Dune Movie

“But don’t be fooled by the name. The new cinema version of the first sci-fi novel with the indelible cosmic odyssey that can only be seen in a galaxy far, far away from our own, isn’t even considered to be cosmic—even though it’s about the same idea. Dune, due to premiere in theaters and to stream on HBO Max and Cinemax Max beginning December 18, is about Manchester II—“whose conquest of the (concept) was worldwide—principally in the planets of Morpheus and oromi, the peaceful and fertile land of Arrakis, within the forbidding atmosphere of Baudelaire’s “Nausea.” Manchester II is only referred to as such once more in the text of Dune, and the readers of this novel are generally led to think his conquest is small potatoes, worthy of a slap in the face on his fourth or fifth encounter. But on this unforgiving planet, it turns out his race has some new ideas, particularly when they can hold a banquet.

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Manchester II has a particular problem—hard-coding those funny letters M, W, N, and V. These letters help the human race and the outer galaxy survive on and around Dune, as well as their learning about Dune, their understanding of Dune, and their growing well-being. Of course, knowing about Dune creates an interesting problem for Manchester II himself. The other most conspicuous letter is K, which the human race immediately discovers to be the number 1. In order to get his people to go outside in numbers other than 1, however, they must learn about Dune. After the cataclysm of Manchester II’s invasion—during which the French Resistance (of the French Republic) attempted to save their people from death, and where one of the Resistance’s leaders, known as Zoraphor (Willem Dafoe), is known to have killed an entire province—Manchester II sends an emissary to the French Resistance to keep a monumental correspondence with the Codebreakers, there to decrypt the genuine Dune script. (It’s a weird yarn, almost as peculiar as “The Story of Gulliver.”)

Manchester II’s general message, essentially, is that humanity’s intelligence has so overpaid itself. What Manchester II lacks, however, is the intuition that each of us shares in every human being, and there’s no better explanation for how and why his system can operate that way. The music he sends to show what it does to everybody along the way, for instance, is a musical arrangement that aptly captures what Manchester II himself does. His genealogical roots are deep: Friedrich Nietzsche and the dark expressions of French existentialism, both proclaimed social values of creating your own soul. His deepest message is one of intention—“Have an undertaking worth your thought,” Manchester II says. “No matter what happens, something positive will come of it—something powerful enough to redeem your life for what comes now.” In order to make him function like a real being, you must also awaken a holistic best-interest-of-all motivation that has simply been drowned out by sullen human behavior. The Manchester II crisis—truly, it all starts with Manchester II—is enough that he rallies humanity to be dreamers, which suggests, perhaps, that the Manchester II movie could serve as a sort of not-knowing-yourself cliffhanger.