Dune: Part Two // The Lovers - Rene Magritte

[Foaming at the mouth while gripping you by the shoulders] You don't understand. Chani leaving at the end was about so much more than the romance. It outlined the entire point of the story. Chani in the film STANDS for the POINT Herbert was trying to make. About how wrong Pauls actions really were, about how religion was being utilised as a tool of political power, about how her own people were turned into tools of invaders. Chani is the voice of reason in this film and she leaves. She just leaves. She wants nothing to do with what Paul has become. Do you understand.

The real tragedy of Dune (which the movies did an excellent job of portraying) is that almost none of the characters we see have any real choice in what they do. The only choices they have are in how they do them.

Duke Leto must take House Atreides to Arrakis, or be declared a traitor to the Imperium and hunted down. He knows it's a trap and that the Emperor is, in the very best case scenario, setting him and his family up for a serious reversal of their fortunes (far more likely, he's outright scheming to get them killed). But he doesn't have a choice. He must go to Arrakis. He does go to Arrakis. He dies.

Paul and Jessica must flee into the desert or the Harkonnen soldiers will kill them both brutally. They must go to the Fremen for refuge or the desert will kill them. They go. They find that the Fremen have already begun to mythologise Paul. He's the Mahdi, the Lisan al-Gaib. There is no option for Paul to be a normal person here. He is either the messiah or he is a false prophet, and false prophets in a nation of true believers don't live for long.

So Paul fits himself into the mold of the myth. He becomes Muad'dib and leads the Fremen in war because they believe too much in him to let him be anything less. Is it manipulation? Yes. But because the Bene Gesserit have been manipulating the Fremen for centuries, Paul has no choice but to continue it if he wants to live.

He sees the holy war at the end of every timeline by glimpses and he fights to avoid it. To avoid it, he becomes the Kwizatz Haderach and gains the ability to fully see timelines, and thereby he makes himself that much more of the Fremen messiah and brings himself one step closer to the holy war. Every choice he makes is a choice for survival and an attempt to avoid that war, the war he cannot escape because every step he makes along the path to survival is one more step towards the war. He has no more choice in what he becomes than his father had in whether or not he went to Arrakis.

The only people who ever had a choice were the Emperor and Gaius Helen Mohiam. They made their choice, to exterminate House Atreides, and thereby they took everyone's choices away, including their own. Once they sent House Atreides to Arrakis, the entire plot was inevitable.

been thinking about that scene in dune 2021 where rabban has his little temper tantrum, causing the two maids in the room to flinch in fear… cut to piter (david dastmalchian) looking completely unfazed, bored even, by rabban’s rage. i thought it was a really cool way of establishing character through contrast, so here’s more of the same. rabban the beast, and beautiful, perfect, unflinching piter…

TIMOTHÉE CHALAMET, ZENDAYA “Dune” — 2020, Behind The Scenes

for @dafoes

Sting as Feyd Rautha DUNE (1984) - dir. David Lynch

The Villeneuve Dune(s) can be broadly interpreted as one of the two possible futures Paul sees in the original novel

Spoilers below for Dune Part Two. (And for the original novel, but that's been out since the 60s.)

He had seen two main branchings along the way ahead--in one he confronted an evil old Baron and said: "Hello, Grandfather." The thought of that path and what lay along it sickened him.

The other path held long patches of grey obscurity except for peaks of violence. He had seen a warrior religion there, a fire spreading across the universe with the Atreides green and black banner waving at the head of fanatic legions drunk on spice liquor. Gurney Halleck and a few others of his father's men--a pitiful few--were among them, all marked by the hawk symbol from the shrine of his father's skull.

"I can't go that way," he muttered. "That's what the old witches of your schools really want."

Obviously the Doylist explanation for why there are differences in the new films is that the original book is 60+ years old and has certain elements no longer in cultural vogue that were adapted out or altered to better fit modern sensibilities, and I'm all for that. But I did find it interesting that there is an explicit moment at the end of Part 2 where Paul confronts the Baron, utters the "Hello, Grandfather," line, and kills him.

This isn't necessarily because there is any one choice that Paul makes throughout the course of the two movies that leads here instead of to the jihad. In point of fact, most of the changes that drive him here are caused by choices made in the adaptations of the films.

The causal chain that leads to Paul undertaking the spice agony is his failure to predict the attack on Sietch Tabr, rather than his failure to predict Gurney's attack on Jessica; this is, of course, necessitated by the omission of the Harkonnen scheme in part 1 to impair Thufir's Mentat efficiency and potentially drive a wedge between Leto and Jessica by framing Jessica as the traitor. The final push that causes him to make the decision is, of course, the vision he experiences of an alternate future in which he didn't have to kill Jamis, with Jamis counseling him to climb as high as possible before the hunt so he can see as far as possible. (In other words, he ignores Stilgar's advice of not listening to the djinn.)

Similarly, his killing of the Baron is necessitated by the adaptational choice to keep Alia as a fetus so the audience doesn't have to deal with a two-year-old talking like an adult and killing the Baron, which they probably did because it would have been distracting.

However, I might argue that a Watsonian explanation for the film omitting the two-year time-jump lies specifically with Paul's decision to explicitly disavow the prophecy when Jessica undergoes the spice agony, and to explain to the Fremen that her survival is because of her Bene Gesserit training. He then attempts to secure his position with the Fremen through secular deeds, rather than letting Jessica carve a place for them with the BG prophesy.

This disagreement between the two of them causes her in turn to take a more active approach in cultivating Paul's status as Lisan al-Gaib, which accelerates the timeline of the Fremen being ready to submit to him. In turn, Paul focusing more strongly on guerrilla war against the Harkonnens accelerates the timeline of Feyd-Rautha being put in charge of Arrakis and cracking down hard in the north, leading to the aforementioned crisis point of Sietch Tabr being attacked without Paul's foreknowledge.

Notably, while we do see the shrine of Leto's skull in the film, we only see it in a vision; there is no moment in the movie where Paul explicitly finds his father's remains and enshrines them. Hence, going from a strict interpretation of the film's "text," this is not the future in which the legions are marked by the shrine, because the shrine doesn't exist. It is the other future. The compression of time means that Paul and Chani's relationship is much newer and more fragile and doesn't survive the strain of his apotheosis, and that's what sickens him most.

Of course, the "Hello, Grandfather" path also leads to the jihad, because Paul's tragedy is that his very existence was always going to lead to it, regardless of what he chose to do.

And Paul saw how futile were any efforts of his to change any smallest bit of this. He had thought to oppose the jihad within himself, but the jihad would be. His legions would rage out from Arrakis even without him. They needed only the legend he already had become. He had shown them the way, given them mastery even over the Guild which must have the spice to exist.

Obviously none of this passes explicit, close scrutiny, and is more of a fun "if you squint and look at it a certain way it kind of makes sense." I expect that the line was put in as a nod to the original book, no more or less, but making up head-canons like this is fun for me and if even one other person finds it edifying then I consider sharing it time well spent!

“No more terrible disaster could befall your people than for them to fall into the hands of a hero.” —Dune, Frank Herbert

Storyboards by Jean ‘Moebius’ Giraud for Jodorowsky’s Dune (1974-75)

Dune | Irulan Corrino. Princess, Imperial Consort

something funny and highly specific to consider about feyd-rautha from a meta perspective is that all of the actors who have played him either are musicians or have played a musician.

in lynch's dune, feyd is played by Sting, lead vocalist and songwriter for The Police.

in jodorowsky's planned adaptation of dune, feyd was planned to be played by (and his design highly based on) Mick Jagger.

in villeneuve's dune, feyd is played by Austin Butler, who shot to fame for his portrayal of Elvis.

also worth noting: all three of these musicians have — to a certain degree — an element of rebelliousness and sex appeal that characterises their 'on-stage' persona.

i mean, just take a look at this quote about Mick Jagger from Philip Norman's symphony for the devil: the rolling stones story:

"[...] his conflicting and colliding sexuality: the swan's neck and smeared harlot eyes allied to an overstuffed and straining codpiece."