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Dune House Atreides / Dune Mini-Series / Why "Purists" Didn't Appreciate1st Mini

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The Preacher Feb 5th 12:16 PM
I've read through the Children of Dune script as posted on The Landsraad and although the scene where Alia fights the practice dummy is there, they've changed it. She's clothed for obvious reasons, but she is the one who ends up ending the practice session:

'This is no game. A misstep could be fatal. Several times Alia is
driven back...off balance...defensive moves barely keeping pace with
the droid's attack...until... She ounters with extraordinary
althleticism and finesse. Dodging the droid's true weapons. Slipping
through the counterfeits to... Touch the kill target. The droid's
lights flash wildly...and then dim. It retreats into peaceful repose.
And that's when.. Alia becomes aware of Paul. Standing in the doorway
Staring at her. Expression strained and tense.
Stilgar is with him. And so is... The Idaho ghola.

PAUL: "Do you know how dangerous that was?"'

Now here is the book's version:

'That attacking blade could maim and it could kill. But the finest
swordsmen in the Imperium never went against more than seven lights.
Nine! Alia experienced a sense of supreme exaltation. Attacking blade
and target became blurs among blurs. She felt that the sword in her
hand had come alive. She was an anti-target. She did not move the
blade; it moved her. Ten! Eleven! Something flashed past her
shoulder, slowed at the shield aura around the target, slid through
and tripped the deactivating stud. The lights darkened. Prisms and
target twisted their way to stillness. Alia whirled, angered by the
intrusion, but her reaction was thrown into tension by awareness of
the supreme ability which had hurled that knife. It had been a throw
timed to exquisite nicety -- just fast enough to get through the
shield zone and not too fast to be deflected. And it had touched a
one-millimeter spot within an eleven-light target. Alia found her own
emotions and tensions running down in a manner not unlike that of the
target dummy. She was not at all surprised to see who had thrown the
knife. Paul stood just inside the training room doorway, Stilgar
three steps behind him. Her brother's eyes were squinted in anger.
Alia, growing conscious of her nudity, thought to cover herself,
found the idea amusing. What the eyes had seen could not be erased.
Slowly, she replaced the crysknife in its sheath at her neck.

"I might've known," she said.

"I presume you know how dangerous that was," Paul said.'

I understand the need for artistic license, for changing the story
somewhat to fit a visual medium. I understand placing Hayt in the
scene where he wasn't in the book, to set up the growing relationship
between he and Alia. What I don't understand is the change of
fundamental nuances like having her trip the switch rather than
Paul's brilliant knife toss. I don't see how that change "adds" to
the adaptation. If anything, it detracts.

What was once a supreme piece of writing by The Master and a
brilliant illustration of Paul's mastery over himself, mind and body,
which further highlights his downfall, is lost. Even the dialogue,
while similar, is changed just enough so as to completely alter the
intent. Compare and contrast 'PAUL: "Do you know how dangerous that
was?"' versus '"I presume you know how dangerous that was," Paul
said.' The difference is subtle yet clear at the same time. The
Master's words convey at once a sense of awe and respect, of
acknowledgement of intellectual and physical powers, and finally a
sense of resignation. The script is a petulant scolding, along the
same lines of Paul's character in the FH's Dune mini.

Not only that, but imagine how this scene would have come across on
screen!! The precise timing of the throw, the shock on her face, the
effect on the audiuence as the camera and Alia discover the the
identity of the thrower and the understanding it would bring. What a
challenge for a filmmaker. The way Herbert built this scene seems
almost taylor made for visualisation... why change it?

For those of you who have a problem with us so-called "purists"
voicing our issues over the SciFi treatment of the story, this is a
clear cut example of whence our concerns were borne. And there are
countless others as well.

Although, from what I've read of the script, the new mini looks
hopeful, it is "changes" such as this that take away from the
characters and the intent of The Master. I can understand certain
changes from a media adaptation standpoint, but I do not understand
changes that don't enhance that adaptation but rather alter the
design of the characters and the author's intentions.

_________________
"I can think of nothing more poisonous than to rot in the stink of
your own reflections."
- The Lady Jessica

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The Preacher	Feb 5th 12:16 PM I've read through the Children of Dune script as posted on The Landsraad and although the scene where Alia fights the practice dummy is there, they've changed it. She's clothed for obvious reasons, but she is the one who ends up ending the practice session: 'This is no game. A misstep could be fatal. Several times Alia is driven back...off balance...defensive moves barely keeping pace with the droid's attack...until... She ounters with extraordinary althleticism and finesse. Dodging the droid's true weapons. Slipping through the counterfeits to... Touch the kill target. The droid's lights flash wildly...and then dim. It retreats into peaceful repose. And that's when.. Alia becomes aware of Paul. Standing in the doorway Staring at her. Expression strained and tense. Stilgar is with him. And so is... The Idaho ghola. PAUL: "Do you know how dangerous that was?"' Now here is the book's version: 'That attacking blade could maim and it could kill. But the finest swordsmen in the Imperium never went against more than seven lights. Nine! Alia experienced a sense of supreme exaltation. Attacking blade and target became blurs among blurs. She felt that the sword in her hand had come alive. She was an anti-target. She did not move the blade; it moved her. Ten! Eleven! Something flashed past her shoulder, slowed at the shield aura around the target, slid through and tripped the deactivating stud. The lights darkened. Prisms and target twisted their way to stillness. Alia whirled, angered by the intrusion, but her reaction was thrown into tension by awareness of the supreme ability which had hurled that knife. It had been a throw timed to exquisite nicety -- just fast enough to get through the shield zone and not too fast to be deflected. And it had touched a one-millimeter spot within an eleven-light target. Alia found her own emotions and tensions running down in a manner not unlike that of the target dummy. She was not at all surprised to see who had thrown the knife. Paul stood just inside the training room doorway, Stilgar three steps behind him. Her brother's eyes were squinted in anger. Alia, growing conscious of her nudity, thought to cover herself, found the idea amusing. What the eyes had seen could not be erased. Slowly, she replaced the crysknife in its sheath at her neck. "I might've known," she said. "I presume you know how dangerous that was," Paul said.' I understand the need for artistic license, for changing the story somewhat to fit a visual medium. I understand placing Hayt in the scene where he wasn't in the book, to set up the growing relationship between he and Alia. What I don't understand is the change of fundamental nuances like having her trip the switch rather than Paul's brilliant knife toss. I don't see how that change "adds" to the adaptation. If anything, it detracts. What was once a supreme piece of writing by The Master and a brilliant illustration of Paul's mastery over himself, mind and body, which further highlights his downfall, is lost. Even the dialogue, while similar, is changed just enough so as to completely alter the intent. Compare and contrast 'PAUL: "Do you know how dangerous that was?"' versus '"I presume you know how dangerous that was," Paul said.' The difference is subtle yet clear at the same time. The Master's words convey at once a sense of awe and respect, of acknowledgement of intellectual and physical powers, and finally a sense of resignation. The script is a petulant scolding, along the same lines of Paul's character in the FH's Dune mini. Not only that, but imagine how this scene would have come across on screen!! The precise timing of the throw, the shock on her face, the effect on the audiuence as the camera and Alia discover the the identity of the thrower and the understanding it would bring. What a challenge for a filmmaker. The way Herbert built this scene seems almost taylor made for visualisation... why change it? For those of you who have a problem with us so-called "purists" voicing our issues over the SciFi treatment of the story, this is a clear cut example of whence our concerns were borne. And there are countless others as well. Although, from what I've read of the script, the new mini looks hopeful, it is "changes" such as this that take away from the characters and the intent of The Master. I can understand certain changes from a media adaptation standpoint, but I do not understand changes that don't enhance that adaptation but rather alter the design of the characters and the author's intentions. _________________ "I can think of nothing more poisonous than to rot in the stink of your own reflections." - The Lady Jessica
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