In his book, Herbert takes us from one character to the next, letting us see who they are, who they love and hate, and what moves them. With a cast this size and a story this big, it's understandable that the depth of the relationships between characters, as well as individual character development, could not be as extensive as it is in the lengthy novel.

House Atreides

On screen, Oscar Isaac expertly channels Duke Leto's straightforwardness and love for his family—one of the most memorable and touching moments of character development is a conversation Paul has with his father about his fears for the future. While Isaac's Duke Leto is a bit cuddlier than he comes across in the book, his focus on making allies of the Fremen and caring for his staff and soldiers remains the same. His motivations are simple enough to portray: he wants to take care of his family; he wants to take care of his people; and he's open to expanding who counts as the latter. Lady Jessica, played by Rebecca Ferguson, is more difficult to gauge. We see her tutoring her son in a commanding voice in one scene, and weeping over her fears for him in another. We don't get much beyond a glimpse of her feelings towards the Duke—there's a brief tender moment of the couple in their bedchamber on Arrakis. Herbert's Jessica, on the other hand, is subtle but fierce, a lioness in socialite's clothing. In the movie, we see her superior berating her for bearing Leto a son, and accusing her of hubris. In the novel, however, we learn that she was moved as much by her love for Leto as by the chance to bear the Kwisatch Haderach.

Speaking of prophesied leaders... Timothée Chalamet's Paul Atreides is a bit more brooding and sullen, haunted by visions and beset by circumstances beyond his control, than Herbert's version. In the novel, Paul is sharp and watchful, occasionally playful, and constantly trying to get a read on what's going on around him—as he's been trained to do by his tutors and his mother. He's a teenager beset by outside forces, caught up in a whirlwind of politics and violence, always looking for a way to find his footing and seize his destiny.

Melange, or Spice

One of Villeneuve's bigger changes from Herbert's Dune is Paul's exposure to melange. While the Paul of the novel takes much longer to be exposed to the spice and experience its effects on his visions and his powers, the Paul of the movie is shown to be highly sensitive almost immediately, succumbing to hallucinations during a rescue mission, and is later affected by the ambient spice in the air of a tent. This change actually makes a lot of sense for the big screen; without the grounding of the book, it's hard to convey the importance and power of spice without seeing someone react to it—and Paul is the natural choice.

House Harkonnen

On to the Harkonnens! Baron Harkonnen is portrayed in all his over-the-top, evil-incarnate glory by Stellan Skarsgård, who certainly commits to being odious. (Meanwhile, former pro-wrestler Dave Bautista could play Beast Rabban in his sleep, so no problems there!) Villeneuve also offers an assortment of visual and audio cues to convey just how malevolent a force the Harkonnens are. Any scene involving the Harkonnens has the dimmest light and the blackest backdrop possible; they and their subordinates consistently speak in strident or snide tones; and the accompanying music has a decidedly sinister sound. The stark contrast between the Harkonnens and all other characters differs quite a bit from the book. Herbert went to great pains to complicate the ideas of good and evil, showing that even the more sympathetic Atreides family wasn't above acting purely for their own benefit. Power corrupts, no matter who you are—but as far as the movie is concerned, only the Harkonnens are corrupted.

As I've already noted, Harkonnen heir Feyd-Rautha has yet to show up on screen. We'll have to wait for the cast details of the recently announced second installment to see whether Villeneuve plans to drop him entirely, or is just keeping his appearance close to the vest.

Supporting Characters

In the film, we get only fleeting glimpses of the Bene Gesserit, Thufir Hawat, Gurney Halleck, Piter de Vries, the Shadout Mapes, Dr. Yueh, and Stilgar, all of whom are essential to the plot of Dune and much more developed in the book. Jason Momoa's Duncan Idaho gets more screen time, while Zendaya's Chani appears primarily in dreamy visions and to explain various important pieces of world-building or political context in voice-over narration. We'll likely see a lot more of her in Dune: Part Two.

Among minor characters, a major change from the book is the gender of Liet Kynes. Portrayed by Sharon Duncan-Brewster, the film version of Kynes as a woman primarily serves as guide and aid for the Atreides's arc; she does not claim an essential position in the social, political, and cultural ecosystem of Arrakis. In the book, Kynes's vision for the future of Arrakis and his fleeting hope that Duke Leto might be an actual partner in that vision is what gives us an entry point into really seeing Arrakis—both as it is and as it could be, as well as how its desert people work in concert with its harsh conditions and valuable resource: spice.

The Fremen

Frank Herbert was notably inspired by the Middle East, North Africa, and Islam, and clearly drew on their cultures to build the world of Dune and depict its native inhabitants. Perhaps in an attempt to avoid stereotyping and appropriation, Villeneuve waters down many of those cultural details and influences. Also notably, there is no significant MENA representation among the cast.

What can we expect from Dune: Part Two?

As we now know, there will be a second film, Dune: Part Two, releasing in October 2023. Initially, I thought Villeneuve's decision to focus his adaptation of Dune on the first half of the book was questionable, but now it presents itself as a major opportunity. While we don't yet know much about the sequel, we can assume that it will follow the second half of the book, picking up where Dune: Part One left off.

My personal hope for a sequel is simple: sacrifice some of the big picture to focus in on the characters. Give us those complicated relationships, the internal struggles of people caught up in forces beyond their control. Let us see these characters wrestle with their paths and their choices, thus putting more weight on the book's many questions. I'd happily sacrifice a few plot points and a gorgeous landscape shot or two in the name of getting to the beating, messy heart of Frank Herbert's Dune.