harconans are realized in this movie, there

790
00:43:17,400 --> 00:43:22,239
Speaker 3: is a level of weirdness that again goes beyond the

791
00:43:22,280 --> 00:43:25,400
Speaker 3: books is purely David Lynch, I think.

792
00:43:26,160 --> 00:43:26,239
Speaker 1: So.

793
00:43:26,440 --> 00:43:28,600
Speaker 3: First of all, I just wanted to focus. They give

794
00:43:28,680 --> 00:43:31,479
Speaker 3: us a brief look at the exterior of Geedee Prime

795
00:43:31,520 --> 00:43:34,120
Speaker 3: before we meet the characters, and it appears to be

796
00:43:34,600 --> 00:43:39,640
Speaker 3: a kind of urban landscape of shadows and green light,

797
00:43:39,840 --> 00:43:44,080
Speaker 3: with these unbroken walls of industrial looking buildings stretching up

798
00:43:44,160 --> 00:43:47,720
Speaker 3: until they vanish into a dark sky. There's black smoke

799
00:43:47,840 --> 00:43:50,760
Speaker 3: pouring out of a hidden orifice in the city walls,

800
00:43:51,200 --> 00:43:55,040
Speaker 3: towers of metal struts in the foreground, almost like watchtowers

801
00:43:55,120 --> 00:44:00,800
Speaker 3: or guard stations, with some kind of tortured sculpture looming

802
00:44:00,840 --> 00:44:03,520
Speaker 3: between the buildings. And we see the sculpture many times.

803
00:44:04,120 --> 00:44:08,120
Speaker 3: It is like a giant porcelain face on which the

804
00:44:08,239 --> 00:44:11,799
Speaker 3: eyes and nose are hidden behind a shadow, and all

805
00:44:11,920 --> 00:44:16,680
Speaker 3: that's visible is a giant gaping mouth over a plump chin,

806
00:44:17,200 --> 00:44:19,759
Speaker 3: almost like the mouth of a fish, but on the

807
00:44:19,800 --> 00:44:23,400
Speaker 3: head of a human baby. So is this sculpture opening

808
00:44:23,400 --> 00:44:27,160
Speaker 3: its mouth to devour food, to scream in pain, or

809
00:44:27,200 --> 00:44:30,600
Speaker 3: to gasp for breath? All seem to be implied. I

810
00:44:30,680 --> 00:44:33,759
Speaker 3: love this design for the home world of the Harconins

811
00:44:33,760 --> 00:44:36,760
Speaker 3: because it's like this little sculpture with the eyes hidden,

812
00:44:36,840 --> 00:44:41,759
Speaker 3: is like greed, pain, fear, and desperation luxuriating in the

813
00:44:41,800 --> 00:44:43,359
Speaker 3: ambiguity between them all.

814
00:44:43,800 --> 00:44:46,439
Speaker 1: And is it also piping out smoke or some sort

815
00:44:46,440 --> 00:44:50,160
Speaker 1: of vapor, because the planet itself is supposed to be

816
00:44:50,239 --> 00:44:53,400
Speaker 1: heavily polluted. So yes, I kind of like see it

817
00:44:53,440 --> 00:44:55,799
Speaker 1: as that as well, like everything you said, but on

818
00:44:55,840 --> 00:44:58,480
Speaker 1: top of that, it's spouting pollution.

819
00:45:00,000 --> 00:45:02,799
Speaker 3: You see smoke coming out I interpreted as the smoke

820
00:45:02,880 --> 00:45:05,440
Speaker 3: coming out from behind the sculpture, but I don't know.

821
00:45:06,680 --> 00:45:09,320
Speaker 3: It could be, it could be, But yeah, the planet

822
00:45:09,360 --> 00:45:11,520
Speaker 3: has a very I think a lot with the green

823
00:45:11,719 --> 00:45:16,680
Speaker 3: designs is to suggest not a natural green like plants,

824
00:45:16,680 --> 00:45:21,000
Speaker 3: but like a poisonous green, a kind of industrial green ooze.

825
00:45:21,760 --> 00:45:25,799
Speaker 1: Absolutely, yeah, I love this look. We only see really

826
00:45:25,880 --> 00:45:27,879
Speaker 1: a glimpse of it here, but it's reminiscent of hr

827
00:45:27,960 --> 00:45:32,520
Speaker 1: Giger's original biomechanical designs for the planet from I believe

828
00:45:33,120 --> 00:45:37,480
Speaker 1: the Jodowski adaptation that never came to fruition, but little

829
00:45:37,480 --> 00:45:39,400
Speaker 1: bits like that has kind of been passed down and

830
00:45:39,440 --> 00:45:43,720
Speaker 1: become part of the tradition of portraying Dune on film,

831
00:45:44,239 --> 00:45:47,400
Speaker 1: even in the recent DV adaptation. So we see a

832
00:45:47,400 --> 00:45:50,920
Speaker 1: lot more of this planet in Part two, of course,

833
00:45:51,280 --> 00:45:55,759
Speaker 1: and they have their own wonderful and an inventive way

834
00:45:55,800 --> 00:46:00,000
Speaker 1: of envisioning it, but there's still that biomechanical Gothic aspect

835
00:46:00,160 --> 00:46:00,680
Speaker 1: to everything.

836
00:46:01,080 --> 00:46:03,279
Speaker 3: Yeah, yeah, well in the new movie, I love that

837
00:46:03,360 --> 00:46:06,640
Speaker 3: they do it as a very desaturated or I don't

838
00:46:06,640 --> 00:46:08,480
Speaker 3: know if that's the right term. Actually it's it's a

839
00:46:08,520 --> 00:46:12,000
Speaker 3: black and white kind of environment with high contrast that

840
00:46:12,080 --> 00:46:15,520
Speaker 3: I think is explained by Gidee Prime having a black son.

841
00:46:15,640 --> 00:46:17,440
Speaker 3: So they say there's like there's no color on the

842
00:46:17,480 --> 00:46:18,480
Speaker 3: surface of the planet.

843
00:46:19,080 --> 00:46:20,800
Speaker 1: Yeah, yeah, I think that's supposed to be the reason

844
00:46:20,840 --> 00:46:22,680
Speaker 1: for it, and give himn excuse to shoot it an

845
00:46:22,680 --> 00:46:23,640
Speaker 1: infra red apparently.

846
00:46:25,960 --> 00:46:30,520
Speaker 3: So we meet here the Harkonen Mintat Piter Devrees, who

847
00:46:30,600 --> 00:46:34,280
Speaker 3: is the you know, the court, the equivalent of Thufr

848
00:46:34,320 --> 00:46:35,640
Speaker 3: Hawat to house the Treades.

849
00:46:36,120 --> 00:46:41,319
Speaker 1: This is played by Oh well, this of course is

850
00:46:41,360 --> 00:46:46,200
Speaker 1: Brad Dorif born nineteen fifty. Yes, one of American cinema's

851
00:46:46,280 --> 00:46:48,959
Speaker 1: finest weird actors. We've talked about it on the show

852
00:46:48,960 --> 00:46:52,319
Speaker 1: before in our episode on Toby Hooper's Spontaneous Combustion from

853
00:46:52,360 --> 00:46:55,839
Speaker 1: nineteen eighty nine. And he's one of these actors that's

854
00:46:55,960 --> 00:47:00,600
Speaker 1: enjoyable in pretty much anything, regardless of overall film quality.

855
00:47:00,719 --> 00:47:04,000
Speaker 1: You know, he's probably best known for his performances in

856
00:47:04,080 --> 00:47:07,480
Speaker 1: such films as nineteen seventy nine's Wise Blood, which is

857
00:47:07,560 --> 00:47:11,360
Speaker 1: generally excellent, nineteen eighty eight Child's play in two thousand

858
00:47:11,360 --> 00:47:14,680
Speaker 1: and two's Lord of the Rings the Two Towers, in

859
00:47:14,719 --> 00:47:17,359
Speaker 1: which he plays Grima worm tongue. Yeah, he had great

860
00:47:17,440 --> 00:47:22,480
Speaker 1: performance there, in which he has no eyebrows. But in this,

861
00:47:22,960 --> 00:47:26,359
Speaker 1: in Lynch's Doom, he of course has mintat eyebrows, and

862
00:47:28,120 --> 00:47:32,400
Speaker 1: I do love him. In this he captures the viciousness

863
00:47:32,400 --> 00:47:35,520
Speaker 1: of Pider. But at the same time, this is a

864
00:47:35,600 --> 00:47:38,680
Speaker 1: Dune character that I dearly love, and there's never enough

865
00:47:38,680 --> 00:47:42,200
Speaker 1: time in any adaptation to explore him and his delicious,

866
00:47:42,280 --> 00:47:46,960
Speaker 1: dangerous relationship with the baron, where they both expect to

867
00:47:47,120 --> 00:47:50,120
Speaker 1: know that the other will try and kill them at

868
00:47:50,120 --> 00:47:53,200
Speaker 1: one point or the other. It's like a delicate balance.

869
00:47:53,600 --> 00:47:56,440
Speaker 3: Yeah, he is an evil, vicious character, but also for

870
00:47:56,480 --> 00:47:58,080
Speaker 3: some reason I find him pitiable.

871
00:47:59,040 --> 00:48:01,440
Speaker 1: Yeah yeah, I mean is a twisted Mintat. He is

872
00:48:01,480 --> 00:48:05,279
Speaker 1: the product of some sort of either bizarre corruption of

873
00:48:05,320 --> 00:48:08,759
Speaker 1: a normal mintat or some corruption of the mentat process.

874
00:48:09,480 --> 00:48:11,200
Speaker 1: And with all these things you have to sort of

875
00:48:11,200 --> 00:48:12,839
Speaker 1: pick and choose how are you going to present him?

876
00:48:13,040 --> 00:48:18,800
Speaker 1: I do quite love David Datzmachian's performance in the recent

877
00:48:18,840 --> 00:48:22,040
Speaker 1: adaptation as well, but it's just a different slice of

878
00:48:22,080 --> 00:48:26,960
Speaker 1: the same character. He's more cerebral and withdrawn in that performance,

879
00:48:27,000 --> 00:48:29,600
Speaker 1: and it still works. It still captures a part of

880
00:48:29,640 --> 00:48:33,319
Speaker 1: what is a ultimately a brief but complex character. Right.

881
00:48:33,440 --> 00:48:37,200
Speaker 3: So Pider, he's speaking to himself. He says, it is

882
00:48:37,239 --> 00:48:40,480
Speaker 3: by will alone, I set my mind in motion. So

883
00:48:40,520 --> 00:48:45,879
Speaker 3: he's reciting a kind of mintat litany here, some sort

884
00:48:45,920 --> 00:48:49,239
Speaker 3: of equivalent to the Litany against Fear, except instead of

885
00:48:49,239 --> 00:48:52,880
Speaker 3: about avoiding fear, this is about, like, you know, realizing

886
00:48:52,880 --> 00:48:55,680
Speaker 3: your potential with the help of drugs. Because it goes

887
00:48:55,719 --> 00:48:57,520
Speaker 3: on to say it is by the juice of Sappho

888
00:48:57,640 --> 00:49:01,200
Speaker 3: that thoughts acquire speed, that lips acquires stains, the stains

889
00:49:01,239 --> 00:49:04,720
Speaker 3: become a warning. Then he says that a bunch of times.

890
00:49:05,640 --> 00:49:09,040
Speaker 1: Yeah, this mintat Mantra is not from the books, but

891
00:49:09,200 --> 00:49:11,920
Speaker 1: it is. It's one of those additions that feels perfectly

892
00:49:11,920 --> 00:49:16,520
Speaker 1: at home in the Dune universe. It works, it absolutely works,

893
00:49:16,719 --> 00:49:18,440
Speaker 1: And the whole thing about the juice of the Sapho

894
00:49:18,600 --> 00:49:19,960
Speaker 1: is very much in the text.

895
00:49:20,280 --> 00:49:23,239
Speaker 3: Yeah, so this is a nervous and unhappy Mintat in

896
00:49:23,360 --> 00:49:25,000
Speaker 3: a dangerous situation.

897
00:49:25,520 --> 00:49:30,680
Speaker 1: Yeah, nervous, angry, scheming, all those things, and yeah, we

898
00:49:30,719 --> 00:49:31,719
Speaker 1: get it in this performance.

899
00:49:32,280 --> 00:49:35,120
Speaker 3: So there are more visions of gide prime people in

900
00:49:35,200 --> 00:49:40,040
Speaker 3: pure white clothing walking through industrial mazes illuminated by green light.

901
00:49:40,880 --> 00:49:44,279
Speaker 3: It's a very striking vision. Again, I love the designs

902
00:49:44,320 --> 00:49:47,000
Speaker 3: of the planet here. I think they really work. We

903
00:49:47,040 --> 00:49:51,680
Speaker 3: see Harconin soldiers standing lined up with multiple barreled firearms

904
00:49:51,719 --> 00:49:54,320
Speaker 3: in hand. Then finally we go to meet the Harcone

905
00:49:54,360 --> 00:49:57,840
Speaker 3: and Royalty in a room that is almost like it's green,

906
00:49:57,960 --> 00:50:01,440
Speaker 3: like a bar of soap, and the Harconins are being

907
00:50:01,440 --> 00:50:06,120
Speaker 3: attended by servants with almost Clive Barker's style body modifications,

908
00:50:06,560 --> 00:50:11,000
Speaker 3: ears clipped and sewn folded in on themselves, eyelids sewn

909
00:50:11,120 --> 00:50:14,879
Speaker 3: shut with threads and tacks driven into the eyes. Also,

910
00:50:15,040 --> 00:50:17,080
Speaker 3: everybody that has hair has red hair.

911
00:50:17,800 --> 00:50:20,160
Speaker 1: Yeah, and that the red hair touch is nice and

912
00:50:20,160 --> 00:50:24,719
Speaker 1: helps us identify Harconins. But already the scene is too

913
00:50:24,800 --> 00:50:31,920
Speaker 1: much like the eyes and ears sewn up is just

914
00:50:31,960 --> 00:50:34,879
Speaker 1: too much. And also that green, that green is too

915
00:50:34,960 --> 00:50:38,759
Speaker 1: much like a modern perspective. I'll occasionally see stills from

916
00:50:38,800 --> 00:50:42,400
Speaker 1: this and I'll initially think, oh, this is an unfinished sequence.

917
00:50:42,440 --> 00:50:45,279
Speaker 1: That's green screen, you know, like that's where my mind goes, Like,

918
00:50:45,320 --> 00:50:47,680
Speaker 1: that's how alarming that green color is.

919
00:50:48,239 --> 00:50:52,000
Speaker 3: So we finally meet the patriarch of the villainous house Harconin. Here,

920
00:50:52,040 --> 00:50:56,480
Speaker 3: the Baron Vladimir Harconin being attended by doctors. So when

921
00:50:56,480 --> 00:50:59,960
Speaker 3: we first see him, his face is covered in boil

922
00:51:00,239 --> 00:51:03,600
Speaker 3: of some kind and the doctors are doing something grotesque

923
00:51:03,680 --> 00:51:05,120
Speaker 3: with them with a needle.

924
00:51:05,719 --> 00:51:11,480
Speaker 1: Yeah. Now, this Baron Vladimir Harkonen is played by Kenneth McMillan,

925
00:51:11,920 --> 00:51:15,080
Speaker 1: who lived nineteen thirty two through nineteen eighty nine. American

926
00:51:15,160 --> 00:51:17,840
Speaker 1: character actor who often played heavies and a reminder that

927
00:51:17,840 --> 00:51:21,759
Speaker 1: by heavies I mean like threatening or dominant antagonists. He

928
00:51:21,800 --> 00:51:25,239
Speaker 1: also played a lot of gruff authority figures. He didn't

929
00:51:25,320 --> 00:51:27,520
Speaker 1: apparently didn't pursue an acting career until he was in

930
00:51:27,520 --> 00:51:30,480
Speaker 1: his thirties, and he was forty before his first screen

931
00:51:30,480 --> 00:51:33,680
Speaker 1: in TV credits appear, showing up in a couple episodes

932
00:51:33,680 --> 00:51:36,120
Speaker 1: of Dark Shadows, as well as an uncredited role in

933
00:51:36,200 --> 00:51:39,840
Speaker 1: nineteen seventy three Serpico. He followed this up with small

934
00:51:39,920 --> 00:51:42,680
Speaker 1: roles in the Taking of Pelham one, two three, The

935
00:51:42,719 --> 00:51:46,320
Speaker 1: Stepford Wives and Dog Day Afternoon. A fair amount of

936
00:51:46,360 --> 00:51:50,000
Speaker 1: TV followed, including a role on the series Rota. He

937
00:51:50,040 --> 00:51:52,560
Speaker 1: played a cop in the nineteen seventy nine Salem's Lot

938
00:51:52,640 --> 00:51:56,280
Speaker 1: mini series from Toby Hooper, and he'd follow up Doune

939
00:51:56,440 --> 00:51:59,440
Speaker 1: with a role in nineteen eighty five's Runaway Train and

940
00:51:59,480 --> 00:52:00,760
Speaker 1: then mostly TV work.

941
00:52:01,400 --> 00:52:04,799
Speaker 3: So this version of Baron Harkonen likes to scream and

942
00:52:04,880 --> 00:52:08,480
Speaker 3: fly around in the air while screaming yeah.

943
00:52:08,520 --> 00:52:11,960
Speaker 1: This character, this characterization of the Baron is a lot

944
00:52:13,480 --> 00:52:15,880
Speaker 1: in the text. We are privy to his inner thoughts,

945
00:52:15,920 --> 00:52:19,480
Speaker 1: and there are various dimensions to the character of the Baron,

946
00:52:19,719 --> 00:52:23,040
Speaker 1: all of them evil. He is a man of vast

947
00:52:23,080 --> 00:52:28,280
Speaker 1: greed and ambition, of appetite, brutality, fear, and endless plotting,

948
00:52:28,320 --> 00:52:30,480
Speaker 1: and you can't possibly capture all of that on screen,

949
00:52:30,719 --> 00:52:33,120
Speaker 1: so you pick and choose what you can. The recent

950
00:52:33,160 --> 00:52:36,520
Speaker 1: adaptations do a great job focusing mostly on the brutal

951
00:52:36,600 --> 00:52:39,719
Speaker 1: plotting aspect of the character. While this version of the

952
00:52:39,719 --> 00:52:45,360
Speaker 1: Baron is a wild, gross demon of consumption, cackling, floating around, spitting,

953
00:52:45,480 --> 00:52:49,480
Speaker 1: oozing and so forth. It's just too much, But to

954
00:52:49,560 --> 00:52:54,760
Speaker 1: McMillan's credit, he rolls with it and delivers some nice menace.

955
00:52:55,480 --> 00:52:58,760
Speaker 1: I'd say ultimately he's my third favorite Baron behind stellin

956
00:52:58,800 --> 00:53:01,960
Speaker 1: Scarsguard and the more recent adaptations. Who's more of like

957
00:53:02,000 --> 00:53:05,239
Speaker 1: the threatening and cerebral baron. And then I have to

958
00:53:05,280 --> 00:53:07,680
Speaker 1: say that Ian McNeice did a great job with it

959
00:53:08,200 --> 00:53:10,680
Speaker 1: in the mini series, the sci Fi mini series as well.

960
00:53:11,120 --> 00:53:14,080
Speaker 3: Yeah, this is a less serious portrayal of the Baron

961
00:53:14,120 --> 00:53:16,360
Speaker 3: than we get like with the Scars Guard. Obviously that

962
00:53:16,440 --> 00:53:20,600
Speaker 3: is a very deep, dark, scary baron. This Baron is

963
00:53:20,640 --> 00:53:25,279
Speaker 3: a lot funnier and and that kind of continues with

964
00:53:25,320 --> 00:53:28,359
Speaker 3: how the rest of how Harkonin is portrayed. We meet

965
00:53:28,600 --> 00:53:34,080
Speaker 3: the Baron's two nephews, Fade Rautha and the Beast Rabon.

966
00:53:34,360 --> 00:53:36,560
Speaker 3: I think they're called the Beast by the people of

967
00:53:36,600 --> 00:53:40,760
Speaker 3: Irakus Rabon. What's his first name, Glossu or something I believe.

968
00:53:40,800 --> 00:53:44,520
Speaker 1: So, yeah, So the Beast here is played by Paul L. Smith,

969
00:53:44,880 --> 00:53:48,879
Speaker 1: who of nineteen thirty six through twenty twelve. So this

970
00:53:48,960 --> 00:53:53,120
Speaker 1: is another over the top performance just by another noted

971
00:53:53,239 --> 00:53:56,880
Speaker 1: gruff character actor. So he's an American actor who played

972
00:53:57,440 --> 00:54:01,080
Speaker 1: Bluto in the nineteen eighty Popeye movie. Other credits include

973
00:54:01,120 --> 00:54:04,879
Speaker 1: Sam Raimi's Cohen Brothers scripted film Crime Way from eighty five,

974
00:54:05,040 --> 00:54:08,920
Speaker 1: Red Sonia from eighty five, Gore from eighty seven, and

975
00:54:08,960 --> 00:54:12,080
Speaker 1: the nineteen eighty two Spanish horror movie Pieces, which is

976
00:54:12,120 --> 00:54:15,399
Speaker 1: on our potential to do list. But yeah, basically, this

977
00:54:15,560 --> 00:54:20,879
Speaker 1: Beast is just a grotesque cartoon character. Dave Bautista does

978
00:54:21,280 --> 00:54:24,120
Speaker 1: a solid job as the character in the recent films,

979
00:54:24,160 --> 00:54:26,520
Speaker 1: and they really expand the role to make the role

980
00:54:26,560 --> 00:54:29,319
Speaker 1: more meaningful and give Bautista much more to do.

981
00:54:30,120 --> 00:54:32,680
Speaker 3: Like we were saying with Pider earlier, this is another

982
00:54:32,760 --> 00:54:37,759
Speaker 3: character who is totally completely evil but also ends up

983
00:54:37,800 --> 00:54:39,520
Speaker 3: being rather pitiable in the story.

984
00:54:40,080 --> 00:54:43,160
Speaker 1: Yeah, and now the other son is, of course the

985
00:54:43,480 --> 00:54:47,120
Speaker 1: golden child of House Harkonen. This is Fate Roth though,

986
00:54:47,160 --> 00:54:52,000
Speaker 1: like you said, played by sting Yeaheen fifty one. I

987
00:54:52,040 --> 00:54:55,120
Speaker 1: believe this was only his fourth acting role, following nineteen

988
00:54:55,120 --> 00:54:58,279
Speaker 1: eighty two's Brimstone and Treckle, and he'd follow this up

989
00:54:58,320 --> 00:55:02,280
Speaker 1: by playing Frankenstein in ten eighty five's The Bride. That's

990
00:55:02,320 --> 00:55:05,920
Speaker 1: the Doctor, by the way, that the true Frankenstein, not

991
00:55:06,080 --> 00:55:10,840
Speaker 1: Frankenstein as you know shorthand for the monster. He's continued

992
00:55:10,880 --> 00:55:13,520
Speaker 1: to act on and off over the years. Often you know,

993
00:55:13,600 --> 00:55:16,640
Speaker 1: really good, especially in small doses here and there. He

994
00:55:16,760 --> 00:55:20,160
Speaker 1: is an Oscar winner, but in the original song category.

995
00:55:20,560 --> 00:55:23,360
Speaker 3: M okay, I'm trying to think of what other movies

996
00:55:23,480 --> 00:55:25,560
Speaker 3: is he he was in that. He was in the

997
00:55:25,600 --> 00:55:29,839
Speaker 3: Who's Other Rock Opera? Not Tommy but Quadrophenia.

998
00:55:29,360 --> 00:55:31,840
Speaker 1: He was, Yeah, he was. I think he had a

999
00:55:31,880 --> 00:55:36,480
Speaker 1: small role in lock Stock and Two Smoking Barrels much later,

1000
00:55:36,680 --> 00:55:38,719
Speaker 1: and like that was one where it's a very small role,

1001
00:55:38,760 --> 00:55:39,799
Speaker 1: but he's really good in it.

1002
00:55:39,840 --> 00:55:42,480
Speaker 3: You know, what do I think of Sting's performance in

1003
00:55:42,520 --> 00:55:46,200
Speaker 3: this movie? You know, it's absolutely memorable. I'm never gonna

1004
00:55:46,640 --> 00:55:50,239
Speaker 3: not be thinking about him in this role, especially his

1005
00:55:50,360 --> 00:55:53,319
Speaker 3: line delivery during the final fight scene We'll get too later.

1006
00:55:53,760 --> 00:55:55,880
Speaker 3: I will kill him, I will kill you.

1007
00:55:58,960 --> 00:56:02,360
Speaker 1: Yeah, it's a it's a lot to figure out because

1008
00:56:04,120 --> 00:56:06,360
Speaker 1: he is. He is over the top and it's weird.

1009
00:56:06,360 --> 00:56:11,080
Speaker 1: It's a weird performance. He looks amazing and Fade Rotha

1010
00:56:11,120 --> 00:56:15,040
Speaker 1: on top of that is a strange character, like and

1011
00:56:15,120 --> 00:56:18,279
Speaker 1: no film adaptation, in my opinion, has really done him

1012
00:56:18,320 --> 00:56:21,640
Speaker 1: complete justice. Like he we don't know a lot about

1013
00:56:21,719 --> 00:56:23,959
Speaker 1: him ultimately, but we know and we know enough about

1014
00:56:24,000 --> 00:56:26,600
Speaker 1: him in the book that he's he's brash, he's not

1015
00:56:26,719 --> 00:56:29,000
Speaker 1: the plotter in the planner that his uncle is. His

1016
00:56:29,120 --> 00:56:32,120
Speaker 1: uncle is doing a lot to try and ensure that

1017
00:56:32,200 --> 00:56:34,160
Speaker 1: he moves up in the world and becomes a new

1018
00:56:34,200 --> 00:56:37,840
Speaker 1: face of House Harkonen. But there seems to be a

1019
00:56:37,840 --> 00:56:42,480
Speaker 1: lot of frustration with his maturity level and his appreciation

1020
00:56:42,719 --> 00:56:44,840
Speaker 1: for all of this, and you know, we just we

1021
00:56:45,280 --> 00:56:47,720
Speaker 1: tend to see less of that in the film adaptations.

1022
00:56:48,040 --> 00:56:50,320
Speaker 3: Yeah, the new movie does a good job of setting

1023
00:56:50,360 --> 00:56:52,960
Speaker 3: him up as a foil to poll that they are

1024
00:56:53,200 --> 00:56:54,880
Speaker 3: sort of two sides of the same coin.

1025
00:56:55,800 --> 00:56:59,080
Speaker 1: Yeah. Yeah, Austin Butler does a great job in doing

1026
00:56:59,160 --> 00:57:01,920
Speaker 1: Part two. Is the character, but it's a it's a

1027
00:57:02,000 --> 00:57:04,600
Speaker 1: rather different read on him. Like, on one hand, he's

1028
00:57:04,640 --> 00:57:08,640
Speaker 1: still supposed to be a kind of hot and supposed

1029
00:57:08,640 --> 00:57:15,040
Speaker 1: to be a definite threat to Paul, though perplexingly the

1030
00:57:15,080 --> 00:57:19,760
Speaker 1: new adaptations portray him as an honorable fighter, which I'm

1031
00:57:19,800 --> 00:57:21,520
Speaker 1: still trying to figure that out. I need I need

1032
00:57:21,520 --> 00:57:24,200
Speaker 1: a view Part two again in order to figure out

1033
00:57:24,240 --> 00:57:26,200
Speaker 1: how I really feel about all this, because I think

1034
00:57:26,240 --> 00:57:28,200
Speaker 1: one of the appeals of the character in the book

1035
00:57:28,520 --> 00:57:32,120
Speaker 1: and in this adaptation is that he will absolutely cheat

1036
00:57:32,160 --> 00:57:34,880
Speaker 1: to win. Yes, and I feel like that helped that

1037
00:57:34,880 --> 00:57:37,080
Speaker 1: that actually makes him more of a threat to Paul,

1038
00:57:37,400 --> 00:57:39,919
Speaker 1: because this is a guy that will that will win

1039
00:57:40,000 --> 00:57:42,479
Speaker 1: at any cost and is used to winning at any

1040
00:57:42,520 --> 00:57:44,520
Speaker 1: cost and feels no shame about it. Yeah.

1041
00:57:44,600 --> 00:57:50,040
Speaker 3: Originally, the Harkonins are not like worthy opponents or you know, honorable, honorable.

1042
00:57:51,120 --> 00:57:51,560
Speaker 1: Villains.

1043
00:57:51,600 --> 00:57:55,800
Speaker 3: They're They're absolute like liars and cheaters and dirty tricksters,

1044
00:57:55,800 --> 00:57:57,080
Speaker 3: and they'll do whatever they can.

1045
00:57:57,760 --> 00:58:01,120
Speaker 1: Yeah. Though I'm sure DV has as his reasons, and

1046
00:58:01,200 --> 00:58:03,360
Speaker 1: like I say, I need to watch Doing Part two

1047
00:58:03,440 --> 00:58:06,320
Speaker 1: again to sort of figure out exactly how I feel

1048
00:58:06,360 --> 00:58:07,880
Speaker 1: about that performance. Now.

1049
00:58:07,920 --> 00:58:09,800
Speaker 3: I do love the book, but I think there is

1050
00:58:09,840 --> 00:58:12,560
Speaker 3: a new There's a change made in the new movie

1051
00:58:12,600 --> 00:58:15,800
Speaker 3: that I appreciate, which is that it exercises from the

1052
00:58:15,800 --> 00:58:20,280
Speaker 3: Harconin plot line and characterization some elements that I think

1053
00:58:20,320 --> 00:58:24,120
Speaker 3: you could fairly argue are homophobic in the original portrayal,

1054
00:58:24,200 --> 00:58:28,080
Speaker 3: where like these like the Harconin characters, especially the Baron

1055
00:58:28,240 --> 00:58:32,240
Speaker 3: are portrayed as having same sex attraction, and I think

1056
00:58:32,320 --> 00:58:35,080
Speaker 3: you can you can say fairly it is not incidental

1057
00:58:35,200 --> 00:58:37,520
Speaker 3: to the fact that they're villains, but more sort of

1058
00:58:37,560 --> 00:58:40,040
Speaker 3: portrayed as part of their deviousness.

1059
00:58:40,800 --> 00:58:43,400
Speaker 1: Yeah, I think that was a solid cut for for

1060
00:58:43,480 --> 00:58:48,520
Speaker 1: the the new adaptations, for sure. And and it's it's

1061
00:58:48,560 --> 00:58:53,080
Speaker 1: something that is handled in this adaptation, in Lynch's adaptation

1062
00:58:53,520 --> 00:58:57,320
Speaker 1: in a way that has that has attracted a fair

1063
00:58:57,320 --> 00:58:58,720
Speaker 1: amount of criticism over the years.

1064
00:58:59,120 --> 00:59:01,040
Speaker 3: Yeah, from what I can tell, Well, it seems more

1065
00:59:01,240 --> 00:59:04,440
Speaker 3: implicit in Lynch's movie and a little more explicit in

1066
00:59:04,520 --> 00:59:06,720
Speaker 3: the book, but still I think it's somewhat there in

1067
00:59:06,760 --> 00:59:07,840
Speaker 3: the movie.

1068
00:59:07,720 --> 00:59:11,680
Speaker 1: Yea. But let's not detract from the utter weirdness of

1069
00:59:11,720 --> 00:59:14,600
Speaker 1: this absolute Lynchian circus of a scene.

1070
00:59:14,720 --> 00:59:17,080
Speaker 3: Yes, because the setting. We haven't even finished describing the

1071
00:59:17,200 --> 00:59:21,000
Speaker 3: room they're in the Oh no, okay, So interesting things

1072
00:59:21,040 --> 00:59:24,680
Speaker 3: about this scene. There is boiling acid under the floor,

1073
00:59:25,160 --> 00:59:27,080
Speaker 3: and it just seems to be part of the culture

1074
00:59:27,280 --> 00:59:31,080
Speaker 3: of Gidee Prime that when you're done with things, like

1075
00:59:31,160 --> 00:59:33,439
Speaker 3: the way we might throw something in the garbage can,

1076
00:59:33,680 --> 00:59:36,480
Speaker 3: they can throw things through a hole in the floor

1077
00:59:36,560 --> 00:59:39,960
Speaker 3: grate into the boiling acid below. So they use the

1078
00:59:39,960 --> 00:59:43,880
Speaker 3: boiling acid as the dumpster, and it's just there underneath

1079
00:59:43,880 --> 00:59:46,480
Speaker 3: the floor at all times, and I guess they're presumably

1080
00:59:46,640 --> 00:59:48,080
Speaker 3: breathing the fumes from it.

1081
00:59:48,160 --> 00:59:52,160
Speaker 1: Constantly. It's world building, baby, I like the detail. It's good.

1082
00:59:52,200 --> 00:59:54,400
Speaker 3: I don't recall if there's anything like that in the book,

1083
00:59:54,440 --> 00:59:59,560
Speaker 3: but it makes sense in this movie. The doctor is

1084
00:59:59,600 --> 01:00:02,720
Speaker 3: a ten. The baron also have a very David Lynch

1085
01:00:02,800 --> 01:00:05,800
Speaker 3: quality to them. This seems like purely Lynchy and flourish.

1086
01:00:05,920 --> 01:00:09,200
Speaker 3: One of them is like saying a little sort of

1087
01:00:09,280 --> 01:00:12,880
Speaker 3: nursery rhyme to the boils as he is picking at them,

1088
01:00:13,440 --> 01:00:15,920
Speaker 3: so he says, like, put the pick in there, Pete,

1089
01:00:16,040 --> 01:00:20,000
Speaker 3: turn it round real neat. That kind of cutesy rhyming

1090
01:00:20,120 --> 01:00:24,400
Speaker 3: in this grotesque context is an extremely David Lynch kind

1091
01:00:24,400 --> 01:00:24,960
Speaker 3: of thing to do.

1092
01:00:25,720 --> 01:00:29,000
Speaker 1: Yeah, I'll just mention briefly that that's the Leonardo Chimino

1093
01:00:29,360 --> 01:00:32,240
Speaker 1: playing the Baron's doctor Live nineteen seventeen through twenty twelve.

1094
01:00:32,720 --> 01:00:36,280
Speaker 1: You probably saw him in water World or in nineteen

1095
01:00:36,320 --> 01:00:38,480
Speaker 1: eighty seven's The Monster Squad when he played where he

1096
01:00:38,480 --> 01:00:41,560
Speaker 1: plays the old German guy. But yeah, this is weird

1097
01:00:41,840 --> 01:00:44,880
Speaker 1: and not in the books and just just strange, just

1098
01:00:44,920 --> 01:00:46,840
Speaker 1: strange and grotesque.

1099
01:00:47,160 --> 01:00:49,960
Speaker 3: Speaking of strange and grotesque, what is the thing that

1100
01:00:50,520 --> 01:00:54,000
Speaker 3: Rabond like crushes and then drinks the juice of here?

1101
01:00:54,160 --> 01:00:57,400
Speaker 3: Is this in some way a spice based cocktail. I

1102
01:00:57,400 --> 01:01:00,240
Speaker 3: don't think, as far as I know, Rabond is not

1103
01:01:00,320 --> 01:01:02,800
Speaker 3: consuming spice, because do we see him with blue eyes

1104
01:01:02,880 --> 01:01:06,200
Speaker 3: at all. He crushes something in a glass box and

1105
01:01:06,240 --> 01:01:07,880
Speaker 3: then sucks up its juice.

1106
01:01:09,200 --> 01:01:13,120
Speaker 1: I don't think this is spice, though. To be sure,

1107
01:01:13,160 --> 01:01:14,640
Speaker 1: in the book they mentioned that, you know, a lot

1108
01:01:14,680 --> 01:01:19,479
Speaker 1: of royal houses use spice because spice extends your human life,

1109
01:01:20,000 --> 01:01:22,360
Speaker 1: and so I mean, it's maybe they're using spice and

1110
01:01:22,400 --> 01:01:24,880
Speaker 1: they just don't use it at the levels that frem

1111
01:01:24,920 --> 01:01:28,960
Speaker 1: and use it to gain their eyes. This, I don't know.

1112
01:01:28,960 --> 01:01:30,640
Speaker 1: I always kind of read this as some other kind

1113
01:01:30,680 --> 01:01:34,120
Speaker 1: of strange space drug in this universe of weird space drugs.

1114
01:01:34,480 --> 01:01:38,760
Speaker 1: It's like a mummified frog juice box. It's like you

1115
01:01:38,840 --> 01:01:42,080
Speaker 1: auto crush a petrified creature and then you inhale it,

1116
01:01:42,160 --> 01:01:44,240
Speaker 1: and then of course you chunk the juice box across

1117
01:01:44,240 --> 01:01:47,520
Speaker 1: the room. I'm not sure what this is all about.

1118
01:01:47,560 --> 01:01:49,880
Speaker 1: I don't think it's anything from the book or the books,

1119
01:01:50,240 --> 01:01:52,560
Speaker 1: but it is marvelously strange. I like it.

1120
01:01:53,000 --> 01:01:55,360
Speaker 3: So anyway, they're you know, they're talking about their plots

1121
01:01:55,440 --> 01:02:00,960
Speaker 3: against House of Treades and the baron to note, generally,

1122
01:02:01,080 --> 01:02:03,280
Speaker 3: he often starts levitating up in the air when he

1123
01:02:03,320 --> 01:02:06,040
Speaker 3: gets really excited. Again, the difference I think from the

1124
01:02:06,080 --> 01:02:08,440
Speaker 3: book that like in the book they say the Baron

1125
01:02:08,480 --> 01:02:12,880
Speaker 3: has like suspensers that help him like stay aloft, like

1126
01:02:12,960 --> 01:02:15,000
Speaker 3: help him stand up or something like that, But this

1127
01:02:15,200 --> 01:02:16,959
Speaker 3: he's just flying all the time here.

1128
01:02:17,680 --> 01:02:20,160
Speaker 1: Yeah. Yeah, this movie made the choice that he was

1129
01:02:20,200 --> 01:02:23,120
Speaker 1: going to fly around and float around, and all subsequent

1130
01:02:23,200 --> 01:02:27,040
Speaker 1: adaptations have gone on that route as well. Though it's

1131
01:02:27,080 --> 01:02:29,800
Speaker 1: more comical in this version and it's more threatening and

1132
01:02:29,960 --> 01:02:34,640
Speaker 1: ominous in dv's adaptations. But we're still not out of

1133
01:02:34,680 --> 01:02:38,000
Speaker 1: all the weird creations and recreations for this scene.

1134
01:02:38,160 --> 01:02:41,240
Speaker 3: Oh no, there's also like, oh, this grotesque thing where

1135
01:02:41,280 --> 01:02:44,560
Speaker 3: like many of the servants and people like the people

1136
01:02:44,560 --> 01:02:47,680
Speaker 3: who work for the Atredees or not the atreadees, sorry,

1137
01:02:47,680 --> 01:02:51,480
Speaker 3: the Harconins have this like plug, this like a valve

1138
01:02:51,640 --> 01:02:55,200
Speaker 3: in their heart that the Harconins can just like pull

1139
01:02:55,280 --> 01:02:58,160
Speaker 3: out the plug and like all their blood runs out

1140
01:02:58,160 --> 01:03:00,440
Speaker 3: of their chest and they die. And it seems that

1141
01:03:00,480 --> 01:03:03,439
Speaker 3: the Baron just sometimes removes people's plugs for fun.

1142
01:03:04,200 --> 01:03:07,160
Speaker 1: Yeah, this is not in the books, but it is

1143
01:03:07,240 --> 01:03:09,560
Speaker 1: kind of a fitting invention for the hearkens on a

1144
01:03:09,600 --> 01:03:12,479
Speaker 1: whole because yeah, so the baron apparently likes to level

1145
01:03:12,480 --> 01:03:14,760
Speaker 1: the playing field with his servants and his underlings so

1146
01:03:14,800 --> 01:03:17,320
Speaker 1: that he can kill them at will by simply pulling

1147
01:03:17,360 --> 01:03:21,280
Speaker 1: this thing out. But this sequence in particular that follows

1148
01:03:21,320 --> 01:03:26,040
Speaker 1: because basically what I think he's credited as a flower boy, like,

1149
01:03:26,080 --> 01:03:30,680
Speaker 1: a servant comes in and the baron approaches him rather

1150
01:03:30,800 --> 01:03:33,720
Speaker 1: lustily and then pulls out his heart plug and blood

1151
01:03:33,800 --> 01:03:38,120
Speaker 1: goes everywhere. And this sequence has generated for amount criticism

1152
01:03:38,120 --> 01:03:40,720
Speaker 1: over the years, dude to not only its grotesque qualities

1153
01:03:41,120 --> 01:03:44,680
Speaker 1: but also questionable implications during the AIDS crisis of the

1154
01:03:44,760 --> 01:03:49,040
Speaker 1: nineteen eighties, given that in quick succession we see same sex, desire,

1155
01:03:49,400 --> 01:03:52,560
Speaker 1: physical illness on the part of the baron, and also

1156
01:03:52,640 --> 01:03:56,400
Speaker 1: blood spraying everywhere. I don't think any of that was

1157
01:03:56,480 --> 01:04:00,800
Speaker 1: actually intentional, and Lynch is drawing directly on elements from

1158
01:04:00,800 --> 01:04:04,320
Speaker 1: the book here in many cases. But there's longstanding social

1159
01:04:04,400 --> 01:04:05,800
Speaker 1: criticism of this sequence.

1160
01:04:06,080 --> 01:04:09,040
Speaker 3: Yeah, I can see maybe an isolation, some of these

1161
01:04:09,040 --> 01:04:12,160
Speaker 3: weird elements working better individually, but put together like this,

1162
01:04:12,280 --> 01:04:14,479
Speaker 3: I can absolutely see what the critics are saying there.

1163
01:04:15,560 --> 01:04:18,120
Speaker 3: And again I think it was a good choice in

1164
01:04:18,160 --> 01:04:21,160
Speaker 3: the newer movies to like remove the same sex attraction

1165
01:04:21,440 --> 01:04:24,440
Speaker 3: element from the Harconins because it's just not really necessary

1166
01:04:24,560 --> 01:04:28,720
Speaker 3: and and it avoids this kind of implication, the implication

1167
01:04:28,840 --> 01:04:32,080
Speaker 3: that like that in itself is part of their deviousness

1168
01:04:32,160 --> 01:04:35,400
Speaker 3: or is evil in some way. Okay, so I think

1169
01:04:35,440 --> 01:04:37,840
Speaker 3: we're done with Gidee Prime for now, right, Can.

1170
01:04:37,720 --> 01:04:40,200
Speaker 1: We onto Aracus? No?

1171
01:04:40,200 --> 01:04:42,080
Speaker 3: No, no, no, not onto Aracus.

1172
01:04:42,080 --> 01:04:44,360
Speaker 1: We're gonna go back to Caladan first. Okay.

1173
01:04:45,440 --> 01:04:47,800
Speaker 3: So we see, you know, the the Atredees leaving the

1174
01:04:47,800 --> 01:04:50,640
Speaker 3: planet with their pug Jessica, Letto and Paul. So they

1175
01:04:50,640 --> 01:04:52,920
Speaker 3: get on board the spaceship and blast off for Dune

1176
01:04:53,160 --> 01:04:57,160
Speaker 3: and the spaceships we see them approaching the Guild Highliner,

1177
01:04:57,800 --> 01:05:00,240
Speaker 3: which is like an object that sort of like a

1178
01:05:00,240 --> 01:05:03,400
Speaker 3: city sized baton floating in the void. And these are

1179
01:05:03,440 --> 01:05:06,440
Speaker 3: the ships that can travel through folded space. So you

1180
01:05:06,480 --> 01:05:08,680
Speaker 3: take a space ship up to the Guild Highliner, I think,

1181
01:05:08,720 --> 01:05:11,080
Speaker 3: you get on board it and then it takes you

1182
01:05:11,560 --> 01:05:15,560
Speaker 3: between the different stars and the galaxy. And so their

1183
01:05:15,560 --> 01:05:19,040
Speaker 3: ship enters the Guilt Highliner through a huge opening framed

1184
01:05:19,080 --> 01:05:22,920
Speaker 3: by ornate gold decorations, like the frame of a Renaissance painting.

1185
01:05:22,960 --> 01:05:27,560
Speaker 3: I like that detail, and I really like this sequence

1186
01:05:27,640 --> 01:05:33,480
Speaker 3: because here space travel is treated with apprehension and reverence

1187
01:05:33,640 --> 01:05:38,880
Speaker 3: as a mystical, almost magical event. It's so far from

1188
01:05:38,320 --> 01:05:42,840
Speaker 3: the kind of casual jet fighter pilots in space themes

1189
01:05:42,880 --> 01:05:44,800
Speaker 3: that we would get in so many other sci fi

1190
01:05:44,880 --> 01:05:48,000
Speaker 3: movies of the time. I love the feeling created here

1191
01:05:48,120 --> 01:05:52,440
Speaker 3: that to travel on a Guild highliner is to participate

1192
01:05:52,560 --> 01:05:55,320
Speaker 3: in a profound and unsettling mystery.

1193
01:05:55,840 --> 01:06:00,480
Speaker 1: Yeah. Absolutely, and one that is managed by a reclue

1194
01:06:00,520 --> 01:06:04,640
Speaker 1: cult that has a complete monopoly on space travel. A

1195
01:06:04,680 --> 01:06:07,680
Speaker 1: reminder that no one is moving star to star in

1196
01:06:07,720 --> 01:06:11,040
Speaker 1: the Dune universe except for the Guild. So there are

1197
01:06:11,040 --> 01:06:13,800
Speaker 1: no space battles because there's nobody to engage in those

1198
01:06:13,800 --> 01:06:16,480
Speaker 1: space battles. The Guild controls everything.

1199
01:06:17,120 --> 01:06:19,680
Speaker 3: Yeah, that's a really good point. But so I think

1200
01:06:19,720 --> 01:06:22,400
Speaker 3: this is something that the Lynch movie does especially well,

1201
01:06:22,520 --> 01:06:27,280
Speaker 3: is create this sense of awe and mystery and intrepidation

1202
01:06:27,440 --> 01:06:32,280
Speaker 3: and danger about interstellar travel. Yeah, you're at the mercy

1203
01:06:32,360 --> 01:06:39,760
Speaker 3: of this reclusive cult, as you said.

1204
01:06:43,920 --> 01:06:45,800
Speaker 1: All right, so we board up the highliner and then

1205
01:06:45,840 --> 01:06:48,720
Speaker 1: we set off onward to Aracus. That's right.

1206
01:06:48,760 --> 01:06:51,520
Speaker 3: Finally we're at doune, so the planet appears as a

1207
01:06:51,600 --> 01:06:55,760
Speaker 3: reverse setting sun and they go down to the surface. Jessica,

1208
01:06:55,840 --> 01:06:58,360
Speaker 3: Leto and Paul arrive and set foot on the planet,

1209
01:06:58,520 --> 01:07:02,320
Speaker 3: and then Princess Irelon resus the narration gotta get more

1210
01:07:02,560 --> 01:07:06,160
Speaker 3: more voiceover narration. She says that House of Trades took

1211
01:07:06,200 --> 01:07:08,800
Speaker 3: control of Iracus sixty three standard days into the year

1212
01:07:08,880 --> 01:07:11,800
Speaker 3: ten thousand and one ninety one. It was known that

1213
01:07:11,840 --> 01:07:14,840
Speaker 3: the Harconins, the former rulers of Aracus, would leave many

1214
01:07:14,920 --> 01:07:19,800
Speaker 3: suicide troops behind a Trades patrols were doubled, and we

1215
01:07:19,920 --> 01:07:23,640
Speaker 3: learn in the following scenes that the Harconans have sabotaged

1216
01:07:23,720 --> 01:07:28,320
Speaker 3: machinery and defenses on the planet. We of course meet

1217
01:07:28,400 --> 01:07:31,520
Speaker 3: Duncan Idaho yet again. He comes to Duke Leto. He's

1218
01:07:31,600 --> 01:07:33,880
Speaker 3: dressed in a still suit. This is the first glimpse

1219
01:07:33,880 --> 01:07:36,000
Speaker 3: we get. I think of what the still suit looks

1220
01:07:36,040 --> 01:07:38,160
Speaker 3: like here, which it looks just kind of like a

1221
01:07:38,200 --> 01:07:40,840
Speaker 3: padded full body suit, but it's got the hose that

1222
01:07:40,880 --> 01:07:44,120
Speaker 3: connects to the nose. This is the local fremen attire,

1223
01:07:44,200 --> 01:07:47,560
Speaker 3: which allows one to survive in the desert without losing water.

1224
01:07:48,360 --> 01:07:51,840
Speaker 3: It recycles your sweat the vapor in your breath, your urine,

1225
01:07:52,120 --> 01:07:54,959
Speaker 3: your feces, everything, all the water comes back.

1226
01:07:55,440 --> 01:07:58,360
Speaker 1: Yeah. Yeah, And the suits look pretty darn good in

1227
01:07:58,400 --> 01:08:01,040
Speaker 1: this film. In fact, I know peopleeople who prefer these

1228
01:08:01,080 --> 01:08:05,320
Speaker 1: suits to the new adaptations, but I like him in both. Yeah,

1229
01:08:05,360 --> 01:08:05,840
Speaker 1: I do too.

1230
01:08:06,840 --> 01:08:09,440
Speaker 3: So Duncan reports to the Duke that he's made contact

1231
01:08:09,440 --> 01:08:12,440
Speaker 3: with the Fremen and they could be powerful allies, especially

1232
01:08:12,520 --> 01:08:15,520
Speaker 3: since he believes there are many, many more of them

1233
01:08:15,560 --> 01:08:19,799
Speaker 3: than the Emperor realizes. They exist in vast numbers hidden

1234
01:08:19,840 --> 01:08:24,519
Speaker 3: from the Imperial census, so that's kind of threatening. So

1235
01:08:24,640 --> 01:08:28,799
Speaker 3: we watched the Attraadees troops being trained to preserve water,

1236
01:08:29,360 --> 01:08:32,000
Speaker 3: and we meet a new character. We meet leat Kines,

1237
01:08:32,080 --> 01:08:36,720
Speaker 3: the Judge of Change, which means he's supposed to oversee

1238
01:08:36,760 --> 01:08:40,120
Speaker 3: the change between Harcone and control of Iracus to a

1239
01:08:40,200 --> 01:08:43,360
Speaker 3: Trade's control of Iracus and then report to the lands

1240
01:08:43,479 --> 01:08:48,439
Speaker 3: Rad which is like the parliament of this universe, and

1241
01:08:48,479 --> 01:08:51,280
Speaker 3: like make sure that everything has been done fairly. But

1242
01:08:51,320 --> 01:08:54,360
Speaker 3: he's also an ecologist. He's an Imperial ecologist, and he's

1243
01:08:54,400 --> 01:08:56,640
Speaker 3: been on the planet a long time. I might have

1244
01:08:56,680 --> 01:09:00,280
Speaker 3: even been born here. He's sort of a daph did

1245
01:09:00,320 --> 01:09:03,160
Speaker 3: to Fremen ways and he has blue eyes from the Spice.

1246
01:09:04,000 --> 01:09:06,640
Speaker 1: Yeah, and this is of course Max Foncito playing in

1247
01:09:06,680 --> 01:09:09,439
Speaker 1: the role, who lived nineteen twenty nine through twenty twenty.

1248
01:09:09,640 --> 01:09:12,240
Speaker 1: See our recent episode on Flash Gordon for a longer

1249
01:09:12,240 --> 01:09:15,960
Speaker 1: discussion on Max here. But he is as always a

1250
01:09:16,040 --> 01:09:19,639
Speaker 1: fine presence in a film, but he is barely in this.

1251
01:09:19,640 --> 01:09:23,400
Speaker 1: This character's presence is much reduced. We see a lot

1252
01:09:23,479 --> 01:09:25,920
Speaker 1: more of kinds in the recent films, played by Sharon

1253
01:09:25,960 --> 01:09:27,800
Speaker 1: Duncan Brewster, who is also.

1254
01:09:27,560 --> 01:09:31,000
Speaker 3: Great, yes she is. I wonder why they use so

1255
01:09:31,240 --> 01:09:35,320
Speaker 3: little of doctor Kines in this movie. Makes you wonder

1256
01:09:35,320 --> 01:09:36,160
Speaker 3: if stuff got cut.

1257
01:09:36,840 --> 01:09:38,760
Speaker 1: Oh yeah, I get the feeling. It's just like the

1258
01:09:38,760 --> 01:09:41,439
Speaker 1: economy of the cut here. And you know I should

1259
01:09:41,600 --> 01:09:44,040
Speaker 1: throw in I've probably mentioned this in the last episode.

1260
01:09:44,120 --> 01:09:49,719
Speaker 1: There are those longer unauthorized cuts of nineteen eighty four's

1261
01:09:49,800 --> 01:09:53,920
Speaker 1: Dune that Lynch totally disowns. Those are like, you know,

1262
01:09:54,320 --> 01:09:59,519
Speaker 1: Smithy directed productions, and I really haven't seen those in full.

1263
01:09:59,600 --> 01:10:02,439
Speaker 1: So maybe we can have some listeners ride in with

1264
01:10:02,479 --> 01:10:05,400
Speaker 1: their thoughts on deleted scenes that pop up again in

1265
01:10:05,400 --> 01:10:08,960
Speaker 1: that longer cut, but certainly in this the only official

1266
01:10:09,000 --> 01:10:12,439
Speaker 1: cut of David Lynch's Dune. This character is barely present.

1267
01:10:12,880 --> 01:10:16,280
Speaker 3: He is present long enough to observe that Paul wears

1268
01:10:16,320 --> 01:10:18,400
Speaker 3: a still suit as if he was born to it.

1269
01:10:18,400 --> 01:10:20,639
Speaker 3: Because the you know, the treadees are putting on still

1270
01:10:20,680 --> 01:10:24,240
Speaker 3: suits to go out and survey spice production. Paul is

1271
01:10:24,280 --> 01:10:29,000
Speaker 3: wearing his like a pro So that's part of a prophecy. Actually, oh,

1272
01:10:29,040 --> 01:10:31,920
Speaker 3: how do you even This is actually a good point

1273
01:10:32,040 --> 01:10:35,679
Speaker 3: to discuss the way that I think the Lynch movie.

1274
01:10:35,720 --> 01:10:40,719
Speaker 3: One way it sort of fails is it it plays

1275
01:10:40,800 --> 01:10:43,320
Speaker 3: up a lot about the Spacing Guild that is not

1276
01:10:43,479 --> 01:10:46,439
Speaker 3: really in the original Dune novel, But it really under

1277
01:10:46,479 --> 01:10:49,439
Speaker 3: sells the role of the Benny Jessert, I think, and

1278
01:10:49,720 --> 01:10:53,400
Speaker 3: like their whole plot to like establish like seed these

1279
01:10:53,479 --> 01:10:58,240
Speaker 3: prophecies throughout the cultures of the galaxy that would later

1280
01:10:58,439 --> 01:11:01,439
Speaker 3: connect to the gear that they're going to use to

1281
01:11:01,479 --> 01:11:06,360
Speaker 3: attain power the Quisat's Hatterak. And so they put all

1282
01:11:06,400 --> 01:11:10,639
Speaker 3: of these prophecies out among the people, and Paul arrives

1283
01:11:10,680 --> 01:11:13,360
Speaker 3: on this planet and is immediately observed by people who

1284
01:11:13,400 --> 01:11:16,519
Speaker 3: are familiar with these prophecies to fulfill them.

1285
01:11:16,960 --> 01:11:20,040
Speaker 1: Yeah, yeah, like the ground has been prepared for one

1286
01:11:20,120 --> 01:11:23,280
Speaker 1: such as he and that's it's an important factor. Yeah,

1287
01:11:23,280 --> 01:11:25,600
Speaker 1: that is just not as present in this adaptation.

1288
01:11:26,040 --> 01:11:28,360
Speaker 3: And that's something again I really appreciate about the new

1289
01:11:28,400 --> 01:11:31,360
Speaker 3: movies is they sort of downplay the role of the

1290
01:11:31,360 --> 01:11:33,320
Speaker 3: Spacing Guild and play no.

1291
01:11:33,479 --> 01:11:34,240
Speaker 1: I mean, I don't know.

1292
01:11:34,479 --> 01:11:36,519
Speaker 3: The Spacing Guild is cool too, so it's not like

1293
01:11:36,560 --> 01:11:38,800
Speaker 3: I don't want to see them, but they focus more

1294
01:11:39,360 --> 01:11:42,240
Speaker 3: on the plots and politics of the Beni Jesert, which

1295
01:11:42,280 --> 01:11:43,280
Speaker 3: I think is a smart move.

1296
01:11:43,840 --> 01:11:44,280
Speaker 1: Yeah.

1297
01:11:44,520 --> 01:11:47,960
Speaker 3: Anyway, and this is the scene where Leto, Paul and

1298
01:11:48,240 --> 01:11:51,320
Speaker 3: Kines go out in a flying machine to observe spice

1299
01:11:51,360 --> 01:11:54,160
Speaker 3: harvesters at work. They're seeing, you know, the machines out

1300
01:11:54,200 --> 01:11:56,160
Speaker 3: in the desert getting the spice from the sand. But

1301
01:11:56,360 --> 01:11:59,800
Speaker 3: uh oh, there is worm sign. This apparently is a

1302
01:11:59,840 --> 01:12:03,720
Speaker 3: common thing about how spice production takes place. The harvesters

1303
01:12:03,760 --> 01:12:06,000
Speaker 3: will work up until the last minute when a worm

1304
01:12:06,040 --> 01:12:08,160
Speaker 3: is about to arrive and eat them, and then they

1305
01:12:08,200 --> 01:12:10,760
Speaker 3: will be lifted away by a flying vehicle called a

1306
01:12:10,800 --> 01:12:14,879
Speaker 3: carry all and taken to safety. But uh oh, they're

1307
01:12:14,960 --> 01:12:17,880
Speaker 3: observing here that a spice harvester is working, a worm

1308
01:12:17,920 --> 01:12:19,880
Speaker 3: is on the way, and the carry all that is

1309
01:12:19,880 --> 01:12:23,599
Speaker 3: supposed to rescue it has been sabotaged. So Duke Leto

1310
01:12:24,360 --> 01:12:27,120
Speaker 3: leads a rescue of the men working the spice harvester

1311
01:12:27,280 --> 01:12:31,559
Speaker 3: is leaving the spice behind, rescuing the workers and bringing

1312
01:12:31,560 --> 01:12:34,679
Speaker 3: them onto his ornithopter, and then we see a worm

1313
01:12:34,840 --> 01:12:37,760
Speaker 3: eat the harvester as they take off, and we hear

1314
01:12:37,840 --> 01:12:40,680
Speaker 3: Kine's inner voice saying, Oh, I like this, Duke. He

1315
01:12:40,760 --> 01:12:42,639
Speaker 3: left the spice behind and saved the men.

1316
01:12:43,200 --> 01:12:47,040
Speaker 1: I talked a lot about ornithopters in Wednesday's short form episode,

1317
01:12:47,600 --> 01:12:51,280
Speaker 1: but briefly, I'll just say the ornithopters in the recent

1318
01:12:51,320 --> 01:12:55,640
Speaker 1: adaptations are amazing. They're like apache helicopters combined with a

1319
01:12:55,720 --> 01:12:58,519
Speaker 1: dragonfly in a way that it's like terrifying. And the

1320
01:12:58,640 --> 01:13:04,080
Speaker 1: jestic on the screen in this adaptation, especially the Atreades

1321
01:13:04,160 --> 01:13:08,240
Speaker 1: ornithopter is like a big metal berb. You know, it's clunky,

1322
01:13:08,280 --> 01:13:12,120
Speaker 1: it's chonky. It's got these little wings that seem decorative

1323
01:13:12,200 --> 01:13:16,679
Speaker 1: and not functional. The harconin ornithopters, which I don't even

1324
01:13:16,680 --> 01:13:18,280
Speaker 1: know if we really get to see them all that much,

1325
01:13:18,320 --> 01:13:22,280
Speaker 1: but the design for those is a lot more interesting,

1326
01:13:22,520 --> 01:13:27,360
Speaker 1: but also still doesn't fully embrace the whole flapping of wings.

1327
01:13:27,720 --> 01:13:30,600
Speaker 3: Yeah, okay, So we're getting into the plots here, the

1328
01:13:30,640 --> 01:13:33,960
Speaker 3: plots against House Atreadees. So first of all, Lady Jessica

1329
01:13:34,040 --> 01:13:37,799
Speaker 3: determines that doctor Yua has a secret concerning his wife

1330
01:13:37,920 --> 01:13:40,960
Speaker 3: and his hatred of the Harconans, but that is not

1331
01:13:41,040 --> 01:13:45,280
Speaker 3: fully fleshed out yet. We get to meet the housekeeper

1332
01:13:45,560 --> 01:13:48,719
Speaker 3: on Erken here, the capital of Aracus. This is shout

1333
01:13:48,720 --> 01:13:52,920
Speaker 3: out Mapes. Paul tries spice for the first time and

1334
01:13:53,000 --> 01:13:57,080
Speaker 3: he has visions the second moon. The sleeper must awaken.

1335
01:13:57,840 --> 01:14:01,040
Speaker 3: And we also get the hunter Seeker attack on Paul,

1336
01:14:01,240 --> 01:14:05,599
Speaker 3: which is something that's realized in both movie adaptations, where

1337
01:14:05,600 --> 01:14:09,320
Speaker 3: there's like this little needleli like mosquito type creature that's

1338
01:14:09,320 --> 01:14:12,400
Speaker 3: trying to assassinate Paul and he manages to avoid it.

1339
01:14:12,920 --> 01:14:16,040
Speaker 1: Yeah, great sequence in both films and Mapes, by the way,

1340
01:14:16,080 --> 01:14:19,200
Speaker 1: is played by Linda Hunt born nineteen forty five Academy

1341
01:14:19,240 --> 01:14:22,320
Speaker 1: Award winning actor. She played Billy Kwan in the Year

1342
01:14:22,400 --> 01:14:25,799
Speaker 1: Living Dangerously from eighty two, so I have to single

1343
01:14:25,800 --> 01:14:27,120
Speaker 1: her out. Yeah.

1344
01:14:27,160 --> 01:14:30,360
Speaker 3: So but here we're getting to the Harconin attack. The

1345
01:14:30,680 --> 01:14:35,439
Speaker 3: double Cross is in motion now, so there we've received

1346
01:14:35,479 --> 01:14:38,040
Speaker 3: word that there was a trader among house the trades,

1347
01:14:38,080 --> 01:14:41,760
Speaker 3: and we finally learn it is doctor Yua here and

1348
01:14:41,920 --> 01:14:45,880
Speaker 3: there are reasons. So doctor Yua ambushes Duke Leto in

1349
01:14:45,920 --> 01:14:48,599
Speaker 3: the night with a with a drugged dart that kind

1350
01:14:48,640 --> 01:14:52,400
Speaker 3: of paralyzes him, and then doctor Yua explains his plot.

1351
01:14:53,360 --> 01:14:56,880
Speaker 3: He has sabotaged the shields of the city, destroyed the

1352
01:14:56,880 --> 01:14:59,639
Speaker 3: weirding modules, and the Harconin troops are.

1353
01:14:59,560 --> 01:15:00,280
Speaker 1: On the way.

1354
01:15:00,880 --> 01:15:05,240
Speaker 3: But he's like, okay, it's not over, Duke Leto, you

1355
01:15:05,280 --> 01:15:08,400
Speaker 3: can still kill Baron Harconin, and he gives Leto the

1356
01:15:08,520 --> 01:15:12,400
Speaker 3: poison gas tooth. He tells him, when you see the baron,

1357
01:15:12,520 --> 01:15:15,560
Speaker 3: remember the tooth. And this is a great plot point.

1358
01:15:15,760 --> 01:15:18,439
Speaker 1: Yeah, the tooth stain is of course fittingly grosser in

1359
01:15:18,520 --> 01:15:22,080
Speaker 1: this adaptation, like even when Ua is like getting it

1360
01:15:22,080 --> 01:15:24,200
Speaker 1: out of its box to implant it, like it's just

1361
01:15:24,240 --> 01:15:25,920
Speaker 1: like this is gonna hurt, This is gonna be a

1362
01:15:25,960 --> 01:15:26,599
Speaker 1: little gross.

1363
01:15:26,720 --> 01:15:28,920
Speaker 3: The idea is he'll bite down on it when the

1364
01:15:28,960 --> 01:15:32,760
Speaker 3: baron leans over him, and that'll spit the poison gas

1365
01:15:32,760 --> 01:15:36,960
Speaker 3: in the baron's face and kill him. And we learn,

1366
01:15:37,000 --> 01:15:39,360
Speaker 3: of course, doctor Eua is not doing this out of

1367
01:15:39,560 --> 01:15:44,120
Speaker 3: maliciousness towards House aitredees, but he wants revenge against the

1368
01:15:44,160 --> 01:15:49,120
Speaker 3: baron because the Harconans have have for many years captured

1369
01:15:49,160 --> 01:15:51,640
Speaker 3: his wife and have probably murdered her.

1370
01:15:52,240 --> 01:15:54,240
Speaker 1: But he has to know for sure, and this is

1371
01:15:54,640 --> 01:15:56,200
Speaker 1: this is how he's going to get to know for sure.

1372
01:15:56,240 --> 01:16:00,040
Speaker 1: But he's also going to plot the destruction of the

1373
01:16:00,160 --> 01:16:03,200
Speaker 1: architect of his wife's probable death right.

1374
01:16:04,000 --> 01:16:07,400
Speaker 3: So the attack begins. The Harconin troops here look so creepy.

1375
01:16:07,439 --> 01:16:11,360
Speaker 3: They look like welders with these black full hood masks

1376
01:16:11,400 --> 01:16:15,120
Speaker 3: with a little green square window in the front, and

1377
01:16:15,200 --> 01:16:19,200
Speaker 3: so that looks really creepy. However, the actual violence in

1378
01:16:19,240 --> 01:16:22,560
Speaker 3: this battle scene is not very cool. It is mostly

1379
01:16:22,680 --> 01:16:24,280
Speaker 3: i think, unintentionally funny.

1380
01:16:24,960 --> 01:16:26,080
Speaker 1: Yeah, it's a little hockey.

1381
01:16:26,760 --> 01:16:29,720
Speaker 3: Baron Harconin leaves Paul and Jessica with pyder devrees with

1382
01:16:29,800 --> 01:16:32,519
Speaker 3: instructions to kill them. They are sent off to the

1383
01:16:32,560 --> 01:16:35,639
Speaker 3: desert to be left there to be eaten by worms,

1384
01:16:35,680 --> 01:16:38,479
Speaker 3: so there will be no evidence this was doctor Uey's idea.

1385
01:16:38,840 --> 01:16:40,960
Speaker 3: But actually it turns out doctor yue has been trying

1386
01:16:40,960 --> 01:16:44,519
Speaker 3: to protect them. He has packed still suits for them,

1387
01:16:44,880 --> 01:16:48,320
Speaker 3: and Paul and Jessica use the benijesrit voice to command

1388
01:16:48,400 --> 01:16:52,760
Speaker 3: the Harconin troops and escape into the desert. Meanwhile, Duke

1389
01:16:52,840 --> 01:16:55,839
Speaker 3: Letto's tooth strike against the Baron is about to unfold.

1390
01:16:55,920 --> 01:17:00,280
Speaker 3: The barons there gloating over him, but it failed to

1391
01:17:00,280 --> 01:17:03,400
Speaker 3: get the baron. Instead, it kills Pyder degrees, it kills

1392
01:17:03,439 --> 01:17:07,400
Speaker 3: the house harcone in Mintat played by Brad Duraf and

1393
01:17:07,640 --> 01:17:10,839
Speaker 3: the baron we get his reaction where he's like, I'm alive,

1394
01:17:11,320 --> 01:17:12,520
Speaker 3: I'm alive.

1395
01:17:12,439 --> 01:17:18,679
Speaker 1: Floating in the air, screaming. So inspiring the poison tooth sequence,

1396
01:17:18,720 --> 01:17:21,519
Speaker 1: at least when they have when they refer back to

1397
01:17:21,560 --> 01:17:25,120
Speaker 1: it visually, it is as you might expect, far more

1398
01:17:25,160 --> 01:17:28,400
Speaker 1: grotesque in this adaptation, because we see that like it's

1399
01:17:28,400 --> 01:17:32,240
Speaker 1: like an explosion of gas, caustic gas has gone off

1400
01:17:32,560 --> 01:17:35,400
Speaker 1: in the Duke's mouth and is like eaten through his cheek.

1401
01:17:35,479 --> 01:17:37,679
Speaker 1: Even so, it's grim stuff.

1402
01:17:38,200 --> 01:17:40,000
Speaker 3: Now, I know we've been dwelling on a lot of

1403
01:17:40,000 --> 01:17:42,679
Speaker 3: detail in the plot, so I think maybe we should

1404
01:17:42,680 --> 01:17:45,240
Speaker 3: shift into moving a little more quickly through the movie.

1405
01:17:45,360 --> 01:17:47,080
Speaker 3: And this is a good place to do it because

1406
01:17:47,120 --> 01:17:50,760
Speaker 3: this is also where the movie starts moving much more

1407
01:17:50,840 --> 01:17:53,479
Speaker 3: quickly through the plot. And this I think is a

1408
01:17:54,160 --> 01:17:57,960
Speaker 3: fair major criticism of the eighty four Dune is that

1409
01:17:58,040 --> 01:18:02,600
Speaker 3: somewhere around right here, the things start happening way too fast.

1410
01:18:03,400 --> 01:18:07,040
Speaker 1: Becomes fragmentary and kind of feels like done the scrap

1411
01:18:07,080 --> 01:18:09,640
Speaker 1: book leading up to like the final confrontation.

1412
01:18:09,960 --> 01:18:12,840
Speaker 3: Yes, yes, okay. So Paul and Jessica escape into the desert.

1413
01:18:12,920 --> 01:18:15,439
Speaker 3: They go to the forbidden South Polar regions. They're trying

1414
01:18:15,479 --> 01:18:18,280
Speaker 3: to avoid being eaten by a worm. And this is

1415
01:18:18,280 --> 01:18:21,240
Speaker 3: where Paul really like, he gets he gets deep spice,

1416
01:18:21,479 --> 01:18:24,519
Speaker 3: exposure to spice. In the desert, he sees the second Moon,

1417
01:18:25,479 --> 01:18:28,040
Speaker 3: you know. He hears the voice saying the Sleeper must awaken.

1418
01:18:28,320 --> 01:18:30,600
Speaker 3: He sees a hand reaching from space. He knows the

1419
01:18:30,640 --> 01:18:33,640
Speaker 3: Emperor and the Guild want him destroyed, and finally he

1420
01:18:33,640 --> 01:18:36,599
Speaker 3: hears that they will call him wad Deep. So that's

1421
01:18:36,800 --> 01:18:40,000
Speaker 3: a premonition of everything to come. And he realizes that

1422
01:18:40,040 --> 01:18:42,760
Speaker 3: the spice is in everything on the planet, and the

1423
01:18:42,760 --> 01:18:45,639
Speaker 3: spice is changing him. It's causing him to reach his

1424
01:18:45,680 --> 01:18:49,000
Speaker 3: potential as the Chosen One, and he knows the future

1425
01:18:49,080 --> 01:18:53,400
Speaker 3: and his own terrible destiny. Also revealed here is that Jessica,

1426
01:18:53,520 --> 01:18:57,200
Speaker 3: Lady Jessica, is pregnant with Paul's sister, who is also

1427
01:18:57,400 --> 01:19:00,840
Speaker 3: faded for greatness in some way, and there's adventure in

1428
01:19:00,880 --> 01:19:03,360
Speaker 3: the desert. As Paul and Jessica travel across the sand

1429
01:19:03,520 --> 01:19:06,280
Speaker 3: trying to avoid worms. They have to, of course, do

1430
01:19:06,400 --> 01:19:10,240
Speaker 3: the Fremen walk to walk without rhythm on the sand.

1431
01:19:10,800 --> 01:19:12,439
Speaker 1: And here we do see the.

1432
01:19:12,320 --> 01:19:15,439
Speaker 3: Worm in its full glory while it's chasing them. We

1433
01:19:15,439 --> 01:19:18,600
Speaker 3: see its trifled maw leaping out from the sand, and

1434
01:19:18,600 --> 01:19:21,760
Speaker 3: it's design is almost like a flower with like petals

1435
01:19:21,840 --> 01:19:25,160
Speaker 3: opening around this toothy mouth. I really do like the

1436
01:19:25,200 --> 01:19:26,960
Speaker 3: design of the worms in this movie. I think I

1437
01:19:27,000 --> 01:19:30,000
Speaker 3: think they look great. They're scary and menacing. Some of

1438
01:19:30,040 --> 01:19:34,400
Speaker 3: the worm riding scenes, however, are are quite funny and

1439
01:19:34,520 --> 01:19:37,040
Speaker 3: don't don't really have the same grandeur as when you're

1440
01:19:37,040 --> 01:19:41,320
Speaker 3: just seeing the worm in its opening mouth. Also somewhere

1441
01:19:41,360 --> 01:19:43,960
Speaker 3: in the sequence we first see the use I think

1442
01:19:44,040 --> 01:19:47,719
Speaker 3: of the thumper, a very important technology in this movie.

1443
01:19:48,160 --> 01:19:51,880
Speaker 1: Thumpers are huge in this movie, like then, and it works.

1444
01:19:51,920 --> 01:19:54,960
Speaker 1: Like you'll often see on the poster. There's Paul Adrades

1445
01:19:55,240 --> 01:19:58,000
Speaker 1: with something slung across his back in the desert. That's

1446
01:19:58,040 --> 01:20:02,400
Speaker 1: the thumper. So yeah, it's big, no criticism, it's just

1447
01:20:02,439 --> 01:20:05,400
Speaker 1: a big idea of what these things look like.

1448
01:20:05,960 --> 01:20:09,240
Speaker 3: So Paul and Jessica come across a Fremen seat, a

1449
01:20:09,320 --> 01:20:13,400
Speaker 3: Fremen encampment in the rocks. So they find man car

1450
01:20:13,520 --> 01:20:16,120
Speaker 3: steps and they go into the rocks and they just

1451
01:20:16,200 --> 01:20:17,960
Speaker 3: kind of walk up on it and all of the

1452
01:20:18,040 --> 01:20:21,760
Speaker 3: Freemen are there, like assembled, waiting for them, eyes glowing blue.

1453
01:20:21,840 --> 01:20:24,799
Speaker 3: It's almost like they're standing at attention for their arrival.

1454
01:20:25,280 --> 01:20:27,519
Speaker 3: And here we meet still Gar, the leader of the

1455
01:20:27,560 --> 01:20:30,519
Speaker 3: Fremen group, and we're also going to meet Channi of

1456
01:20:30,640 --> 01:20:31,080
Speaker 3: the Fremen.

1457
01:20:31,439 --> 01:20:34,160
Speaker 1: Yeah. So still Gar is played by Everett McGill born

1458
01:20:34,240 --> 01:20:37,200
Speaker 1: nineteen forty five, accomplished American character actor with a very

1459
01:20:37,280 --> 01:20:40,960
Speaker 1: signature look. His other credits include eighty one's Quest for Fire,

1460
01:20:41,320 --> 01:20:44,960
Speaker 1: eighty five, Silver Bullet, The Stephen King Werewolf Movie, eighty

1461
01:20:45,000 --> 01:20:48,799
Speaker 1: six is Heartbreak Ridge, nineteen eighty Seven's Werewolf, eighty nine's

1462
01:20:48,800 --> 01:20:52,519
Speaker 1: Licensed to Kill, Twin Peaks nineteen ninety ones, The People

1463
01:20:52,600 --> 01:20:57,479
Speaker 1: Under the Stairs, Under Siege Too, and Lynches the straight story. Again,

1464
01:20:57,600 --> 01:21:00,799
Speaker 1: not really fair to compare this performance to Javier Bardam

1465
01:21:00,880 --> 01:21:04,240
Speaker 1: Stillgar in the New movies, because he, again, like a

1466
01:21:04,240 --> 01:21:05,840
Speaker 1: lot of these characters, he had a lot more room

1467
01:21:05,840 --> 01:21:08,120
Speaker 1: to breathe, and there's a lot more space for that

1468
01:21:08,240 --> 01:21:09,160
Speaker 1: character to come alive.

1469
01:21:09,360 --> 01:21:12,479
Speaker 3: Yeah, this is speed still gar Yeah, I guess we

1470
01:21:12,479 --> 01:21:14,280
Speaker 3: should go ahead and introduce Channi as well.

1471
01:21:14,720 --> 01:21:18,320
Speaker 1: Yeah. Chani is played by Sean Young born nineteen fifty nine,

1472
01:21:18,360 --> 01:21:21,439
Speaker 1: American actress who had previously appeared in nineteen eighty one

1473
01:21:21,520 --> 01:21:24,960
Speaker 1: Stripes and more importantly eighty two's Blade Runner as the

1474
01:21:25,000 --> 01:21:29,120
Speaker 1: replicant Rachel. Subsequent roles included eighty seven's No Way Out

1475
01:21:29,160 --> 01:21:32,000
Speaker 1: in Wall Street, ninety one's A Kiss Before Dying, ninety

1476
01:21:32,000 --> 01:21:35,559
Speaker 1: four's Ace Venture a pet detective, and more recently Blade

1477
01:21:35,600 --> 01:21:39,559
Speaker 1: Runner twenty forty nine. In another case, hard to compare

1478
01:21:39,600 --> 01:21:42,720
Speaker 1: this Channey to the recent film where Zindia does a

1479
01:21:42,720 --> 01:21:46,719
Speaker 1: great job playing a more complex and I think arguably

1480
01:21:46,760 --> 01:21:49,679
Speaker 1: stronger vision of this character. That Chani is a strong

1481
01:21:49,760 --> 01:21:53,040
Speaker 1: character in this nineteen sixty five novel, but I think

1482
01:21:53,080 --> 01:21:55,680
Speaker 1: some of her strengths had to be updated for like

1483
01:21:55,720 --> 01:21:58,680
Speaker 1: a modern audience. Well, also in the new movie.

1484
01:21:59,000 --> 01:22:01,559
Speaker 3: I think you could argue in part two is is

1485
01:22:02,240 --> 01:22:05,560
Speaker 3: you get a lot of the story from Channie's perspective,

1486
01:22:05,600 --> 01:22:07,960
Speaker 3: which makes a lot of sense. That's a good way

1487
01:22:08,000 --> 01:22:12,160
Speaker 3: to frame it, to see like the way Paul changes. Yeah,

1488
01:22:12,880 --> 01:22:15,679
Speaker 3: so I think that that was a really strong choice.

1489
01:22:16,000 --> 01:22:18,840
Speaker 3: And like you said, Zendeia is great in the new one,

1490
01:22:19,280 --> 01:22:21,920
Speaker 3: I don't want to as is Javi or Barden. Also,

1491
01:22:21,960 --> 01:22:25,080
Speaker 3: they're both fantastic in the new movie. I don't want

1492
01:22:25,080 --> 01:22:28,840
Speaker 3: to blame Sean Young and Everett McGill for the shortcomings

1493
01:22:28,840 --> 01:22:30,760
Speaker 3: of these characters in this version. I think it is

1494
01:22:30,840 --> 01:22:32,640
Speaker 3: not the fault of the actors. I think it is

1495
01:22:32,680 --> 01:22:35,040
Speaker 3: the fault of the script and the editing that, like,

1496
01:22:35,360 --> 01:22:39,559
Speaker 3: these actors are just not given time to portray these characters.

1497
01:22:39,560 --> 01:22:42,679
Speaker 3: In the movie, it's just just lightning speed editing from

1498
01:22:42,720 --> 01:22:45,200
Speaker 3: now on. So, like what happens when they arrive at

1499
01:22:45,240 --> 01:22:49,240
Speaker 3: the siege is that, you know still Gar. He's like, oh, hi,

1500
01:22:49,320 --> 01:22:50,800
Speaker 3: I'm still Gar. You know I'm the leader of the

1501
01:22:50,840 --> 01:22:52,920
Speaker 3: Fremen group. The boy man will be taken into the

1502
01:22:52,960 --> 01:22:56,439
Speaker 3: tribe and then Lady Jessica like grabs him by the throat.

1503
01:22:56,520 --> 01:22:59,679
Speaker 3: Paul scrambles. He says, oh, she has the weirding way.

1504
01:22:59,720 --> 01:23:01,519
Speaker 3: If you can do this to the strongest of us,

1505
01:23:01,520 --> 01:23:04,479
Speaker 3: you're worth ten times your weight in water. And then

1506
01:23:04,520 --> 01:23:06,600
Speaker 3: still Gar says, teach us the Weirding way, and you

1507
01:23:06,600 --> 01:23:11,000
Speaker 3: shall have sanctuary, and Jessica accepts, and Paul meets Channida.

1508
01:23:11,439 --> 01:23:15,000
Speaker 3: Channi is the daughter of the at kinds. She's a

1509
01:23:15,080 --> 01:23:18,559
Speaker 3: member of the Fremen tribe here and you know he

1510
01:23:18,640 --> 01:23:21,599
Speaker 3: has seen her before in dreams and premonitions, like a

1511
01:23:21,640 --> 01:23:24,960
Speaker 3: warrior of great bravery and great beauty. Kyle, of course,

1512
01:23:25,040 --> 01:23:28,800
Speaker 3: is smitten. Here they introduced to Stilgar. You know, it's

1513
01:23:28,840 --> 01:23:30,920
Speaker 3: all going to be. You're welcomed by the people. Oh,

1514
01:23:30,960 --> 01:23:33,120
Speaker 3: you need a new name. Your name will be Ussel,

1515
01:23:33,200 --> 01:23:35,599
Speaker 3: that is the pillar of strength. Oh but what else

1516
01:23:35,600 --> 01:23:38,360
Speaker 3: can be your name? Your name will be wad deeb.

1517
01:23:38,760 --> 01:23:41,759
Speaker 3: Paul picks that because it's the name of the desert mouse,

1518
01:23:41,960 --> 01:23:44,639
Speaker 3: whose figure is seen on the second moon of the planet.

1519
01:23:45,400 --> 01:23:48,600
Speaker 3: And so they're brought into these subterranean caverns where the

1520
01:23:48,600 --> 01:23:51,439
Speaker 3: Fremen live. They discover that the Freemen have huge caches

1521
01:23:51,479 --> 01:23:55,280
Speaker 3: of water they are collecting from the atmosphere via wind traps,

1522
01:23:55,360 --> 01:23:56,920
Speaker 3: these vast pools in the dark.

1523
01:23:57,479 --> 01:23:58,400
Speaker 1: And this whole.

1524
01:23:58,160 --> 01:24:01,519
Speaker 3: Sequence where Jessica and Paul are welcomed into the Fremen world.

1525
01:24:02,600 --> 01:24:04,519
Speaker 3: You know, the cast is doing the best they can.

1526
01:24:04,600 --> 01:24:07,759
Speaker 3: The sets are cool and stuff, but it is so rushed.

1527
01:24:07,880 --> 01:24:10,880
Speaker 3: The introductions are not given a chance to breathe. It's

1528
01:24:10,920 --> 01:24:13,599
Speaker 3: just like, hi, oh wow, you were really strong. Now

1529
01:24:13,640 --> 01:24:15,559
Speaker 3: you're one of us. Here are all our secrets. I

1530
01:24:15,600 --> 01:24:18,320
Speaker 3: love you, and it it comes so fast.

1531
01:24:18,479 --> 01:24:21,160
Speaker 1: Yeah, the new has a lot more time to work

1532
01:24:21,200 --> 01:24:24,240
Speaker 1: with this part of the story, with Paul and Jessica

1533
01:24:24,360 --> 01:24:29,559
Speaker 1: gradually changing from you know, endangered outsiders to tentative allies

1534
01:24:29,600 --> 01:24:32,439
Speaker 1: to the fremen, to valued members of a movement to

1535
01:24:32,560 --> 01:24:36,920
Speaker 1: members of its people, to leaders, and eventually, in Paul's case,

1536
01:24:37,120 --> 01:24:38,120
Speaker 1: to Messiah.

1537
01:24:38,160 --> 01:24:40,599
Speaker 3: What is at least half the run time of this

1538
01:24:41,160 --> 01:24:44,280
Speaker 3: recent movie is like, I don't know, five minutes in

1539
01:24:44,360 --> 01:24:55,840
Speaker 3: this metle Okay, let's check in on the Harkonins because

1540
01:24:55,840 --> 01:24:59,639
Speaker 3: they're doing some really good stuff here. So we come

1541
01:24:59,640 --> 01:25:02,759
Speaker 3: into the They're on Arakine, I think, and Vladimir Harkonen

1542
01:25:02,880 --> 01:25:05,799
Speaker 3: is laughing crazily as he flies around a big machine

1543
01:25:05,800 --> 01:25:09,200
Speaker 3: in his levitation suit. Rabon, who is supposed to be

1544
01:25:09,240 --> 01:25:12,360
Speaker 3: running spice production on the planet, he walks up to

1545
01:25:12,960 --> 01:25:16,040
Speaker 3: this is what happens. There's like a dead cow hanging

1546
01:25:16,080 --> 01:25:19,400
Speaker 3: from the ceiling, and Rabon walks up to the dead

1547
01:25:19,479 --> 01:25:23,240
Speaker 3: cow peels off. Part of its face, starts eating the

1548
01:25:23,280 --> 01:25:27,519
Speaker 3: cowface raw. Then the Baron tells Rabon to be harsh

1549
01:25:27,560 --> 01:25:30,880
Speaker 3: and brutal in ruling Aracus. And while he's saying this,

1550
01:25:30,960 --> 01:25:34,400
Speaker 3: he's like reaching his fingers into Rabond's mouth to like

1551
01:25:34,520 --> 01:25:38,080
Speaker 3: play with the chewed up cow face as he explains.

1552
01:25:37,560 --> 01:25:40,320
Speaker 1: This, Yeah, I have no words.

1553
01:25:42,120 --> 01:25:45,920
Speaker 3: Then Rabon leaves, Then out comes Fade, wearing like this

1554
01:25:46,160 --> 01:25:51,599
Speaker 3: wings of Victory speedo. That's amazing, top all time top

1555
01:25:51,680 --> 01:25:57,080
Speaker 3: five movie speedo. Yeah, and the Baron reveals that after

1556
01:25:57,160 --> 01:25:59,800
Speaker 3: Rabon has become despised by the people of Doune, he's

1557
01:25:59,800 --> 01:26:01,840
Speaker 3: going to give the planet to Fade so that he

1558
01:26:01,880 --> 01:26:03,480
Speaker 3: can be loved by contrast.

1559
01:26:04,320 --> 01:26:07,320
Speaker 1: Yep, yep, that's the whole plan. I mean, that's part

1560
01:26:07,320 --> 01:26:09,200
Speaker 1: of the plan. It is legitimately part of the plan.

1561
01:26:09,640 --> 01:26:13,040
Speaker 1: The Rabond's gonna crush the planet, get the spice levels up,

1562
01:26:13,160 --> 01:26:16,160
Speaker 1: the spice production levels up. Everyone's gonna hate him, and

1563
01:26:16,200 --> 01:26:18,240
Speaker 1: then Fade's going to come in as the savior and

1564
01:26:18,280 --> 01:26:21,200
Speaker 1: will be at least to some degree beloved by the people,

1565
01:26:21,280 --> 01:26:24,760
Speaker 1: or as much as you can love a hard conan despot.

1566
01:26:25,200 --> 01:26:28,559
Speaker 3: Yeah, and by the Baron's face boils. Just keep looking

1567
01:26:28,560 --> 01:26:33,040
Speaker 3: worse and worse. We also see here the captured Soufir

1568
01:26:33,080 --> 01:26:36,479
Speaker 3: hawat the mintat of house the Treades. They explained to

1569
01:26:36,560 --> 01:26:39,599
Speaker 3: him that he must milk a hairless cat that has

1570
01:26:39,640 --> 01:26:42,320
Speaker 3: a rat taped to it every day in order to

1571
01:26:42,360 --> 01:26:45,120
Speaker 3: acquire the antidote to a poison that the Hearks have

1572
01:26:45,160 --> 01:26:46,000
Speaker 3: given him.

1573
01:26:48,320 --> 01:26:52,880
Speaker 1: Yeah, this is also unnecessary and so weird, especially the

1574
01:26:52,920 --> 01:26:55,920
Speaker 1: cat rat thing. It almost feels like Lynch is trolling

1575
01:26:56,000 --> 01:26:59,960
Speaker 1: us a little bit. In the book, this basic situation exis,

1576
01:27:00,160 --> 01:27:04,559
Speaker 1: but it's essentially just a poison anecdote con like, hey,

1577
01:27:05,680 --> 01:27:08,599
Speaker 1: loyal a tradees nintet, you have to work for us now,

1578
01:27:09,160 --> 01:27:11,280
Speaker 1: isn't that delightful? And if you don't, you're going to

1579
01:27:11,360 --> 01:27:14,600
Speaker 1: die because of this poison in your system. And they

1580
01:27:14,640 --> 01:27:18,760
Speaker 1: apparently filmed sequences of this plot line for Dune Part

1581
01:27:18,800 --> 01:27:21,040
Speaker 1: two and just had to cut it for time, which

1582
01:27:21,400 --> 01:27:23,800
Speaker 1: you know, is a shame, but I guess understandable given

1583
01:27:23,840 --> 01:27:25,240
Speaker 1: them all that's going on in the movie.

1584
01:27:25,560 --> 01:27:29,479
Speaker 3: Yeah. So, back at the Seech of the Fremen, Lady

1585
01:27:29,560 --> 01:27:32,519
Speaker 3: Jessica is offered a chance to become the reverend Mother

1586
01:27:32,600 --> 01:27:35,120
Speaker 3: of the Seech, but to do so, she has to

1587
01:27:35,200 --> 01:27:39,519
Speaker 3: drink the poisonous water of life and survive, and this

1588
01:27:39,560 --> 01:27:42,960
Speaker 3: calls back to a prophecy about the Quisat's hatterak that

1589
01:27:43,000 --> 01:27:46,000
Speaker 3: young Paul would drink the water of life and survive.

1590
01:27:46,200 --> 01:27:49,200
Speaker 3: Other men who have tried have died, but maybe Paul

1591
01:27:49,280 --> 01:27:52,519
Speaker 3: could survive it as well. But before that, Lady Jessica

1592
01:27:52,560 --> 01:27:55,760
Speaker 3: has to drink it. She does, and this causes her

1593
01:27:55,840 --> 01:27:58,920
Speaker 3: later to give birth to When she gives birth to

1594
01:27:58,960 --> 01:28:02,519
Speaker 3: her daughter named all Alia, is like born with all

1595
01:28:02,560 --> 01:28:05,160
Speaker 3: the knowledge and power of a reverend mother, and like

1596
01:28:05,280 --> 01:28:08,679
Speaker 3: matures very rapidly, so we've got like a super genius

1597
01:28:08,760 --> 01:28:11,320
Speaker 3: Benny jesser At baby and that's just that's just not

1598
01:28:11,400 --> 01:28:16,920
Speaker 3: what you want, abomination. She's scary as heck when we

1599
01:28:16,920 --> 01:28:20,439
Speaker 3: see her later in the in the finale, it's one

1600
01:28:20,439 --> 01:28:22,599
Speaker 3: of the creepiest things ever committed to film.

1601
01:28:23,240 --> 01:28:26,960
Speaker 1: Yeah, yeah, she is super creepy. Herbert in general likes

1602
01:28:27,439 --> 01:28:32,439
Speaker 1: creepy super babies and super creepy super children. They pop

1603
01:28:32,520 --> 01:28:38,040
Speaker 1: up elsewhere in the dooone novels. Obviously, DV went in

1604
01:28:38,080 --> 01:28:41,360
Speaker 1: a slightly different direction with the way this is portrayed

1605
01:28:41,400 --> 01:28:45,840
Speaker 1: in the film, and uh, again interesting, I think it's

1606
01:28:45,880 --> 01:28:49,280
Speaker 1: interesting what they did. It'll be also interesting to see

1607
01:28:49,280 --> 01:28:55,320
Speaker 1: how this is incorporated into subsequent adaptations of especially done Messiah. Yeah.

1608
01:28:55,640 --> 01:28:58,320
Speaker 3: Also here we see more of Paul and Johnny falling

1609
01:28:58,320 --> 01:28:58,679
Speaker 3: in love.

1610
01:28:59,120 --> 01:29:00,080
Speaker 1: But also we get.

1611
01:29:00,040 --> 01:29:03,479
Speaker 3: Addressing the assembled Frimen fighters and he's like, hey, look,

1612
01:29:03,479 --> 01:29:05,880
Speaker 3: we got a common enemy, the Harconans. We've got to

1613
01:29:05,920 --> 01:29:07,880
Speaker 3: destroy him. My mom and I are going to teach

1614
01:29:07,920 --> 01:29:10,679
Speaker 3: you the Weirding Way. We've got to attack and destroy

1615
01:29:10,720 --> 01:29:13,479
Speaker 3: the spice trade. So we see a lot of weirding

1616
01:29:13,520 --> 01:29:16,679
Speaker 3: Way training sessions with the weirding module where they're saying

1617
01:29:16,720 --> 01:29:19,200
Speaker 3: like chucked sah and it you know, makes it shoot

1618
01:29:19,280 --> 01:29:22,759
Speaker 3: a little blast out that they say will paralyzed nerves,

1619
01:29:22,760 --> 01:29:26,639
Speaker 3: shatter bones, set fires, suffocate an enemy, or burst his organs,

1620
01:29:27,160 --> 01:29:29,720
Speaker 3: and they're just going to keep on attacking the Harconins

1621
01:29:29,760 --> 01:29:32,639
Speaker 3: until they have victory. This is also the my name

1622
01:29:32,720 --> 01:29:35,120
Speaker 3: is a killing word scene where he discovers that in

1623
01:29:35,120 --> 01:29:38,240
Speaker 3: the name wadde but will like make things break and shatter.

1624
01:29:38,640 --> 01:29:41,400
Speaker 1: All right, we're getting the troops together, We're gonna we're

1625
01:29:41,400 --> 01:29:46,120
Speaker 1: gonna bring spice production to its knees and eventually take

1626
01:29:46,120 --> 01:29:46,960
Speaker 1: out the Hearken Its.

1627
01:29:47,000 --> 01:29:49,960
Speaker 3: Okay, Now we also get the worm taming scene here

1628
01:29:50,080 --> 01:29:52,799
Speaker 3: where Paul has to go learn to ride a worm,

1629
01:29:52,840 --> 01:29:54,960
Speaker 3: because you can't be a true Fremen unless you can

1630
01:29:55,040 --> 01:29:55,639
Speaker 3: ride a worm.

1631
01:29:56,320 --> 01:29:58,280
Speaker 1: And so we go. He goes out with his.

1632
01:29:58,320 --> 01:30:01,920
Speaker 3: Worm riding materials, the thumper, the hooks, which are a

1633
01:30:01,960 --> 01:30:04,920
Speaker 3: gift from the Siet, and the freemen are gathered on

1634
01:30:05,000 --> 01:30:08,120
Speaker 3: the sand dune looking on. Stillgar has a very cold look,

1635
01:30:08,800 --> 01:30:11,280
Speaker 3: but Paul like he sets the thumber going, he does

1636
01:30:11,320 --> 01:30:14,439
Speaker 3: the litany against fear. They realize he has called a

1637
01:30:14,680 --> 01:30:17,160
Speaker 3: very big worm, and this is again along with the

1638
01:30:17,160 --> 01:30:19,599
Speaker 3: prophecies of what the Fremen called the lisan Al Kayib,

1639
01:30:20,280 --> 01:30:23,120
Speaker 3: you know, the voice from the outer world, the messiah

1640
01:30:23,160 --> 01:30:27,519
Speaker 3: figure they're waiting for. So we get some shots of

1641
01:30:27,560 --> 01:30:30,559
Speaker 3: Paul getting onto the worm, like using the hooks and

1642
01:30:30,640 --> 01:30:33,639
Speaker 3: rolling over on the top. Not the best looking shots

1643
01:30:33,640 --> 01:30:36,320
Speaker 3: in the movie. A couple of these do look kind

1644
01:30:36,320 --> 01:30:38,280
Speaker 3: of kind of cheap, But then when we see the

1645
01:30:38,320 --> 01:30:41,839
Speaker 3: worm by itself, it looks awesome and the flower petals

1646
01:30:41,880 --> 01:30:45,400
Speaker 3: open and we see the big mouth, heavy dune theme

1647
01:30:45,520 --> 01:30:49,240
Speaker 3: playing on the soundtrack. As like, Stillgar comes to climb

1648
01:30:49,280 --> 01:30:52,120
Speaker 3: the trailing rope behind Paul and join him on the worm.

1649
01:30:53,080 --> 01:30:55,160
Speaker 3: But Rob, I think we may have alluded to this earlier.

1650
01:30:55,439 --> 01:30:58,439
Speaker 3: There is a very funny soundtrack moment here where like

1651
01:30:58,479 --> 01:31:01,160
Speaker 3: the heavy horns of the dune theme give way to

1652
01:31:01,439 --> 01:31:05,920
Speaker 3: rock and distorted guitars. And I enjoy this because it's funny,

1653
01:31:05,920 --> 01:31:08,160
Speaker 3: but I don't think it quite has the intended effect.

1654
01:31:08,680 --> 01:31:11,759
Speaker 1: Yeah, yeah, it's a little, a little goofy. In general.

1655
01:31:11,880 --> 01:31:14,920
Speaker 1: I have to reiterate love the Toto score. I have

1656
01:31:15,080 --> 01:31:17,240
Speaker 1: listened to it all the way through a couple of

1657
01:31:17,280 --> 01:31:20,599
Speaker 1: times since we recorded part one of This Weird House.

1658
01:31:21,920 --> 01:31:24,439
Speaker 1: But yeah, it's a little little comical here with the guitar.

1659
01:31:24,760 --> 01:31:27,599
Speaker 3: Oh Man, that desert I mean, it's right on the edge,

1660
01:31:27,640 --> 01:31:32,120
Speaker 3: like that desert theme. It is pure velveta like it

1661
01:31:32,200 --> 01:31:36,400
Speaker 3: is so smooth and cheesy and rock yacht rock sounding.

1662
01:31:36,560 --> 01:31:40,240
Speaker 3: But it's also great and it fills me with feelings.

1663
01:31:40,280 --> 01:31:44,080
Speaker 3: I can't deny it. Yeah, So a bunch of time passes.

1664
01:31:44,120 --> 01:31:46,640
Speaker 3: We see Paul and Stilgar leading from an attacks on

1665
01:31:46,680 --> 01:31:49,479
Speaker 3: the Harken and Spice mining operations. You know, they're using

1666
01:31:49,520 --> 01:31:52,200
Speaker 3: the weirding modules to say boom and zap and make

1667
01:31:52,280 --> 01:31:57,880
Speaker 3: things explode. And then of course Paul thinks he is

1668
01:31:57,960 --> 01:32:00,360
Speaker 3: going to be able to get his revenge, because when

1669
01:32:00,360 --> 01:32:03,439
Speaker 3: the spice flow stops, that's going to summon the Baron

1670
01:32:03,479 --> 01:32:05,479
Speaker 3: and the Emperor to the planet because they're going to

1671
01:32:05,680 --> 01:32:09,080
Speaker 3: come there be forced to deal with us. Yeah, of

1672
01:32:09,120 --> 01:32:11,320
Speaker 3: course the Baron and the Emperor become aware of this

1673
01:32:11,360 --> 01:32:15,160
Speaker 3: figure called wad Deeb that like they're wounded fighters come

1674
01:32:15,200 --> 01:32:18,360
Speaker 3: back to them and they're muttering what deep, what deep?

1675
01:32:18,720 --> 01:32:20,920
Speaker 3: So like who is this guy? And you know, they're like,

1676
01:32:20,960 --> 01:32:24,840
Speaker 3: we've got to destroy him. We get some more voiceover

1677
01:32:24,880 --> 01:32:27,960
Speaker 3: from Virginia Madsen telling us that wad Deeb and the

1678
01:32:27,960 --> 01:32:33,080
Speaker 3: freemen pretty much completely shut down spice production and that

1679
01:32:33,280 --> 01:32:35,680
Speaker 3: Rabon is trying to hide this from his uncle but

1680
01:32:35,720 --> 01:32:39,519
Speaker 3: apparently not succeeding, and things are getting really dire so

1681
01:32:39,520 --> 01:32:41,320
Speaker 3: soon I think the Emperor is going to have to come.

1682
01:32:41,400 --> 01:32:44,240
Speaker 3: Oh but before that, we get Paul's reunion with Gurney

1683
01:32:44,280 --> 01:32:47,439
Speaker 3: Halleck with Patrick Stewart. They like run into each other.

1684
01:32:47,439 --> 01:32:50,920
Speaker 3: I guess Gurney Halleck is now working for the Harconins

1685
01:32:51,000 --> 01:32:55,200
Speaker 3: or working maybe independently as like a spice harvester protector

1686
01:32:55,240 --> 01:32:59,160
Speaker 3: here in the desert, and Paul and Gurney run into

1687
01:32:59,160 --> 01:33:02,240
Speaker 3: one another and reuni. Of course, Gurney thought Paul was

1688
01:33:02,280 --> 01:33:05,120
Speaker 3: dead this whole time. By the way, there is maximum

1689
01:33:05,120 --> 01:33:08,320
Speaker 3: Toto all over the soundtrack in the background of this section,

1690
01:33:08,600 --> 01:33:12,679
Speaker 3: overdriven guitars wailing the whole thing, and eventually we see

1691
01:33:12,720 --> 01:33:16,160
Speaker 3: the circumstances they're going to drive us toward the terrible conclusion.

1692
01:33:16,280 --> 01:33:20,280
Speaker 3: So back at the Imperial Palace, the Spacing Guild shows

1693
01:33:20,320 --> 01:33:22,720
Speaker 3: back up once again to harass the Emperor some more.

1694
01:33:23,800 --> 01:33:26,400
Speaker 3: No guild navigator this time, it's only like the Holy

1695
01:33:26,479 --> 01:33:29,880
Speaker 3: Brotherhood of has Matt in their industrial religious looking robes.

1696
01:33:30,680 --> 01:33:34,600
Speaker 3: Once again, they speak a foreign language that is like

1697
01:33:34,680 --> 01:33:38,479
Speaker 3: automatically translated by this weird microphone and the language itself.

1698
01:33:38,520 --> 01:33:41,360
Speaker 3: I was listening to it. It sounds like kind of feral,

1699
01:33:41,479 --> 01:33:44,519
Speaker 3: so there's kind of grunts and snarling like a wild animal,

1700
01:33:44,560 --> 01:33:50,080
Speaker 3: but also notes of igor in the monster Masha, and

1701
01:33:50,160 --> 01:33:53,960
Speaker 3: so they speak to him, and the conversation very much

1702
01:33:54,000 --> 01:33:56,599
Speaker 3: has the effect of wait, who's the emperor here, because

1703
01:33:56,640 --> 01:33:59,840
Speaker 3: the Spacing Guild is really browbeating him. They're like, look,

1704
01:34:00,080 --> 01:34:03,160
Speaker 3: you don't get the spice mining back under control immediately,

1705
01:34:03,840 --> 01:34:05,400
Speaker 3: you are going to live out the rest of your

1706
01:34:05,439 --> 01:34:08,280
Speaker 3: life in a pain amplifier. I don't know what a

1707
01:34:08,280 --> 01:34:10,360
Speaker 3: pain amplifier is, but I get the idea.

1708
01:34:10,720 --> 01:34:12,880
Speaker 1: Yeah, I feel like they this is a moment where

1709
01:34:12,880 --> 01:34:15,599
Speaker 1: they kind of overplay the power of the Guild here

1710
01:34:15,880 --> 01:34:18,720
Speaker 1: because altimate, I mean, the Guild is very powerful in

1711
01:34:18,760 --> 01:34:21,720
Speaker 1: the Dune universe, but so is the Benajestrit, so is

1712
01:34:21,760 --> 01:34:25,920
Speaker 1: House Carino. So everything is in kind of like a

1713
01:34:25,960 --> 01:34:30,760
Speaker 1: precarious balance of power, yes, and here we're just kind

1714
01:34:30,800 --> 01:34:33,800
Speaker 1: of like, yeah, the Guild pushes everybody around, which is

1715
01:34:33,640 --> 01:34:35,760
Speaker 1: is not really the flavor of the Guild and the

1716
01:34:36,080 --> 01:34:37,120
Speaker 1: actual source material.

1717
01:34:37,560 --> 01:34:40,160
Speaker 3: I totally agree, But I also do like that the

1718
01:34:40,200 --> 01:34:43,960
Speaker 3: Emperor is not portrayed as just all powerful, that he

1719
01:34:44,160 --> 01:34:47,479
Speaker 3: has factions that he must appease. And you know, if,

1720
01:34:47,600 --> 01:34:49,960
Speaker 3: like if the lands Rod and the Space and Guild

1721
01:34:50,000 --> 01:34:52,360
Speaker 3: and people are turning against him, that is a threat

1722
01:34:52,360 --> 01:34:55,040
Speaker 3: to him. And it's not like he can just crush

1723
01:34:55,080 --> 01:34:57,920
Speaker 3: them all. That's true anyway. So the Emperor is going

1724
01:34:58,000 --> 01:35:01,120
Speaker 3: to take Sardikar to the planet. He's like, I know

1725
01:35:01,160 --> 01:35:03,320
Speaker 3: how we're going to deal with this complete destruction of

1726
01:35:03,360 --> 01:35:04,479
Speaker 3: every life on the planet.

1727
01:35:04,520 --> 01:35:06,320
Speaker 1: We're just gonna just destroy them all.

1728
01:35:07,439 --> 01:35:09,920
Speaker 3: Meanwhile, we get the sequence where Paul is finally going

1729
01:35:09,960 --> 01:35:12,880
Speaker 3: to fulfill the prophecy and drink the water of life.

1730
01:35:13,240 --> 01:35:15,479
Speaker 3: Of course, he tells Channi that he had a vision

1731
01:35:15,479 --> 01:35:17,759
Speaker 3: and he must do this. She doesn't like the idea,

1732
01:35:18,160 --> 01:35:20,040
Speaker 3: but he thinks he has no choice. He's got to

1733
01:35:20,040 --> 01:35:22,120
Speaker 3: do it. So Paul is let out into the desert.

1734
01:35:22,920 --> 01:35:25,000
Speaker 3: Chany pledges her love to him, and they give him

1735
01:35:25,000 --> 01:35:27,599
Speaker 3: the water of life to drink, and he has many

1736
01:35:27,640 --> 01:35:30,479
Speaker 3: more visions of like you know, water dripping in a cavern,

1737
01:35:30,560 --> 01:35:33,120
Speaker 3: in the mouth of a worm opening, and I like

1738
01:35:33,160 --> 01:35:35,120
Speaker 3: how the mouth of the worm is intercut with an

1739
01:35:35,160 --> 01:35:37,479
Speaker 3: extreme close up of a human eye, so like the

1740
01:35:37,520 --> 01:35:41,240
Speaker 3: worm's mouth is like the pupil within the iris. I

1741
01:35:41,240 --> 01:35:42,200
Speaker 3: thought that was pretty cool.

1742
01:35:42,640 --> 01:35:44,680
Speaker 1: And here come the worm jets, because I think this

1743
01:35:44,720 --> 01:35:47,559
Speaker 1: is where we get the track that Eno collaborated on.

1744
01:35:48,000 --> 01:35:50,600
Speaker 3: Oh interesting with the visions.

1745
01:35:50,240 --> 01:35:52,040
Speaker 1: Here, I think so, I think so.

1746
01:35:53,160 --> 01:35:56,720
Speaker 3: But worms gather from the desert around the frimend to

1747
01:35:56,760 --> 01:35:59,479
Speaker 3: sort of keep a vigil beside Paul, and they don't attack.

1748
01:35:59,560 --> 01:36:02,800
Speaker 3: It's almost if the worms are showing reverence from what

1749
01:36:03,000 --> 01:36:06,640
Speaker 3: deep And eventually he is awakened in Chinese arms with

1750
01:36:06,840 --> 01:36:10,040
Speaker 3: a new sense of determination and terrible purpose. He's ready

1751
01:36:10,040 --> 01:36:12,479
Speaker 3: to be the messiah of the Fremen now, and he

1752
01:36:12,560 --> 01:36:15,160
Speaker 3: stands before them in this great underground hall and gives

1753
01:36:15,200 --> 01:36:17,639
Speaker 3: a speech that is in some ways kind of powerful,

1754
01:36:17,680 --> 01:36:23,760
Speaker 3: but unfortunately contains the sentence a storm is coming. Oh man,

1755
01:36:24,040 --> 01:36:26,519
Speaker 3: if writers just to skip over that one, you don't

1756
01:36:26,600 --> 01:36:31,559
Speaker 3: need the storm is coming. Yeah, but his kind of difference,

1757
01:36:31,640 --> 01:36:33,360
Speaker 3: he's like, you know, when it arrives, it will shake

1758
01:36:33,400 --> 01:36:36,559
Speaker 3: the universe. He swears vengeance against the Emperor and chance

1759
01:36:36,680 --> 01:36:40,720
Speaker 3: long live the fighters. So the Freemen warriors stream out

1760
01:36:40,760 --> 01:36:43,320
Speaker 3: of their seech and prepare for war, and we also

1761
01:36:43,320 --> 01:36:46,000
Speaker 3: see the Emperor in his Sardikar arriving on Oracus from

1762
01:36:46,000 --> 01:36:49,320
Speaker 3: deep space with the help of the Guild Highliners, and

1763
01:36:49,680 --> 01:36:53,200
Speaker 3: the final battle comes about. So the Fremen Mountain assault

1764
01:36:53,200 --> 01:36:56,920
Speaker 3: on Arakan, led by Paul Stilgar and Gurney Halleck. They

1765
01:36:56,920 --> 01:37:00,840
Speaker 3: will use the atreades house atomics as well as the

1766
01:37:00,880 --> 01:37:04,240
Speaker 3: power of the worm. So they deploy all these thumpers

1767
01:37:04,280 --> 01:37:07,240
Speaker 3: and some of what Stilgar calls worm sign the likes

1768
01:37:07,280 --> 01:37:09,120
Speaker 3: of which God has never seen.

1769
01:37:10,360 --> 01:37:13,080
Speaker 1: Yeah, I don't know. I'm not going to geek out

1770
01:37:13,120 --> 01:37:15,280
Speaker 1: on a bunch of din stuff Bett. Yeah, I don't

1771
01:37:15,360 --> 01:37:16,960
Speaker 1: like that line, and I don't think of a freeman

1772
01:37:17,000 --> 01:37:18,280
Speaker 1: would say it like quite like that.

1773
01:37:18,520 --> 01:37:21,240
Speaker 3: I don't think so either. Yeah, that's a little uncharacteristic.

1774
01:37:21,320 --> 01:37:24,160
Speaker 3: But the worms are cool here. I like the way

1775
01:37:24,160 --> 01:37:26,679
Speaker 3: the worms are depicted is coming into the battle.

1776
01:37:27,120 --> 01:37:30,559
Speaker 1: Oh yeah, I love the addition of having these kind

1777
01:37:30,560 --> 01:37:34,639
Speaker 1: of like static electrical discharges in the air around them. Yeah,

1778
01:37:34,760 --> 01:37:35,679
Speaker 1: it looks really cool.

1779
01:37:36,080 --> 01:37:38,639
Speaker 3: As the battle is going on, there's a confrontation between

1780
01:37:38,680 --> 01:37:42,320
Speaker 3: Baron Harkonen and the Emperor. The Emperor has killed Raban

1781
01:37:42,560 --> 01:37:45,200
Speaker 3: and like stuck his head on a big spike, and

1782
01:37:45,240 --> 01:37:49,400
Speaker 3: then he's gathered people in his portable throne room. So

1783
01:37:49,720 --> 01:37:52,400
Speaker 3: they got Princess Erilan there, the Reverend mother, a bunch

1784
01:37:52,439 --> 01:37:55,679
Speaker 3: of Sardokar members of the Space and Guild. The Emperor

1785
01:37:55,680 --> 01:37:58,479
Speaker 3: gives the baron a very um disappointed in you speech.

1786
01:38:00,000 --> 01:38:02,519
Speaker 3: Before the Baron can suffer a similar fate to Rebond,

1787
01:38:02,560 --> 01:38:05,839
Speaker 3: they are interrupted by the arrival of someone in black robes.

1788
01:38:06,200 --> 01:38:09,759
Speaker 3: It is a child. Uh oh, it's Paul's sister Alia,

1789
01:38:09,920 --> 01:38:14,120
Speaker 3: and she is instantly so so unsettlingly creepy, with this

1790
01:38:14,280 --> 01:38:18,040
Speaker 3: horrible voice voiced by an adult. I think we actually

1791
01:38:18,080 --> 01:38:21,240
Speaker 3: see her talk her voice. I would describe it like

1792
01:38:21,400 --> 01:38:24,360
Speaker 3: putting on a shoe and then feeling something start moving

1793
01:38:24,479 --> 01:38:25,280
Speaker 3: under your toes.

1794
01:38:25,960 --> 01:38:30,680
Speaker 1: You know. Yeah, this kid is perfectly unsettling in a

1795
01:38:30,680 --> 01:38:35,240
Speaker 1: way very similar to the accidental unsettling character of the

1796
01:38:35,360 --> 01:38:39,519
Speaker 1: kid in an House by the Cemetery, Yeah, where Bob's

1797
01:38:39,600 --> 01:38:44,479
Speaker 1: voice was dubbed by an adult woman and he comes

1798
01:38:44,520 --> 01:38:47,559
Speaker 1: off in some sort of like a like a strange being.

1799
01:38:48,160 --> 01:38:51,719
Speaker 1: But it's intentional here and it absolutely works. This kid's creepy.

1800
01:38:52,000 --> 01:38:55,160
Speaker 3: So Alia, the sort of reverend mother child, has a

1801
01:38:55,200 --> 01:38:59,920
Speaker 3: confrontation with the emperor and with the Reverend mother guy's

1802
01:39:00,040 --> 01:39:03,679
Speaker 3: Helen Moheim. She's like, I am a messenger from Wa Deep,

1803
01:39:04,040 --> 01:39:07,639
Speaker 3: poor Emperor. I'm afraid my brother won't be very pleased

1804
01:39:07,680 --> 01:39:12,320
Speaker 3: with you. It's it's I can't really do it justice.

1805
01:39:12,360 --> 01:39:15,840
Speaker 3: It's so creepy. And the Reverend mother is like she

1806
01:39:15,880 --> 01:39:19,320
Speaker 3: is an abomination. But oh she also screams get out

1807
01:39:19,320 --> 01:39:21,840
Speaker 3: of my mind, exactly like David Bowie and The Man

1808
01:39:21,880 --> 01:39:22,679
Speaker 3: who Fell to Earth.

1809
01:39:22,880 --> 01:39:24,160
Speaker 1: Oh yeah.

1810
01:39:24,200 --> 01:39:27,360
Speaker 3: Anyway, so Paul and the Freemen use the house atomics

1811
01:39:27,400 --> 01:39:29,960
Speaker 3: to blow up the mountains that are shielding the approach

1812
01:39:30,000 --> 01:39:32,840
Speaker 3: to raken and they mount their assault. They bring lots

1813
01:39:32,880 --> 01:39:36,400
Speaker 3: of loose worms alongside them, and the freemen and the

1814
01:39:36,479 --> 01:39:39,960
Speaker 3: worms clash with the Emperor's sardikar. At some point, we

1815
01:39:39,960 --> 01:39:43,479
Speaker 3: see the Emperor personally controlling a mounted gun to fire

1816
01:39:43,520 --> 01:39:45,920
Speaker 3: at the worms. Not sure about that choice, like he

1817
01:39:45,960 --> 01:39:49,840
Speaker 3: doesn't seem like much of a hands on warrior. But

1818
01:39:49,920 --> 01:39:54,360
Speaker 3: also also the Emperor tasks Baron Harkonen with destroying Alia.

1819
01:39:54,479 --> 01:39:57,200
Speaker 3: But of course Alia I think she's going to get

1820
01:39:57,200 --> 01:39:59,439
Speaker 3: the better of this encounter, and she does.

1821
01:40:00,120 --> 01:40:03,240
Speaker 1: She Like what exactly does she do to the baron?

1822
01:40:03,680 --> 01:40:06,839
Speaker 1: She jabs him with the with the gomjabar I believe,

1823
01:40:07,120 --> 01:40:10,000
Speaker 1: Oh yeah, okay, and kills him like this is the

1824
01:40:10,040 --> 01:40:12,439
Speaker 1: death blow. She is Ali of the knife after all.

1825
01:40:12,880 --> 01:40:13,840
Speaker 1: Oh okay. Yeah.

1826
01:40:13,840 --> 01:40:16,080
Speaker 3: We see her like she's so happy about it. She's

1827
01:40:16,160 --> 01:40:19,479
Speaker 3: dancing around with her eyes closed holding a knife. And

1828
01:40:19,520 --> 01:40:21,960
Speaker 3: we also see the baron he flies away as he

1829
01:40:22,040 --> 01:40:25,160
Speaker 3: is dying and then is chomped by by a worm from.

1830
01:40:25,040 --> 01:40:28,519
Speaker 1: The That's a bit much. That's a bit much, okay.

1831
01:40:28,600 --> 01:40:31,520
Speaker 3: So the final confrontation, you know, the freemen are victorious

1832
01:40:31,560 --> 01:40:34,000
Speaker 3: in the battle. They've taken the city. They gather everybody

1833
01:40:34,080 --> 01:40:37,200
Speaker 3: all of the power players in like the big room

1834
01:40:37,240 --> 01:40:39,559
Speaker 3: in the palace at Arikene, and and Paul goes up

1835
01:40:39,560 --> 01:40:42,200
Speaker 3: to the emperor and his retinue and demonstrates his power.

1836
01:40:42,280 --> 01:40:45,720
Speaker 3: He intimidates the Emperor and silences the reverend mother with

1837
01:40:45,760 --> 01:40:49,439
Speaker 3: a powerful word. Also, she's like ah, and she appears

1838
01:40:49,479 --> 01:40:50,400
Speaker 3: to have metal teeth.

1839
01:40:50,520 --> 01:40:54,360
Speaker 1: Now, oh wow, maybe she has ixy and teeth. I

1840
01:40:54,360 --> 01:40:55,160
Speaker 1: don't know. Maybe.

1841
01:40:55,200 --> 01:40:58,080
Speaker 3: But so Paul is confronted by the remaining member of

1842
01:40:58,120 --> 01:41:00,559
Speaker 3: how Sarkona and the young fade Rautha. They're have to

1843
01:41:00,560 --> 01:41:03,840
Speaker 3: face one another, of course, and fade Ratha takes the

1844
01:41:03,880 --> 01:41:06,519
Speaker 3: Emperor's blade in his hand for the fight. This is

1845
01:41:06,560 --> 01:41:09,240
Speaker 3: going to be a knife fight to the death. There

1846
01:41:09,280 --> 01:41:11,200
Speaker 3: are things I really like about this fight. I like

1847
01:41:11,280 --> 01:41:13,879
Speaker 3: how there are people playing pyramid shaped drums.

1848
01:41:14,200 --> 01:41:18,519
Speaker 1: Yeah, those are cool. Sting keeps yelling I will kill you.

1849
01:41:20,880 --> 01:41:22,680
Speaker 1: I love that line. This has always been one of

1850
01:41:22,680 --> 01:41:25,559
Speaker 1: my favorite cheesy lines from this film and just in

1851
01:41:25,600 --> 01:41:26,599
Speaker 1: from film in general.

1852
01:41:26,800 --> 01:41:28,840
Speaker 3: We already talked about this difference, but I do like

1853
01:41:28,880 --> 01:41:31,160
Speaker 3: that this keeps. Fade Ratha is a cheater. He's not

1854
01:41:31,280 --> 01:41:34,880
Speaker 3: the kind of honorable fighter in a way honorable fighter

1855
01:41:34,960 --> 01:41:38,639
Speaker 3: that they make Fade Rotha in the new movie Fade

1856
01:41:38,680 --> 01:41:41,519
Speaker 3: Ratha here tries to cheat with a poisoned barb, but

1857
01:41:41,640 --> 01:41:44,200
Speaker 3: Paul gets arounded by saying, I will bend like a

1858
01:41:44,280 --> 01:41:46,759
Speaker 3: read in the wind, and he sort of like binds

1859
01:41:46,840 --> 01:41:50,479
Speaker 3: and lets Fade come around him and then stabs him

1860
01:41:50,640 --> 01:41:53,479
Speaker 3: in a very very strange way.

1861
01:41:54,400 --> 01:41:56,559
Speaker 1: Yeah, this is this is a quality kill, and this

1862
01:41:56,640 --> 01:41:58,840
Speaker 1: is I think this falls in line with what you

1863
01:41:58,880 --> 01:42:01,559
Speaker 1: were talking about in the first so we did about

1864
01:42:02,080 --> 01:42:06,920
Speaker 1: the Lynchian approach to portrayals of death, because he drives

1865
01:42:07,680 --> 01:42:12,960
Speaker 1: his knife up through Fade's chin into his brain, and

1866
01:42:13,000 --> 01:42:16,280
Speaker 1: then after Fad has fallen dead under the floor, he

1867
01:42:16,439 --> 01:42:20,720
Speaker 1: uses the weirding voice to shatter the stone floor beneath him,

1868
01:42:20,840 --> 01:42:23,679
Speaker 1: a moment that really feels to reson like it resonates

1869
01:42:23,680 --> 01:42:26,600
Speaker 1: with a kind of biblical power. You know. It's a

1870
01:42:26,600 --> 01:42:29,400
Speaker 1: moment that I think really legitimately rules in this film

1871
01:42:29,800 --> 01:42:32,920
Speaker 1: and cements the ascendant might of Paul Triades.

1872
01:42:33,400 --> 01:42:36,439
Speaker 3: I agree. I think it's very cool. They also say,

1873
01:42:36,439 --> 01:42:39,080
Speaker 3: you know, Ussol no longer needs a weirding module. He

1874
01:42:39,120 --> 01:42:41,240
Speaker 3: can just like speak a word without the module and

1875
01:42:41,240 --> 01:42:43,880
Speaker 3: make things shatter. And from here we just sort of

1876
01:42:43,880 --> 01:42:47,479
Speaker 3: get a rather quick wrap up. Like the Princess, Irelan

1877
01:42:47,640 --> 01:42:50,479
Speaker 3: narrates that Maadib had become the hand of God, fulfilling

1878
01:42:50,520 --> 01:42:53,160
Speaker 3: the frim and prophecy. Where there was war, Maadeeb would

1879
01:42:53,200 --> 01:42:55,840
Speaker 3: now bring peace where there was hatred. Madeeb would bring love,

1880
01:42:56,000 --> 01:42:56,519
Speaker 3: et cetera.

1881
01:42:57,520 --> 01:43:00,439
Speaker 1: Uh yeah, yeah, is that what the story he is?

1882
01:43:00,520 --> 01:43:03,599
Speaker 1: I don't think so, not so much. Yeah.

1883
01:43:04,040 --> 01:43:07,120
Speaker 3: So in the end, yeah, we get this very heroic

1884
01:43:07,439 --> 01:43:10,519
Speaker 3: kind of conclusion, and in fact it goes beyond heroic

1885
01:43:10,560 --> 01:43:15,400
Speaker 3: and becomes like transcendent, almost religious, where Paul literally causes

1886
01:43:15,400 --> 01:43:16,040
Speaker 3: a miracle.

1887
01:43:16,760 --> 01:43:20,800
Speaker 1: Yes, Paul makes it rain on Oracus. It's a in

1888
01:43:20,840 --> 01:43:22,120
Speaker 1: a way, I have to be fair. It is a

1889
01:43:22,120 --> 01:43:25,120
Speaker 1: great visual capper for the film, but it is one

1890
01:43:25,160 --> 01:43:27,840
Speaker 1: that makes zero sense within the context of the film

1891
01:43:27,840 --> 01:43:30,800
Speaker 1: and has no footing in the novel. Because Paul does

1892
01:43:30,880 --> 01:43:34,280
Speaker 1: not control the weather and greening efforts on Oracus, which

1893
01:43:34,320 --> 01:43:37,519
Speaker 1: I've been alluded to and are part of the world

1894
01:43:37,520 --> 01:43:40,760
Speaker 1: of Dune. These are going to be gradual, These are

1895
01:43:40,760 --> 01:43:42,960
Speaker 1: going to be focused on particular parts of the planet.

1896
01:43:43,400 --> 01:43:46,639
Speaker 1: So this moment is all feels and no sense. Yeah.

1897
01:43:46,720 --> 01:43:49,639
Speaker 3: Yeah, So it's a very different kind of ending than

1898
01:43:49,800 --> 01:43:52,080
Speaker 3: we get from Dune part two of the New One,

1899
01:43:52,160 --> 01:43:56,120
Speaker 3: which does go a longer way to try to to

1900
01:43:56,720 --> 01:44:00,400
Speaker 3: show Paul's change and change not for the better, his

1901
01:44:00,640 --> 01:44:04,559
Speaker 3: arc toward tyranny and his coldness, especially the most painful

1902
01:44:04,560 --> 01:44:06,240
Speaker 3: thing being at the end of the movie, the way

1903
01:44:06,280 --> 01:44:10,840
Speaker 3: he rejects Shawni for his you know, political alliance with

1904
01:44:11,320 --> 01:44:14,320
Speaker 3: House Corono by saying he's going to marry Princess Irolin.

1905
01:44:14,439 --> 01:44:16,800
Speaker 1: In the new movie, yeah, yeah, the movie does a

1906
01:44:16,800 --> 01:44:18,760
Speaker 1: great job of playing up the fact that this is

1907
01:44:18,880 --> 01:44:23,120
Speaker 1: leading into a massive holy war, Interstellar Holy war. It

1908
01:44:23,200 --> 01:44:25,519
Speaker 1: is not going to be peace and love across the universe.

1909
01:44:26,320 --> 01:44:29,680
Speaker 1: It is going to be pretty grim days ahead, and

1910
01:44:29,760 --> 01:44:33,559
Speaker 1: it is because Paul has risen to such power.

1911
01:44:33,800 --> 01:44:35,519
Speaker 3: On the other hand, if you're just trying to make

1912
01:44:35,560 --> 01:44:38,360
Speaker 3: a standalone film, the Lynch movie has a much more

1913
01:44:38,360 --> 01:44:39,120
Speaker 3: feel good ending.

1914
01:44:39,600 --> 01:44:39,840
Speaker 1: Yeah.

1915
01:44:39,920 --> 01:44:41,639
Speaker 3: I don't know if that's something. I don't know if

1916
01:44:41,640 --> 01:44:45,320
Speaker 3: that's good. It's not really what the story is, but

1917
01:44:45,760 --> 01:44:49,439
Speaker 3: it doesn't feel as sad as the ending of the

1918
01:44:49,439 --> 01:44:49,800
Speaker 3: New one.

1919
01:44:50,240 --> 01:44:53,040
Speaker 1: Yeah. Yeah, the new film has a grimness and a

1920
01:44:53,080 --> 01:44:58,000
Speaker 1: sadness to it. My son watched the has only seen

1921
01:44:58,040 --> 01:45:01,439
Speaker 1: these the new adaptations, and he when I was asking

1922
01:45:01,760 --> 01:45:04,639
Speaker 1: him about how he felt about the movies, he was like, Oh,

1923
01:45:04,640 --> 01:45:08,479
Speaker 1: it's really cool, but it's kind of joyless. And then

1924
01:45:08,560 --> 01:45:10,920
Speaker 1: that is true. I mean, the film is not a

1925
01:45:11,040 --> 01:45:18,639
Speaker 1: joyful experience, especially as it wraps up. And I would

1926
01:45:18,640 --> 01:45:22,080
Speaker 1: say that Dune in general is a very joyful thing,

1927
01:45:22,160 --> 01:45:25,160
Speaker 1: and certainly in my own life, but a lot of

1928
01:45:25,200 --> 01:45:27,240
Speaker 1: that is in the details of everything in the world

1929
01:45:27,240 --> 01:45:31,080
Speaker 1: building and the ecology and the philosophy and the use

1930
01:45:31,120 --> 01:45:34,880
Speaker 1: of religion and history. It's like the sum of the

1931
01:45:34,920 --> 01:45:40,240
Speaker 1: whole is joy, but the actual events that occur in

1932
01:45:40,320 --> 01:45:42,720
Speaker 1: the film here, especially towards the end, are not.

1933
01:45:43,320 --> 01:45:45,000
Speaker 3: I feel like there's so much more I could say,

1934
01:45:45,040 --> 01:45:47,720
Speaker 3: but we've gone on way too long already, so I

1935
01:45:47,760 --> 01:45:49,200
Speaker 3: think we must wrap it up.

1936
01:45:49,640 --> 01:45:53,719
Speaker 1: Yeah, if there's any unfinished business and we can discuss

1937
01:45:53,760 --> 01:45:56,479
Speaker 1: it in future listener mail installments, that'll be a good

1938
01:45:56,479 --> 01:45:59,719
Speaker 1: place for that. And likewise, Yeah, if you have thoughts

1939
01:46:00,080 --> 01:46:04,960
Speaker 1: on the new Dune adaptations, the nineteen eighty four's Dune

1940
01:46:05,000 --> 01:46:07,080
Speaker 1: that we've been discussing in this episode, your history with

1941
01:46:07,120 --> 01:46:09,880
Speaker 1: the film, any of the merch any of that weird

1942
01:46:09,880 --> 01:46:12,760
Speaker 1: merchandise they put out, like those strange action figures, are

1943
01:46:12,800 --> 01:46:16,080
Speaker 1: these legitimately cool revel model kits that I don't think

1944
01:46:16,120 --> 01:46:19,000
Speaker 1: anybody bought initially, but now go for you know, one

1945
01:46:19,080 --> 01:46:22,120
Speaker 1: hundreds of dollars online, writ in We would love to

1946
01:46:22,160 --> 01:46:25,560
Speaker 1: hear from you. We'll even hear thoughts about those. The

1947
01:46:25,840 --> 01:46:28,320
Speaker 1: mini series, The sci Fi Mini Series, which again has

1948
01:46:28,360 --> 01:46:31,439
Speaker 1: a great cast, but some CGI that has really not

1949
01:46:31,520 --> 01:46:35,280
Speaker 1: aged well. Just a reminder to everybody that's stuff to

1950
01:46:35,280 --> 01:46:37,600
Speaker 1: blow your mind. Is primarily a science culture podcast, with

1951
01:46:37,720 --> 01:46:40,880
Speaker 1: core episodes on Tuesdays and Thursday, short form episode on Wednesdays.

1952
01:46:41,280 --> 01:46:43,360
Speaker 1: On Mondays we do listener mail, and on Fridays we

1953
01:46:43,479 --> 01:46:45,720
Speaker 1: just set aside most serious concerns to just talk about

1954
01:46:45,720 --> 01:46:48,680
Speaker 1: a weird movie on Weird House Cinema. If you want

1955
01:46:48,680 --> 01:46:50,439
Speaker 1: a complete list of all the movies we've covered so far,

1956
01:46:50,439 --> 01:46:52,400
Speaker 1: and sometimes a peek ahead of the future, go to

1957
01:46:52,479 --> 01:46:54,320
Speaker 1: letterbox dot com. It's l E T T E r

1958
01:46:54,400 --> 01:46:57,000
Speaker 1: boxd dot com. We are Weird House on there and

1959
01:46:57,040 --> 01:46:58,439
Speaker 1: we've got a list for you to look at.

1960
01:46:58,880 --> 01:47:03,040
Speaker 3: Huge thanks as always to our excellent audio producer, JJ Pozway.

1961
01:47:03,400 --> 01:47:05,120
Speaker 3: If you would like to get in touch with us

1962
01:47:05,160 --> 01:47:07,759
Speaker 3: with feedback on this episode or any other to suggest

1963
01:47:07,880 --> 01:47:09,960
Speaker 3: topic for the future, or just to say hi. You

1964
01:47:10,000 --> 01:47:12,640
Speaker 3: can email us at contact at stuff to Blow your

1965
01:47:12,680 --> 01:47:20,120
Speaker 3: Mind dot com.

1966
01:47:20,240 --> 01:47:23,160
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1967
01:47:23,240 --> 01:47:26,040
Speaker 2: more podcasts from my heart Radio, visit the iHeartRadio app,

1968
01:47:26,200 --> 01:47:29,440
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.