There's a heart-stopping moment near the beginning of Frank Pavich's 2013 documentary, courtesy of Nicolas Winding Refn, who is recalling a memorable dinner he attended at the home of Alejandro Jodorowsky in Paris. Very late in the night, Jodorowsky asked the Danish director if he would be interested in seeing his film of
Dune, which left Winding Refn momentarily stunned and bewildered. Had Jodorowsky
somehow filmed
Dune, the film famously abandoned in the late 70's ? What Winding Refn was actually invited to look at was the so-called
Dune Book, a huge weighty tome produced for potential financiers, containing the mass of pre-production ideas, sketches, designs, storyboards, and shooting plans for Jodorowsky's projected film. Despite the fact that not a single frame of footage was shot for the film, Winding Ref was clearly awestruck: "
Sitting there, 2am, at his house, seeing the book, looking at the images, and hearing Jodorowsky telling me what was gonna happen in every scene....I'm gonna tell you something - it's awesome". Watching Pavich's wonderful account of this legendary lost classic of Cinema, you might well agree.
Like the light from a dead star, Jodorowsky's
Dune still shines brightly long after its collapse. Paul Sammon wrote about Jodorowsky's proposed film as early as 1984 in a Cinefantastique article entitled
Versions of Arrakis You'll Never See. HR Giger's account of the film has appeared in several of his art books in conjunction with his paintings for the film, as have Chris Foss' conceptual art and Jean "Moebius" Giraud's storyboards and character sketches, which have been published or made available online. Pavich's film brings all these strands together for what is the most fully rounded account of
Dune to date, inching the viewer ever closer to what the film
might have been. The heart of the documentary is Jodorowsky himself, at 84 years old discussing in Spanish and his own idiosyncratic take on English, the plans he had for
Dune with an enthusiasm and energy of a man half his age. Jodorowsky is one of the great poet-philosophers of Cinema - when
El Topo emerged in the early 70's, Jodorowsky declared: "
I ask of film what most North Americans ask of psychedelic drugs". Speaking about
Dune in 2013 Jodorowsky recalled an even greater ambition, referring to his film in hallowed terms as "
an artistical, cinematographical God"
Alejandro Jodorowsky: "I wanted to make something sacred"
Jodorowsky has spoken on camera about
Dune before, in the 1995 documentary
La Constellation Jodorowsky, and the 2007 biography
Moebius Redux: A Life In Pictures. What's significant about his turn here is the passion with which he recalls the doomed project, the sense of awe he had for the team of collaborators he gathered around him - Moebius, Dan O'Bannon, Chris Foss and HR Giger, his
spiritual warriors whom he intrinsically trusted to bring his dream of
Dune to life. There's a wonderful moment in the film when Jodorowsky appears upset yet composed when talk turns to the demise of the film, only to have his mood re-invigorated at the failure of David Lynch's
Dune, a film maker Jodorowsky evidently has huge respect for, but cheerfully admits his relief that Lynch's film did not scale his own grand ambitions. Listening to Jodorowsky, there's a sense that the Chilean director is taking the opportunity afforded by Pavich's film to settle his affairs - at least in terms of
Dune and at the finale of the documentary he sounds a clarion call for film makers to take all the material created for
Dune and make their own film of it.
The colossal Dune Book, and a page of Moebius' storyboards inside
Elsewhere Jodorowsky spins marvelous yarns and delights in the serendipitous way the film came together. No sooner had Jodorowsky decided to seek out Moebius as his major collaborator on the film ("
my camera" as he describes the French illustrator), both men soon met by pure chance. After an ill-fated meeting with Douglas Trumbull who was first considered to create
Dune's special effects, Jodorowsky attended a screening of
Dark Star in a nearby theater, and impressed by what he saw, contacted Dan O'Bannon to offer him the job instead. Ever inventive, Jodorowsky explains how he persuaded to Orson Welles to appear as the grotesquely bloated Baron Harkonnen, and his rather ingenious solution for dealing with Salvador Dali's preposterous salary demand for playing the Emperor of the Universe ($100,000 per minute of screen time!). Jodorowsky also recalls with some amusement his first meeting with Pink Floyd (chosen to write part of the score, along with the volcanic free-rock outfit Magma), and his outrage when the band turned up at the meeting in jocular form - "
How you don't understand I am to offer you, the most important picture in the history of humanity. We will change the world. And you are eating...big macs!" - the director's fury quickly focusing the Floyd on the matter at hand.
Dune's spiritual warriors:
top: Alejandro Jodorowsky and Moebius (accompanied by a Sardaukar soldier)
middle: futurist designer Chris Foss, bottom: the late HR Giger
Despite the scope of Pavich's film there are some omissions although understandably not the fault of the film makers. Dan O'Bannon passed away in 2009, and Moebius followed in 2012. O'Bannon does make a posthumous appearance in the documentary by way of a voice recording, describing his incredible hallucinatory first meeting with Jodorowsky (who supplied the hallucinogen). O'Bannon's wife Diane is on hand and discusses her husband's happy time working on the film and the emotional turmoil he suffered after the film was abandoned. A key theme in the documentary is
Dune's sense of collaboration, with Chris Foss and the late HR Giger remembering the atmosphere of creativity Jodorowsky created for his artists, both men turning in some of the best work of their careers; from Foss' spaceships which look like cosmic tropical fish, to Giger's dark, occult landscapes and citadels of the evil Harkonnen planet.
Chris Foss' design of the stricken Pirate spaceship, with the cargo of spice leaking out of the ruptured hull
For all its lofty ambition there is the inevitable question of whether Jodorowsky could have pulled it off. Pavich's film admirably attempts to answer the unanswerable by using some very tasteful 3D animation to bring to life Moebius' storyboards - the opening sequence alone was conceived as an immense long shot which would travel across the luminous wastes of the galaxy, eventually zeroing in on a pirate spaceship engaged in battle with a convoy of transports carrying the precious Dune spice. Jodorowsky later switches from outer space to inner space in a pivotal scene where
Dune's hero Paul Atreides is conceived when a drop of his father's blood is seen travelling through his mother's uterus, the blood then fusing with the ovum in a spectacular explosion of fertilization. Considering Jodorowsky reenacted the conquest of Mexico in an extraordinary sequence in
Holy Mountain using costumed frogs, one suspects his
Dune could have been very special indeed. Despite the providence the film enjoyed as it took shape,
Dune's collapse was swift and brutal. The production was financially secure with enough French money, but the film needed a large American distribution deal to recoup its budget. When producer Michel Seydoux shopped the film around to the major studios there was little appetite to deal with a maverick director and a film which might have ran anywhere between 12 and 20 hours. Speaking about the film's reception in Hollywood,
Star Wars producer Gary Kurtz recalled "
The worry was it would go way over budget...and it wouldn't have an audience because no one would want to sit through that long a film".
Jodorowsky’s
Dune may have ended in failure but Pavich steers his own film towards a positive ending of sorts by celebrating the legacy of the film. With
Dune Books deposited at all the various studios, the bones of the film were picked clean in the years that followed. Pavich borrows judicious clips from such disparate sci-fare as
Star Wars, Flash Gordon, Masters of the Universe, Contact, Prometheus to illustrate the influence of
Dune. Dan O’Bannon in the fallout from the film poured his energies into a screenplay entitled
Star Beast which incorporated ideas from
Dune, and later became
Alien. Jodorowsky himself was still working out elements of
Dune with his next film, the underappreciated
Tusk, which he opened with a spectacular long shot. More significantly Jodorowsky and Moebius went on to collaborate on a series of graphic novels which were steeped in
Dune mythology. The final word goes to Richard Stanley who makes a welcome appearance here, best sums up the film’s enigma: “
Dune is probably the great movie never made. It continues to influence us and will go on influencing generations to come, despite the fact that it doesn’t exist, we cannot rent it, we cannot watch it…”
