Similarly, several of the central tracks have a distinctly Zimmer inspired mixture of percussion and what sounds like a Duduk (of the north?).
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Around halfway through, a distinct world music vibe starts to establish itself, notably Inama Nushif and later in Children of Dune, both of which take fairly clear inspiration from Now We Are Free from the unstoppable Zimmer and Gerrard machine of Gladiator, infused with a hint of light choral Adeamus music, so desired of television advertising executives. The opening few tracks grab the listener with massed brass and driving rhythms as the main themes are introduced, all of a vaguely heraldic nature, even if there is a slight nagging feeling that underneath all the surging orchestration, the tunes themselves are a touch simplistic.įor the first third, rarely a track goes by without at least one tumultuous orchestral swell, Tyler endlessly striving for a dignified gravitas as if every action is an earth (or dune) shattering moment, but the quality is enforced by a fairly original sound. Rather than Toto's rock chorus or Graeme Revell's distinctly underwhelming synth meandering, Tyler goes for a huge, orchestral onslaught, with more than a dash of world music type percussion. Quite how its offspring, Children of Dune will do is anyone's guess, but at least one component seems in place and that's Brian Tyler's thunderous score. Hints for future producers: Skip the spatializer, exploit the arabian and islamic Fremen theme, less technology, Harkonnens are evil, 6 hours are not enough.Claims that Frank Herbert's Dune is pretty well unfilmable seem to have been confirmed by both the infamous feature film and the more recent epic television series. It is not perfect, but it is almost there. Overall, it is an excellent series, one to watch and one to buy. Finally, as was expected in any adaptation of Frank Herbert's novel that is shorter than 12 hours, I found myself explaining parts of what was going on to my friend, who hadn't read the book. Fortunately, you also adore the new Dr Kynes, Chani and Baron Harkonnen. You find yourself longing for the original Gurney, Leto, Feyd and Paul.
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What spoilt it even more was knowing the movie and then watching the series. The complete denaturalisation the spatializer gives the voice just makes me cringe. I would have preferred a normal tone of voice, maybe some underlying sound effects and extremely voice trained actors who can snap out harsh commands unexpectedly and at will. Trying to copy from the movie as a poor idea. It hardly appears in the series, and it's badly done.
The dream sequences are too unconvincing. He is too old, he is too plain and he is way too 2 dimensional. Unfortunately it had a few downright flops. The passage to Arrakis is very unique in its approach to the navigators and their skills and I really liked the idea. Of course, everyone would speak Galach with their own accent. Having lots of foreign actors added to the overall feel of a universe populated by a race that has split out into different planets. The Fremen sietches have a very arabian feel to them, just the way they were intended in the books.
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The series has lots of very strong points. Months later I decided to give it another try. I disliked the 'spatializer' effects in the movie, and I didn't like them in the series.
The first time I watched it I switched off after hearing Lady Jessica use the Voice for the first time. So I decided to give this mini series a try. I've read the Dune books about a dozen times and I have also watched the 1984 movie a few times, and, while it had good ideas, it didn't thrill me.