Among the most fascinating movies never made is the one that lends a new documentary its title, Jodorowsky's Dune. That's an ambitious place to start for any filmmaker but, as director Frank Pavich proves in his quirky interviews with Jodo, if there's anyone that could do it, it's him. Pavich is exhaustive as he argues that Jodo just might have been onto something had his Dune been allowed to go forward.
Pavich fumbles in selecting film writers Devin Faraci and Drew McWeeny as the only critical voices in the documentary. Dying to see this documentary, I've always wondered what Jodo's version would have been like had he made it!
Tony Dayoub is a screenwriter and film critic with a BSC in Motion Pictures from the University of Miami. Enter your email address to subscribe to this blog and receive notifications of new posts by email. Happy New Year Movie Review 2014 Film Shahrukh Khan, Deepika Padukone & Abhishek Bachchan. Disclaimer : We do not own any of these products except the articles, which are written by us. Alejandro Jodorowsky is the passionate Chilean filmmaker behind surreal cult movies El Topo and The Holy Mountain. Jodorowsky's Dune lays bare how thoroughly planned and highly executable Jodo's version of Dune was as he prepared it in the mid-1970s. He interviews critics, other cult directors, and nearly everyone who had directly worked in the film's pre-production stage, including the money man behind Jodorowsky's early films, Michel Seydoux.
Early on in Frank Pavich's documentary about Jodorowsky's failed attempt to bring Frank Herbert's science-fiction epic to the screen back in the 1970s, he not only compares his vision to that of the arrival of a deity, but also claims that it would have given sober viewers the exact feeling of being on LSD. Giger, Pink Floyd, and actors including Orson Welles, Mick Jagger, and in one of the movie's most hilarious stories, Salvador Dali.


As his admirers grew, especially within the cinematic and pop cultural elite, Jodorowsky expressed his desire to make a film adaptation of Frank Herbert's complex, sci-fi epic Dune his next project. They are all convincing in their assertions that had any studio been willing to risk involvement with Jodo's vision, the payoff would have been worth it. It'd have been interesting to hear from a writer active at the time Jodo's folly was being mounted. The latter is recruited mainly by tricking him into thinking he'll be receiving the highest salary ever paid an actor.
NPR reserves the right to use the comments we receive, in whole or in part, and to use the commenter's name and location, in any medium. Jodo, as his friends called him, wanted his Dune to move the medium forward with the same verve Kubrick's 2001 did.
Jodo had all but signed David Carradine, Salvador Dali, Mick Jagger, and Orson Welles to play the film's key characters. As director Nicolas Winding Refn (Drive) puts it, "What if the first film of that nature had been Dune and not Star Wars? Ultimately, the absence of such a perspective isn't enough to detract from Pavich's intriguing behind-the-scenes oral history.
But he intended it to more explicitly alter a viewer's state of consciousness, in effect doing Kubrick one better by offering a moviegoer the same effects as LSD without the need to take the hallucinogen.
Pink Floyd was to score the Atreides portions of the film as soon as they wrapped The Dark Side of the Moon.
Would the whole megabucks blockbuster structure have been altered?" The most mesmerizing interviewee is Jodo himself who, in his mid-80s, is still a potent force of nature whose mad, animated ravings are infectious and run the gamut from thunderous indignation to wailing lamentation.
But I suspect such an individual would have offered a dissenting voice casting some doubt on the certainty that the titular movie in Jodorowsky's Dune was ever a viable film project to begin with. At one point, he describes a shot from the planned film that he intended would outdo Orson Welles' legendary opening tracking shot in Touch of Evil — only in service of showing the entirety of the cosmos.


One memorable highlight is Jodo's description of forcing himself to attend a screening of David Lynch's mediocre version and the gradual displacement of his funereal mood by giddy happiness as he realized how awful the final release really was. Giger, Jean "M?bius" Giraud and filmmaker Dan O'Bannon, his team of "spiritual warriors" that would later be poached by Ridley Scott for his feature Alien after Jodo's Dune was aborted. Pavich animates many of these, giving us the closest thing to an actual look at what Jodorowsky's version of Dune might have looked like. That straightforward presentation makes the documentary highly accessible a€” but also sometimes feels at odds with the manic, hallucinatory energy of its subject.
That film included massive amounts of on-set footage before that production was shut down, and nothing like that is available here. As a result, Pavich must mostly rely on a talking-head format augmented by those animations. Lucky for him, his primary talking head is Jodorowsky himself, as lively and frenzied as a hyperactive 12-year-old despite now being well into his 80s.
The latter caught the attention of French producer Michel Seydoux, who essentially offered Jodorowsky carte blanche for his next project, and the director chose to adapt a book, Dune, that was widely regarded as unfilmable.
The sum total of their adulation depicts the Dune pre-production as a kind of cult, with Jodorowsky as the prophet warrior king mesmerizing anyone who heard the sound of his voice. If its ambitions never quite match those of its subject, that can be excused; no one else's vision could ever hope to equal the fevered, monumental dreams of Jodorowsky.



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