A Victorian surgeon rescues a heavily disfigured man who is mistreated while scraping a living as a side-show freak. Behind his monstrous facade, there is revealed a person of intelligence and sensitivity.
After a car wreck on the winding Mulholland Drive renders a woman amnesiac, she and a perky Hollywood-hopeful search for clues and answers across Los Angeles in a twisting venture beyond dreams and reality.
In the far future, a duke and his family are sent by the Emperor to a sand world from which comes a spice that is essential for interstellar travel. The move is designed to destroy the duke and his family, but his son escapes and seeks revenge as he uses the world's ecology as one of his weapons. Written by
John Vogel <email@example.com>
David Lynch has said he considers this film the only real failure of his career. To this day, he refuses to talk about the production in great detail, and has refused numerous offers to work on a special edition DVD. Lynch claims revisiting the film would be too painful an experience to endure. See more »
When Jessica and the Reverend Mother Mohiam enter Paul's room before he is to be tested, their height differences change with each subsequent shot. Jessica is much taller than Mohiam in the first shot, much shorter in the next, back to being taller in the next, then the same height or shorter for the remainder of the scene. See more »
A beginning is a very delicate time. Know then, that it is the year 10191. The known universe is ruled by the Padisha Emperor Shaddam IV, my father. In this time, the most precious substance in the Universe is the spice melange. The spice extends life. The spice expands consciousness. The spice is vital to space travel. The Spacing Guild and its navigators, who the spice has mutated over four-thousand years, use the orange spice gas, which gives them the ability to fold space. That...
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This Film Is Dedicated To Federico de Laurentiis See more »
There are two groups of people who write at IMDb, the pessimists and the optimists. The pessimists love to complain about something or other in a film. The optimists try and find something good. DUNE probably ranks as one of those that feels like it's going to be good, but leaves a confusing, lackluster feeling in its wake. In an attempt to be optimistic, I will try focusing ONLY on the good parts. This might be tough.
I will give David Lynch credit (indeed, as Frank Herbert did when he saw this) for trying to take an enormous amalgamation of things and ideas from the novel and trying to turn them into a movie. Lynch's visual style is very raw here and everything in the production design seems to be under his spell.
The sets, costumes, cinematography, and choice of cast is excellent. All of them lend a flavor of difference that transcends whatever confusion is on the screen. (On the side note: I was sick of hearing Kyle MacLachlan repeating himself over and over) The creature designs by Carlo Rambaldi are very Lynch-ien, even though we rarely get to see them.
Overall, a sci-fi epic that requires a lethargic butt, an open mind, and a copy of Frank Herbert's novel to enjoy. Still, it is far superior to the TV miniseries of late (I know saying that is blasphemy to some). I refuse to rate this with stars or anything else.
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