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Directed by | |||
| David Lynch | |||
Writing credits | ||
| Frank Herbert | (novel) | |
| David Lynch | (screenplay) | |
Produced by | |||
| Dino De Laurentiis | .... | executive producer | |
| Raffaella De Laurentiis | .... | producer | |
| José López Rodero | .... | associate producer (as José Lopez Rodero) | |
Original Music by | |||
| Toto | |||
Cinematography by | |||
| Freddie Francis | (photographed by) | ||
Film Editing by | |||
| Antony Gibbs | |||
Casting by | |||
| Jane Jenkins | |||
Production Design by | |||
| Anthony Masters | |||
Art Direction by | |||
| Pier Luigi Basile | (supervising art director) (as Pierluigi Basile) | ||
| Benjamín Fernández | (as Benjamin Fernandez) | ||
Set Decoration by | |||
| Giorgio Desideri | |||
Costume Design by | |||
| Bob Ringwood | |||
Makeup Department | |||
| Giannetto De Rossi | .... | creative makeup | |
| Mirella De Rossi | .... | chief hairdresser | |
| Etsuko Egawa | .... | special makeup effects artist | |
| Luigi Rocchetti | .... | makeup artist | |
| Mara Rossi | .... | wig maker | |
| Mario Scutti | .... | makeup artist | |
| Mauro Tamagnini | .... | hairdresser | |
| Jean Ann Black | .... | makeup artist (uncredited) | |
| Christopher Tucker | .... | special makeup effects artist (uncredited) | |
Production Management | |||
| Anuar Badin | .... | production supervisor | |
| Vicente Escrivá hijo | .... | production supervisor (as Vicente Escriva) | |
| Anselmo Parrinello | .... | production supervisor | |
Second Unit Director or Assistant Director | |||
| José López Rodero | .... | first assistant director (as José Lopez Rodero) | |
| Ian Woolf | .... | dga trainee | |
| Víctor Albarrán | .... | first assistant director: second unit (uncredited) | |
| James Devis | .... | assistant director (uncredited) | |
| Ignazio Dolce | .... | second unit director (uncredited) | |
| Miguel Lima | .... | second assistant director (uncredited) | |
Art Department | |||
| Rafael Ablanque | .... | chief sculptor | |
| José María Alarcón | .... | assistant art director (as José Maria Alarcon) | |
| Ángel Arriola | .... | chief carpenter (as Angel Arriola) | |
| Sante Barelli | .... | chief painter | |
| Malcolm Bensted | .... | assistant props | |
| Jose Bolano | .... | chief plasterer (as José Bolaño) | |
| Alessandro Catarinelli | .... | chief painter | |
| Miguel Chang | .... | draughtsman | |
| Peter Childs | .... | assistant art director | |
| Vito Consoli | .... | chief painter | |
| Steve Cooper | .... | draughtsman | |
| Ezio D'Achille | .... | chief painter | |
| Antonio del Amo | .... | chief plasterer | |
| Antonio De Toro | .... | chief painter | |
| Ramón Díaz | .... | chief carpenter (as Ramon Diaz) | |
| Ron Downing | .... | floor props | |
| Raul Paton Garcia | .... | assistant art director | |
| Ferdinando Giovannoni | .... | draughtsman | |
| Mentor Huebner | .... | illustrator | |
| George Jensen | .... | illustrator | |
| Giuseppe La Rocca | .... | chief plasterer | |
| Maurice Larson | .... | chief painter | |
| Angelo Marta | .... | chief plasterer | |
| Giles Masters | .... | draughtsman | |
| Ron Miller | .... | illustrator | |
| Kevin Phipps | .... | assistant art director | |
| Aldo Puccini | .... | construction manager | |
| Luciano Romero | .... | assistant props | |
| Graham Sumner | .... | property master | |
| Giulio Tamassy | .... | chief sculptor | |
| Jose Velazquez | .... | chief carpenter (as José Velazquez) | |
| Jan Ferris | .... | designer: jewelry and some props (uncredited) | |
| Martin A. Kline | .... | production illustrator (uncredited) | |
| Moises Pineda | .... | production buyer assistant (uncredited) | |
| Mark Siegel | .... | sculptor (uncredited) | |
Sound Department | |||
| Derek Brechin | .... | assistant sound editor | |
| Teresa Eckton | .... | sound editor | |
| Donald Flick | .... | foley editor | |
| John Haptas | .... | boom operator | |
| Lee Haxall | .... | assistant sound editor | |
| Ann Kroeber | .... | assistant sound editor | |
| Patricia Lee | .... | assistant sound editor | |
| Edward Malone | .... | assistant sound editor | |
| Steve Maslow | .... | sound re-recording mixer | |
| Kevin O'Connell | .... | sound re-recording mixer | |
| Jerry Ross | .... | foley editor | |
| Leslie Shatz | .... | sound editor | |
| Alan Splet | .... | sound designer | |
| Nelson Stoll | .... | sound mixer | |
| Bill Varney | .... | sound re-recording mixer | |
| Les Wiggins | .... | sound editor | |
| Martin Maryska | .... | assistant sound editor (uncredited) | |
| Donald C. Rogers | .... | technical director of sound (uncredited) | |
Special Effects by | |||
| John Baker | .... | special effects floor chief | |
| Antonio Balandin | .... | special effects assistant | |
| William Bryan | .... | master foamsmith: stillsuit (as William C. Bryan) | |
| Theresa Burkett | .... | suit construction: stillsuit (as Teresa Burkett) | |
| Jeff Clifford | .... | special effects floor chief | |
| Terence J. Cox | .... | special effects assistant (as Terry Cox) | |
| Yves De Bono | .... | special effects engineer | |
| Lyle Eckmeier | .... | special effects assistant | |
| Charles L. Finance | .... | special effects coordinator | |
| Linda Frobos | .... | suit construction: stillsuit | |
| Rodney Fuller | .... | special effects floor chief | |
| Dino Galiano | .... | special effects floor chief | |
| Dirck Halstead | .... | special photography | |
| John Hatt | .... | special effects electronic unit chief | |
| Steve Humphrey | .... | special effects assistant (as Stephen Humphrey) | |
| Andrew Kelly | .... | special effects assistant | |
| Terry Knowles | .... | special effects assistant | |
| Jim Leonard | .... | chief sculptor: stillsuit | |
| Barry Nolan | .... | special photographic effects | |
| Antonio Parra | .... | special effects floor chief | |
| Don Post | .... | suit development: stillsuit | |
| Carlo Rambaldi | .... | creature creator | |
| Mark Siegel | .... | head of construction: stillsuit | |
| Ronnie Skinner | .... | special effects rigger (as Ron Skinner) | |
| John K. Stirber | .... | special effects flying unit chief (as John Stirber) | |
| Phil Stokes | .... | special effects assistant (as Philip Stokes) | |
| Bruno Van Zeebroeck | .... | special effects assistant | |
| Kit West | .... | mechanical special effects | |
| Trevor Wood | .... | special effects assistant | |
| Gary Zink | .... | special effects assistant | |
Visual Effects by | |||
| Tom Anderson | .... | blue screen mattes | |
| Peter Bohanna | .... | model shop supervisor | |
| Jeffrey A. Burks | .... | graphics technician | |
| Mike Cobos | .... | creature moldmaker | |
| Ralph Cobos | .... | creature moldmaker | |
| Tom Connors | .... | creature sculptor | |
| Bryan Cooke | .... | optical lineup | |
| Syd Dutton | .... | matte painter | |
| Mark Freund | .... | optical printer operator | |
| Jeremy Gibbs | .... | optical effects editor | |
| Devorah Hardberger | .... | optical coordinator | |
| Patti Harrison | .... | optical coordinator (as Patt Harrison) | |
| Kevin Koneval | .... | blue screen mattes | |
| John Kuhlman | .... | optical lineup | |
| Liz Lord | .... | graphics technician | |
| Richard Malzahn | .... | visual effects graphics | |
| Laurie Marems | .... | creature sculptor | |
| Ray Monahan | .... | optical printer operator | |
| January Nordman | .... | graphics technician | |
| Deborah J. O'Brien | .... | optical printer operator | |
| Bill O'Sullivan | .... | optical lineup | |
| Christine Overs | .... | model maker | |
| Dick Ramirez | .... | optical printer operator | |
| Gus Ramsden | .... | model maker | |
| Katie Ruah | .... | graphics technician | |
| Emilio Ruiz del Río | .... | foreground miniatures (as Emilio Ruiz del Rio) | |
| Stanley W. Sayer | .... | matte photography consultant (as Stanley Sayer) | |
| Frank Schepler | .... | creature operator (as Frank W. Shepler) | |
| Paolo Scipione | .... | creature operator | |
| Brian Smithies | .... | model unit supervisor | |
| Jacinto Soria | .... | model maker | |
| Charles Staffell | .... | front projection consultant | |
| Eric Swenson | .... | motion control | |
| Steven Townsend | .... | creature operator | |
| Danielle Versè | .... | model maker | |
| Albert Whitlock | .... | additional special visual effects (as Albert J. Whitlock) | |
| William Whitten | .... | creature sculptor | |
| David S. Williams Jr. | .... | optical lineup | |
| Megan Williams | .... | graphics technician | |
| Steven Willis | .... | creature operator (as Steve Willis) | |
| Charles L. Finance | .... | visual effects coordinator (uncredited) | |
| Jammie Friday | .... | rotoscope: Van der Veer Photo Effects (uncredited) | |
| Michael Douglas Middleton | .... | visual effects still photographer (uncredited) | |
| Judith Miller | .... | conceptual model builder (uncredited) | |
| Christopher S. Ross | .... | model maker (uncredited) | |
Stunts | |||
| Dickey Beer | .... | stuntman (as Dickie Beer) | |
| Tony Brubaker | .... | stuntman | |
| Will Harper | .... | stuntman | |
| Richard Humphreys | .... | stunt coordinator | |
| Henry Kingi | .... | stuntman (as Henri Kingi) | |
| Wayne Michaels | .... | stuntman | |
| Kiyoshi Yamasaki | .... | fight coordinator (as Kiyoshi Yamazaki) | |
| Vic Armstrong | .... | stunts (uncredited) | |
| Richard Humphreys | .... | stunts (uncredited) | |
| Wendy Leech | .... | stunts (uncredited) | |
| Scott Wilder | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| Alan Annand | .... | focus puller | |
| Chic Anstiss | .... | camera operator (as Chick Anstiss) | |
| James Devis | .... | cinematographer: additional unit | |
| Frederick Elmes | .... | cinematographer: additional unit | |
| Ed George | .... | clapper loader | |
| Gordon Hayman | .... | camera operator | |
| Gerhard Hentschel | .... | camera maintenance | |
| Roy Larner | .... | supervising gaffer | |
| Ignazio Maccarone | .... | practical electrician | |
| John Matthews | .... | best boy | |
| Shane O'Neill | .... | clapper loader | |
| Tim Ross | .... | focus puller | |
| Maria Schiavone | .... | gaffer | |
| George Whitear | .... | still photographer | |
| Ken Worringham | .... | camera operator | |
| Douglas Evan Hersh | .... | best boy electric (uncredited) | |
| René Marquéz | .... | electrician (uncredited) | |
Casting Department | |||
| Maggie Cartier | .... | casting: UK | |
Costume and Wardrobe Department | |||
| Thomas Casterline | .... | wardrobe supervisor | |
| Barbara Higgins | .... | wardrobe cutter | |
| Ana Maria Infante | .... | wardrobe mistress | |
| Michael Jones | .... | milliner | |
| Mary Etta Lang | .... | wardrobe dyer | |
| Edward Percival | .... | wardrobe cutter | |
| Cyril Streeter | .... | wardrobe cutter | |
| Nadia Vitali | .... | wardrobe supervisor | |
| Mary E. Vogt | .... | wardrobe buyer (as Mary Vogt) | |
Editorial Department | |||
| Donah Bassett | .... | negative cutter | |
| Aubrey Head | .... | negative timer | |
| Adam Masters | .... | apprentice film editor | |
| Kate Orr | .... | assistant cutter | |
| Deborah Phipps | .... | assistant cutter (as Debbie Harkness) | |
| Penelope Shaw | .... | assistant film editor | |
| Rosemarie Urioste | .... | apprentice film editor | |
| Roz Ward | .... | assistant cutter | |
| Patricia Lee | .... | assistant editor (uncredited) | |
| Carlos Puente | .... | assistant editor (uncredited) | |
Music Department | |||
| George Brand | .... | music editor | |
| Brian Eno | .... | composer: prophecy theme | |
| Roger Eno | .... | composer: prophecy theme | |
| Allyn Ferguson | .... | additional orchestrator | |
| Tom Knox | .... | score engineer | |
| Tom Knox | .... | score mixer | |
| Daniel Lanois | .... | composer: prophecy theme | |
| Shep Lonsdale | .... | score engineer | |
| Shep Lonsdale | .... | score mixer | |
| Steve Lukather | .... | musician: Toto | |
| Gilbert Marouani | .... | music consultant | |
| David Paich | .... | musician: Toto | |
| Marty Paich | .... | composer: additional music | |
| Marty Paich | .... | conductor: Vienna Symphony Orchestra and Concert Society Vienna Volksoperchior | |
| Marty Paich | .... | music adaptor | |
| Jeff Porcaro | .... | musician: Toto | |
| Mike Porcaro | .... | musician: Toto | |
| Steve Porcaro | .... | musician: Toto | |
| Al Schmitt | .... | music coordinator | |
| Wiener Symphoniker | .... | music performed by (as Vienna Symphony Orchestra) | |
| Toto | .... | music performer | |
Transportation Department | |||
| Alfonso Paredes | .... | driver (uncredited) | |
| Carlos Ponce de León | .... | transportation captain (uncredited) | |
Other crew | |||
| Margaret Anderson | .... | dialect coach | |
| Ginette Angosse | .... | production assistant | |
| Yvonne Axeworthy | .... | script supervisor (as Yvonne Axworthy) | |
| Len Barnard | .... | production accountant | |
| Mary Breen-Farrelly | .... | accountant | |
| Ann Busby | .... | legal consultant | |
| Craig Campobasso | .... | production office assistant | |
| Emmett Chapman | .... | creator: Gurney's Baliset, based on 'The Stick' | |
| Jerry Cormier | .... | administrative staff | |
| Eduardo De La Grana | .... | assistant accountant | |
| James Devis | .... | supervisor: additional unit | |
| Frederick Elmes | .... | supervisor: additional unit | |
| Damian Evans | .... | administrative staff | |
| Kevin Freemantle | .... | assistant accountant | |
| Gerald Green | .... | technical advisor | |
| Hester Hargett | .... | production assistant | |
| Edward A. Kantor | .... | medical consultant (as Dr. Edward A. Kantor) | |
| Kuki López Rodero | .... | assistant: Mr. Lynch (as Kuki Lopez Rodero) | |
| Michael Menzies | .... | post-production accountant | |
| Sherrye Mossuto | .... | production assistant | |
| Golda Offenheim | .... | production coordinator | |
| Juan Clemente Prosper | .... | location manager (as Juan Clemente) | |
| Robert Schaefer | .... | title lettering designer | |
| Margy Stein | .... | administrative staff | |
| Anne Strick | .... | project coordinator | |
| Anne Strick | .... | unit publicist | |
| Val Van der Veer | .... | administrative staff | |
| Debbie Van Hoek | .... | accountant | |
| Debbie Van Hoek | .... | office coordinator | |
| Leslie Werner | .... | production assistant | |
| Harry Kopoian | .... | airport liaison: Mexico (uncredited) | |
| John Naulin | .... | still suits fabrication supervisor (uncredited) | |
| Mark Siegel | .... | creature maker (uncredited) | |
| Mark Siegel | .... | puppeteer (uncredited) | |
Thanks | |||
| Federico De Laurentiis | .... | dedicatee | |
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My review covers both versions of Dune, the 2 hour release and the extended 3 hour "Smithee" version aired on television. The first cut of the film was over four hours long, but there was never any intention to release this, and Lynch himself shot scenes which consolidated the final product into a more manageable length.
Allen Smithee, a protest pseudonym adopted by Lynch when he disassociated himself with the 3 hour version of this film, is also alluded to in Lynch's latest film - Inland Empire. A portion of a film studio in Inland Empire is "Smithee's Room" - a metaphorical insight into Lynch's feelings about Dune, and studio-controlled film-making in general.
Given the tremendous investment made by the studio, Lynch's general distaste for the final product, the repetitive cliché soundtrack, and the occasionally bizarre use of voice-over narrative in the TV version, it seems more a DeLaurentis film than a Lynch film. Although I am very interested in Lynch's films and other projects, I am evaluating this solely from my own perspective. Despite the great director's poor opinion of this film, I enjoyed it and it is one of my favorite sci-fi films.
Frank Herbert, author of the novel upon which it is based, approved the theatrical version, but he had the benefit of knowing what he was going to see. If you haven't read the book, these films can be somewhat difficult to understand. And if you come to the experience expecting something like Star Wars, you should probably find something else to do.
The soundtrack is repetitive and only interesting the first time you hear the film's major theme (the Eno composition). The use of rock orchestration simply does not work in this film. Happily, Lynch learned from the experience and used rock instrumentation beautifully in later films (especially Wild at Heart and Lost Highway). The camera work is generally less inspired than the rest of Lynch's portfolio. There are occasional visually striking scenes which will remind you of the film's origin, but there are too many static shots - especially during the action scenes. The soundtrack is easy to explain - like the inclusion of Sting in the cast - this is a marketing move by the production company, not a creative choice of the director. The camera work is much less easily explained. Perhaps Lynch was asked to avoid doing anything surreal or bizarre with this film (sort of like asking Groucho Marx to avoid being funny), or the studio was trying to appeal to fans of Star Wars by simplifying and sterilizing its story.
The recently released special edition DVD reveals some very interesting aspects of the production. Lynch's influence, not surprisingly, is best explored in the short documentary concerning the film's design. As an artist, Lynch spent a great deal of time and energy envisioning the material culture both historical and modern of each culture depicted in the film, helping to create a consistent and unique characterization for each. This spilled over quite naturally into costume design. The sets and costumes used in this film are really spectacular. The special effects, often derided by contemporary viewers, required a great deal more effort that the synthetic art of today's computerized extravaganzas and, the documentary concerning their production on the DVD is also appropriately respectful.
What you will see is an intense visualization of several, fully realized alien cultures whose art, architecture and general heritage are as well realized, if not more so, than in Herbert's epic novel. To fully appreciate this, don't just check out the extras on the DVD, turn down the sound and just watch the sets, costumes, and effects move through each scenes. There is, as with Lynch's entire portfolio, a great deal to be seen. And the acting and direction are fine throughout the film.
The longer version fleshes out the stories, themes and intricate subplots of Herbert's book more thoroughly, and maintains a much steadier pace than the cinematic release. Even so, both films, to some extent, suffer from too much story, overwhelming visualization, and a un-Lynchian frenetic pace. The later TV mini-series by the sci fi channel does a better job of telling the story in its entirety, but runs about 246 minutes and does not compare to the original in terms of design. Lynch's cinematic release, by contrast, rushes through components of the book and often feels inconsistent in pace.
PLOT: Dune is the story of Paul "Muad'ib" Atreides, the son of Duke Leto Atreides the Just and his Bene Jesserat concubine Lady Jessica. Combining aspects of fantasy, sci-fi and anthropology, the story follows young Paul through a series of tragedies which find him seeking redemption for an entire galaxy by leading an adoptive tribal culture to a revolutionary cleansing of the malignant imperial system from which he sprung. The plot is exceedingly complex in both Lynch versions of the film much is left out of Herbert's original work. Subplots abound, but, true to form, Lynch avoids short-cuts as much as possible and attempts to show his audience what is going on rather than resorting to a great deal of voice-over narrative in the theatrical release. The TV version, however, attempts to provide even more detail, and uses voice-over to patch up the areas glossed over by Lynch's script.
SUMMARY: If you're a Lynch fan and not a big Herbert fan or you don't have a great deal of patience, see the cinematic release. It is the class of the lot.
If you haven't read the book, or you are a Herbert purist who will accept only what was written, choose the Sci-Fi Channel version (review forthcoming soon) - but be forewarned - it is very long.
If you want something that compromises between story and cinematic artistry, go for the TV version. The weakest link, but still OK.