Dune: Part One (2021)

Whenever I see him in a magazine, or on a poster, or even on talkshows or wherever, I just don’t understand the appeal of Timothée Chalamet. And yet, in just about every film performance I’ve actually seen of his, he has a charisma and screen stature that is out of proportion to his own gangly frame: I have to admit he can act and he is a star. But this is a big lumbering sci-fi prestige production, and so I really didn’t expect to like it. I went out of a feeling of obligation to, you know, to Cinema, the Seventh Art, the big-screen blockbuster spectacle of the thing, and… it didn’t disappoint. In fact, I really liked it.


I’m not naturally cut out to be a big fan of this. It’s a film by Denis Villeneuve, whose previous works I’ve admired if not loved (I found Blade Runner 2049 a little chilly, although obviously it shares a lot of the same vastness as this film, though the much smaller-scale Enemy was intriguing in an off-beat way). It’s also an adaptation of an epic novel which has previously been made into a decent film by David Lynch which has striking imagery, even if it doesn’t always hit the mark narratively. But I like an epic science-fiction film, especially one more focused on tone than story, and that’s just as well because this adaptation, while it does fit in a lot of detail almost as an aside, is mainly about the world-building.

The young scion of a grand dynasty, it’s the troubling visions of Paul Atreides (Timothée Chalamet) which structure this film, as he sees his (possible) future on the planet of Arrakis, and a mysterious woman (Zendaya), that could be the start of… well, it’s unclear of course. However, there are hints throughout of the need for revolutionary change in this empire, even suggestions that Atreides may be a foretold Christ-like figure (the Kwisatz Haderach, if I made that name out correctly). Unlike the mythology-by-numbers of certain other space-set operatic epics, this layers on a bit more enigmatic obfuscation and a lot more of Hans Zimmer’s bass-heavy score. And while I’d certainly recommend seeing this on a big screen, in many ways it’s that music and sound design that are the best reason for the big screen experience, even above the imagery. It’s a film that feels particularly led by its sound, and it goes down pathways that I certainly hope will reap rewards in the (rather necessary) second part.

Dune (2021) posterCREDITS
Director Denis Villeneuve; Writers Jon Spaihts, Villeneuve and Eric Roth (based on the novel Dune by Frank Herbert); Cinematographer Greig Fraser; Starring Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Josh Brolin, Stellan Skarsgård, Zendaya; Length 155 minutes.
Seen at Embassy, Wellington, Saturday 11 December 2021.

Three Recent Films about Dudes: Foxcatcher and Whiplash (both 2014) and Ex Machina (2015)

At a certain level, the title of my post is a provocation, because one of these films is not like the others, for several reasons. But let’s start with what unites them which is, yes, that they are all set almost exclusively in the company of men, whether in the sporting world of wrestling (Foxcatcher), the musical world of jazz drumming (Whiplash) or the not-so-futuristic world of tech geniuses (Ex Machina).

Steve Carell and Channing Tatum in Foxcatcher

In Foxcatcher, Steve Carell’s John du Pont is his own worst enemy, and his mentor status is something that his wealth and privilege allow him to buy. In fact, the wrestler brothers who are nominally the central characters in the film (Channing Tatum’s Mark and Mark Ruffalo’s Dave), take an emotional backseat in the narrative to Steve Carell’s performance, though all three actors do fine work. John “call me Eagle, or Golden Eagle” du Pont has lived a life of wealthy solitude, and it’s this which has bred a desperation to fit in that leads to the film’s tragic denouement and (justly) overshadows everything else. The film’s (and Carell’s) triumph is to imbue a sense of bleak empathy with this most outsider of figures, for all the immeasurable harm he inflicts.

Harm is explicitly what teacher Terence Fletcher (played by J. K. Simmons) wants to inflict on his students in Whiplash, for it’s part of his philosophy of achievement, largely derived from an anecdote about Charlie ‘Bird’ Parker that is mentioned several times in the film. For student Andrew (Miles Teller), it’s a philosophy that appeals to him, being so desperate to distinguish himself from his smarter, richer fellow students at the prestigious academy he attends. The film is largely a psychological battle between these two set over a drum kit and suffused with sweat and blood, much of it filmed in extreme, lascivious close-up (or so it feels). The other students and relationships fall quickly into the background, and you’d be forgiven for imagining there were no more important instruments in any musical ensemble than the drums, but that’s because it’s a story of student and teacher played out as psychological warfare.

J.K. Simmons and Miles Teller in Whiplash

Yet, despite their shared testosterone, these first two films are quite different from the third I want to discuss. They may all dwell on pursuits which are stereotypically masculine, but I’d argue that the first two films are interested more in the nature of obsession. They are both about desperate protagonists who want to succeed at all costs. I don’t know if the sort of monomaniacal focus that these films’ protagonists have is something specifically male (it certainly feels like it can be, sometimes), but if the films don’t pass the Bechdel Test, you imagine it’s because in their deeply-warped worlds, no one is talking about anything else but them.

Ex Machina, though, is very much about men. At first, it feels like it might be a boring male-bonding-in-the-wilderness story, as coder Caleb (Domhnall Gleeson) is whisked off to a vast, remote estate to hang out with his company’s founder Nathan (Oscar Isaac), an alpha male bearded heavy-drinking tech genius. But Nathan has something up his sleeve, a project he’s been working on: a robot. Specifically, a female robot, Ava (the currently ubiquitous Alicia Vikander). When I left the film, the first thing I googled was “feminist critique” because it pushes obsessively at something disturbing about gender relations, and being a white male geek (of sorts), I can’t really be sure if it’s enacting a story of emancipation from the male gaze, or the opposite. A little bit of both, I suspect, because unquestionably the female form is literally objectified. Limbs, hair and naked skin are effortlessly transferred and reconfigured, and unselfconsciously put on display. One of the women doesn’t even have the power of speech. The film comes on like a version of the story of Adam and Eve, with Ava the ne plus ultra of feminine duplicity, but she’s as much a constructed figure of patriarchal fear as Rosamund Pike’s Amy in Gone Girl, so I suspect the way you react to Ava will be similar. I’d be offended, except that the men in the film are no paragons either, and they end up as they start, trapped by their own objectifying gaze. Whatever fears of artificial intelligence it may stir up, the film’s triumph is reserved for consciousness.

Whatever else you might say about Ex Machina — and I think there’s a lot that could, and no doubt will, be said — it does at least allow for many different readings. Putting it alongside the other two films is just to point up their conventional qualities: well-crafted, certainly; flawlessly acted, definitely. But whatever the weaknesses of science fiction, I can think of few other genres as willing to pose difficult questions, and to make audiences think. All three films take you on a ride, but with Ex Machina the ride continues after the film ends.


Foxcatcher film posterFoxcatcher (2014)
Director Bennett Miller; Writers E. Max Frye and Dan Futterman; Cinematographer Greig Fraser; Starring Channing Tatum, Steve Carell, Mark Ruffalo; Length 134 minutes.
Seen at Odeon West India Quay, London, Sunday 18 January 2015.

 

Whiplash film posterWhiplash (2014)
Director/Writer Damien Chazelle; Cinematographer Sharone Meir; Starring Miles Teller, J.K. Simmons; Length 106 minutes.
Seen at Cineworld Fulham Road, London, Saturday 17 January 2015.

 

 

 

Ex Machina film posterEx Machina (2015)
Director/Writer Alex Garland; Cinematographer Rob Hardy; Starring Domhnall Gleeson, Alicia Vikander, Oscar Isaac; Length 108 minutes.
Seen at Cineworld Haymarket, London, Wednesday 28 January 2015.