Dune: Part Two. I got unexpected if mixed pleasure from Dune 1 when my Oscar duty demanded I see it in 2022 despite my general indifference-verging-on-hostility to sci-fi type pictures. With Dune 2 I got more expected if still mixed pleasure. The effects that wowed me in 2022 -- “giant flying fortresses, undulating deserts, massive sandworms with mouths like floral lampreys, dragonfly copters” – are here again, as well as huge and grotesque displays of the evil whitefaced Harkonnens’ power and cruelty. And! Plus! We get our hero Paul Atreides actually riding a “great-grandmother” sandworm (like surfing with mountaineering axes) to win still more approbation from the Fremen, the crypto-Islamic desert rebels – and shore up the growing consensus among them that he’s the Messiah who’ll defeat the Harkonnens and make their desert a green paradise. Plus Paul (now dubbed Muad’dib to stress his gone-nativeness) and hot rebel Chani finally get together, in a very chaste and sweet way, as befits what is essentially a children’s story to which grown-up craftsmanship has been applied. And under Maestro Denis Villeneuve the craft is dazzling. If the business of getting us acquainted with the Duneiverse in Dune 1, being mostly done, is no longer there to hold those of us who are not already pre-sold, good old-fashioned epic filmmaking gets us through this one. Come Dune 3 I am definitely seeing this shit in IMAX.
I’m Still Here. Spanish and Latin American filmmakers take their years of dictatorship and the attendant horrors seriously. Walter Salles (The Motorcycle Diaries, Central Station) cleverly gives us plenty time at the outset to get comfortable with the enlightened-liberal middle-class family life of former congressman Rubens Paiva, his wife Eunice, and their five kids in Rio de Janeiro in 1970s Brazil. They frolic on the beach, have friends to meals served by a maid, engage in loving banter, and don’t talk much about the fact that Rubens stopped being a congressman because the dictators threw him out, and that military convoys have started running the streets of Rio. Then one day some greasy characters show up to remove Rubens for “questioning”; they occupy the Paivas’ house a few days, then take Eunice and the eldest daughter as well. The daughter is released after a day, Eunice after twelve days. Rubens never comes back, All this unfolds with deliberate realism, so that one might imagine it happening to oneself (a good rehearsal for what we might expect here, btw, in years to come). Eunice’s job is now to keep it together for her family, then for herself, and finally to see justice done. Selton Mello as Rubens is a cuddly bear who betrays only fleeting shadows of his own stress and fear; as Eunice, Fernanda Torres is self-possessed from the start, so her handling of the ordeal is best-case scenario -- which makes it more frightening, because it shows that terrorism terrorizes even the seemingly least-shatterproof – but, to me at least, also inspiring, because it shows what can be endured may also be rectified. I also must mention Torres’ mother and the star of Central Station, Fernanda Montenegro, as Eunice in old age and with Alzheimer’s, in a really beautifully engineered and deeply moving coda.
OK! See you in a couple of hours with predix!
No comments:
Post a Comment