The Complexities of Colonialism and Heroism in Denis Villeneuve’s “Dune: Part Two”

Dune: Exploring the Limits of Anti-Colonial Narratives

The Dilemma of Colonial Adventure Literature

Frank Herbert’s “Dune” novels have long been recognized for their debt to colonial adventure literature. These
books incorporate swashbuckling tales and “Mighty Whitey” heroes reminiscent of the works of authors like Edgar
Rice Burroughs, James Fenimore Cooper, and H. Rider Haggard. However, Herbert, writing in 1965, also displayed
an awareness of the critiques of colonialism prevailing at the time. His protagonist, Paul Atreides, wrestles
with doubts regarding his role as both a Messianic figure and a director of colonial conquest.

Denis Villeneuve’s Attempt at Anti-Colonialism

Denis Villeneuve’s film adaptations, particularly the recent “Dune: Part Two,” aim to capitalize on Herbert’s
anti-colonial leanings by introducing subtle storytelling tweaks. Villeneuve pushes the boundaries by more
critically questioning the foundations of colonial narratives. Nevertheless, like Herbert’s endeavors, Villeneuve
faced significant challenges regarding these liberatory ambitions. Ultimately, telling an anti-colonial story
while placing a colonial hero at its center proves complicated, making it an arduous task to reconcile heroism with
critiquing colonialism.

The Scenario of the Dune Saga

The first part of the “Dune” series, released in 2021, acquaints us with Paul, the heir to House Atreides, in a
feudal future pervaded by both space travel and elaborate political machinations. Paul’s father, Leto Atreides, is
granted control over the desert planet of Arrakis, the sole source of the melange spice, a psychedelic substance
vital for interstellar travel. Yet, Arrakis poses a trap as the Emperor conspires with the former ruler, Baron
Harkonnen, to destroy House Atreides and seize control of the planet. Paul and his mother Jessica narrowly escape
death, finding refuge with the desert-dwelling Fremen – a pivot point to “Dune: Part Two.”

The Master and the Student

In the following film, Paul awakens to his prophesied destiny and reveals himself as an expert in the Fremen
desert culture. Like many colonial heroes, Paul masters the Fremen ways swiftly, excelling even the natives
themselves. His superior combat skills and insights gained through prophetic dreams give him an edge as he tames
the colossal desert worms that epitomize the planet’s hostile environment. Although the Fremen are fierce, smart,
and awe-inspiring in their own right, Paul absorbs their power, heightening his own abilities. This mirrors the
dynamics of colonial literature, perpetuating the glorification and appropriation of power.

The Frustration of Anti-Colonial Tropes

Eager to challenge colonial tropes, Herbert instills Paul with a profound sense of guilt in the original novel.
Paul is burdened with the knowledge that he is destined to lead the Fremen in a genocidal conquest, modified as
“holy war” in the movie adaptation to tackle Islamophobic undertones. He wrestles with his reluctance to become a
colonial conqueror and erase the Fremen culture in the process.

The Power Player and the Dissenter

Breaking from the source material, Villeneuve presents Chani, Paul’s Fremen lover, as a staunch dissenter. Chani
vehemently dismisses Paul’s prophetic destiny as a manipulative colonial ploy aimed at indefinitely prolonging
the aspirations of the colonized. Instead, she desires a relationship of equality with Paul, rejecting his role as a
ruler over the Fremen people.

A Narrative Bound to the Colonial Lens

While providing a voice to a colonized character expressing anti-colonial sentiments is a notable departure,
Villeneuve’s film fails to produce a truly anti-colonial narrative. Inevitably, Paul’s destiny overshadows Chani’s
desires, overshadowing the potential for a truly subversive storyline. Audiences are predisposed to cheer for Paul
and instigate his revenge against the Harkonnens, aligning with the traditional tropes of power rather than
challenging them.

A Missed Opportunity for Anti-Colonialism

The film’s inability to emphasize the centrality of colonized individuals within their own stories is not
exclusive to the world of “Dune.” Even supposedly anti-colonial science fiction works like the “Avatar” films
ultimately center a colonizer-turned-savior character. While the “Star Wars” saga aligns audiences with the
colonial resistance, its leaders predominantly resemble the colonizers, departing significantly from the stories
of the marginalized Fremen within the “Dune” universe.

The Lost Essence of Anti-Colonial Epics

The reluctance to shift the narrative focus from colonizers to the colonized represents a deeply ingrained aspect
of colonialism itself. The fact that Paul grapples with his destiny or that pe
migrant of war, centers Americans firmly and crudely at the story’s center.”

Exploring New Directions

Few blockbusters truly prioritize the narratives of colonized peoples. However, we are currently witnessing a
golden age of anti-colonial epics from authors like N.K. Jemisin, Tasha Suri, Benjanun Sriduangkaew, and Tade
Thompson. These authors delve into the complexities of colonialism and offer far more profound insights than
Herbert could have anticipated.

The ambition to challenge existing power structures lies at the heart of true anti-colonial narratives. To break
free from the colonial lens, stories must prioritize the experiences and struggles of the colonized, rather than
exalting the power, success, and guilt-ridden consciences of colonizers. To truly confront the logic of colonial
power and privilege, the liberation struggle in “Dune: Part Two” would need to center on a Fremen such as Chani.
Instead of aligning with Paul, the story would shift to the resistance against his dreams and prophecies.