The Symmetry and Symbolism of Dune

  

Our channel and content cater to those who love and appreciate the art of fictional film making, especially when it comes to high-level science fiction films. We also like to read. So, when it came to making a choice for this week’s content, “Dune” (Warner Bros. 2021) was something of an easy decision.  

There have been a few adaptations of the novel DUNE by Frank Herbert (1965). This is due to the novel’s influence on several science fiction titles—Yes, that one and the other one too. In recent years, Director Denis Villeneuve revealed to everyone that he had his mind blown by Mr. Herbert’s prose. That was something to which I could relate. In 2012, I “borrowed” a paperback from my job’s community reading corner and never gave it back—I’m sorry Jesus.  

It was an undertaking, to say the least, a love affair, to say the most. Instantly, I understood the reasons why the previous “Dune” (Universal Pictures 1984) film was so amazing and at the same time disappointing to the narrative’s base. It was basically a piggyback movie, a money-grab, as it were, because certain other sci-fi classics (rhymes with bar floors) were killing it.  

That’s not so much the case these days, as there is and always has been a marked difference between the story of “Dune” and every other science fiction story ever written. It was a genius move for Warner Bros. to readapt and hitch their wagon to the rising brilliance of Villeneuve, who saw and sees what “Dune” is: High Art. With slight variation, Villeneuve meticulously follows the source material and highlights what made the tale of House Atreides wonderful to begin with. 

We aren’t so much into spoilers on the platform, so I won’t delve too far into the 2021 film adaptation. However, I will attempt to promote this awesome fiction as best I can by saying read the book and then watch whichever “Dune” you like. The 2021 film is the best and it is the first of two parts, I assume, will cover the first of Herbert’s eponymous novels. If at all the second Villeneuve endeavor is anything like the first, then everyone who loves the story—the action, the intrigue, the adventure, the symbolism, the altogether not-so-subtle social and political commentaries—of “Dune” is going to love the sequel.  

With that in mind, we’re here to talk about what “Dune” symbolizes and how well rounded it is. Hopefully, we, the audience, all learn from some of its example. So, let’s get into it. 

Symbols 

The 2021 film begins on the desert planet Arrakis. The character, Chani (played by Zendaya) narrates a summary of the planet’s history. We learn about the House Harkonnen, their paramilitary rule, the resulting subjugation, and rebellion of the people called The Fremen, and the extraction and exploitation of a substance known as Spice. Another character is Spice, because it is used by almost everyone and for nearly everything within the story’s universe. It is a mind- and body-altering pharmaceutical, with a multitude of beneficial properties, including the evolution of the human species. Moreover, it is essential to interstellar travel. In pursuit of Spice and the obvious wealth that comes of manufacturing the substance, the House Harkonnen have kept, through violence, the planet Arrakis for many decades. Then one day they just got up and left. 

That is where the story of “Dune” truly begins in terms of its symbolism. Already, we’ve learned about Spice, and we know its importance to the universe. As well we’re shown who the little guy in the story is. So, there exists the idea that the story will be told from at least one perspective, in which a person or people are not in control.  

Such is the case of Paul Atreides, who lives on the lush and fertile planet Caladan. Water is plentiful where he is from, and he is the son of Duke Leto Atreides and the Bene Gesserit Lady Jessica. Paul is awakening from a dream of Chani when he appears. His subconscious mind has linked him directly to the desert several worlds away from him. After Paul’s introduction, House Atreides is paid a visit by an imperial messenger. On behalf of Emperor Shaddam IV, that messenger declares that House Atreides will take charge of Arrakis. 

The use of prescient visions doesn’t give that much away. It adds to the overall mystique and plays up some genius tricks of the unfolding intrigue. Villeneuve employs the flash of Chani in the desert because without that we cannot know Paul is different from ourselves. Furthermore, we would have then no real idea how different his entire universe is to ours.  

Throughout the film, we’re given gems such as The Voice, an all-commanding albeit human sound. We’re introduced to the Bene Gesserit via the Reverend Mother Gaius Helen Mohiam, who commands not only Jessica but Paul as well. The Reverend Mother puts The Voice to use like no one else in the pilot stages of the film and forces Paul to place his right hand inside of a box. The box is filled with pain and if Paul removes his hand, he dies. 

The eye, the hand, and the voice are classic symbols. The eye is representative of the natural and unnatural forms of sentience. Whether it is seen or unseen, the hand is representative of guidance given and received. It is there in place of the author and bluntly tells you (that’s right, you, dear reader) to either take control, let it go or do both. The voice adopts and adapts those characteristics, by asking and answering the burning questions.  

Translate these symbols as you like. Put them wherever you want and bend them to appear abstract, as they are all of them representative of the mind at large. By adhering to Frank Herbert’s original narrative, Denis Villeneuve creates a space for the metaphysical body to inhabit, and for those metaphors to come alive.  

Symmetry

We touched on Spice, the Fremen, the House Harkonnen, the Bene Gesserit, and the Emperor before. Let’s look a little deeper.  

Every story needs a hero, a villain, and a worthy cause for the protagonist to fight the antagonist. “Dune” (2021) is no different. Villeneuve again adheres to the plot of the novel, by making the House Harkonnen the bad guys. He also does an amazing job, tying the fictional Spice to the countless high-value commodities of our reality. Spice heals the body, it expands the mind, and enables human transcendence. For lack of a better word, Spice, and the industry leader thereof (Harkonnen) serve as a collective “super-metaphor” for precious stones, minerals, oil, drugs, etc. and the so-called barons of all respective industries.  

In addition, the film says much about class and how/why the brutes and little guys get eaten by the big guy. The Fremen are the people of Arrakis. They are native to the planet, they’re one with its nature and, therefore, one with Spice itself. They don’t care about wealth. Their motivations are surviving the desert, maintaining the culture that surrounds their main objective, and being free—I mean, come on, it’s in the name. While the story of “Dune” is told from the perspective of aristocracy, the Fremen represent the struggles of the working class and the potential balance of power. They’re caught beneath and between all parties fighting for control of Spice. They need a leader, someone from beyond their world and culture.

I don’t want to spoil the first and second parts of “Dune” or the written source material. So, I won’t delve too deeply into the Emperor Shaddam IV or the mystical Bene Genesserit. I would instead direct you to the nearest chess board and i would ask you to research any royal hierarchy or two. Then you might be able to more easily determine how those two firms are interlinked.  

The Emperor is king of kings and, from the highest royal rank, he controls the whole of aristocracy (all other royals). He collects his taxes from them. Therefore, to increase his wealth and power, he can order them around and send them were he pleases.  

In chess, religion stands beside that highest of royal offices. No, the Bene Gesserit are not the nuns of any faith. Because of Spice they have evolved beyond such things. Nevertheless, due to the powers Spice affords them, they hold sway over belief (e.g. prophecy) as well as several aspects of morality.  

“Dune” is a worthy contender for the greatest science fiction story ever told. Some might ask why as it isn’t very science-y and the prose of it, when people take the time to examine, is kind of on the nose. It is a powerful critique of every industrial complex in human history and of the humans caught in its web.  

For all its parts, “Dune” champions the fantasy of a future without much explanation for how it got there. In the fight for rationality, forbearance wins because the story is so beautifully told. That is only Villeneuve’s interpretation. He would agree the book is crazy good and inescapably addictive to the mind.  

You can watch Denis Villeneuve’s 2021 film “Dune” on HBO Max with a subscription and on other streaming services. Check it out and tell us what you think. 

-- J.P.

Disclaimer: The views expressed in this blog post are those of the writer and do not necessarily reflect the views of any company, organization, or individual referenced. Any images used in this blog post are for illustrative purposes only and are not intended to infringe on any copyrights or trademarks.