Chicago, IL – Frank Herbert’s “Dune” novels have long been scrutinized for their complex relationship with colonial adventure literature. The books, first published in 1965, draw upon the conventions of swashbuckling stories and feature what some critics identify as “Mighty Whitey” heroes inspired by prominent writers such as Edgar Rice Burroughs and James Fenimore Cooper. However, Herbert was also attuned to the prevailing critiques of colonialism during his time, infusing his protagonist, Paul Atreides, with internal conflicts about his Messianic leadership and involvement in colonial conquests.
Denis Villeneuve’s film adaptations, particularly the recent “Dune: Part Two,” strive to expand upon Herbert’s anti-colonial themes through subtle narrative adjustments. Villeneuve delves deeper into questioning the underlying premises of colonial narratives than Herbert did, yet encounters similar challenges in reconciling anti-colonial ideals with the glorification of a colonial hero. The dichotomy between critiquing colonialism and celebrating colonial heroes remains a central tension within the storyline.
The first installment of “Dune,” released in 2021, introduces audiences to Paul, the heir to House Atreides, in a futuristic universe characterized by space travel and political intrigue. As the narrative unfolds, Paul and his family face betrayal and destruction orchestrated by political rivals, prompting their escape to the desert planet of Arrakis. It is here that Paul’s journey into destiny and leadership among the Fremen, the indigenous desert-dwelling people, truly begins.
In the subsequent film, Paul’s emergence as a figure of prophecy and colonial authority parallels traditional tropes of colonial heroism, where he adopts the role of a superior colonizer assimilating the knowledge and strength of the Fremen. Despite Paul’s inner turmoil and moral dilemmas, the narrative ultimately aligns with his ascent to power and conquest, mirroring familiar patterns of colonial literature.
While Herbert attempted to subvert colonial tropes by emphasizing Paul’s guilt and internal conflict, Villeneuve introduces a more nuanced perspective through characters like Chani, Paul’s Fremen companion who questions his prophetic destiny and challenges the narrative of a colonizer-turned-liberator. The dynamic between Paul and Chani underscores the tension between individual agency and the inevitability of predetermined destiny in a colonial context.
However, the film’s inability to present a truly anti-colonial vision stands out in contrast to a growing body of works that prioritize the experiences and perspectives of colonized populations in narratives of resistance and liberation. Authors like N.K. Jemisin and Tasha Suri offer alternative frameworks for exploring colonial themes, emphasizing the agency of marginalized communities rather than glorifying colonial rulers like Paul.
In a broader context, the failure of mainstream blockbuster films to center the stories of colonized peoples reflects a systemic bias towards colonial perspectives, perpetuating the narrative of White saviors and heroic colonizers while marginalizing the voices of those impacted by colonization. Villeneuve’s adaptation of “Dune” highlights the ongoing challenge of reconciling anti-colonial critiques with traditional storytelling conventions, revealing the limitations of mainstream cinema in challenging entrenched colonial narratives.