Quantum physicist. Alleged communist. Project manager of the Manhattan Project. Father of the atomic bomb. J Robert Oppenheimer (Cillian Murphy) was all of these things— but put succinctly, he was a man of burdening intellect, in the midst of a burgeoning war. Christopher Nolan’s latest film looks to explore the life of Oppenheimer, from his academic origins, to his work on the Manhattan Project, and beyond… leading to a harrowing look at the destructive tendencies of man, and the consequences that follow.
American Prometheus
Oppenheimer may be the most horrifying cautionary tale to exist, because it’s not just a tale— most of what’s shown in this film actually happened. But as a historical drama that depicts circumstances surrounding WWII, don’t expect an overarching view of the war. Since the film is based on Kai Bird and Martin J. Sherwin’s American Prometheus, a biography of Oppenheimer, the story first and foremost depicts events in his life from his point of view. We see an adolescent grappling with the noise inside his head. We see a professor teaching bold, new concepts, while finding his way in a world of sociopolitical injustice. And, of course, we see a man leading hundreds of scientists in creating the first atomic bomb, to turn the tides of war. You may see the creation and testing of the bomb as the main course of this movie— and it certainly is a sight to behold— but what you’re sure to be invested in more are the complexities of the man.
We get to walk alongside Oppenheimer in his volatile relationships, his evolving politics, his hopes, and later, regrets. It’s an anxiety-inducing showcase of the epitome of man’s hubris, and the terrible— and sometimes paradoxical— consequences that follow. How can a man contribute to an atrocity with a supposed necessary and great purpose, and come to both regret the decision and allow it to build a positive public identity for himself? How can someone build something that both leads to the destruction of everything, and… doesn’t? These are just a couple of the paradoxical ideas explored in the film— and while there is a certain amount of sympathy presented for Oppenheimer by the end, there’s also a small dose of pity, alongside a heaping dose of shame for his cowardice. Just because the movie is about him, doesn’t mean it’s for him. The ending of the movie builds on the consequential horror in a way that left me haunted. But, another impactful takeaway was how the ending mirrored the beginning— showing the consequences of humanity’s sin when it’s past a point of no return.
Destroyer of Worlds
As for the Trinity test scene itself, it was a few minutes of the purest, most raw tension. Had the film not been so immersive through narrative, visuals, and score, I may have just thought, “Well, I already know what happens.” But the whole eerie build up into a moment of sheer, terrible power shook me. In a twist though, the scene directly after is even heavier and more horrifying. We experience with Oppenheimer the weight of what he’s done, as regret sets in, and a chaotic mix of emotions manifest themself in the world around him. That… is the scene that left the biggest impact. It feels like it was straight out of a horror movie, and Nolan deserves all the praise for it’s masterful execution.
One other thing to note about this film is just how dense it is. I don’t mean to say it’s too dense— but its a hefty, dialogue and exposition-driven movie. With that being said, it’s never boring. The tension and drama is well applied throughout, to a point that even after the Trinity test, there’s still an hour left that builds to a climax. Of course, while some of the density can be attributed to talk of quantum mechanics and theories beyond my knowledge, it’s also due to just how political the movie gets. As intriguing as the story surrounding the atomic bomb is, the film gives an equal footing to the exploration of McCarthyism. The aspects of political corruption bring in a level of ferocious wit akin to that of Nolan’s The Prestige— and even though it occurs in a more verbal form, it remains just as engaging.
Nolan-Isms
Typically Christopher Nolan has a pattern of incorporating his obsession with the concept of time in his films— whether through subject matter or storytelling mechanics. Oppenheimer has the least of these “Nolan-isms”… or they at least blend in better. Whereas his last few films seem to have been built as proof-of-concept showcases of his storytelling ideas, Oppenheimer puts narrative and themes first, and allows his typical style to play a supporting role. The story is typically presented in a linear fashion, with the exception of repeated glances into future legal hearings interspersed throughout. These hearings help act as a guide to the narrative, bringing up and questioning ideas or events in Oppenheimer’s life. One other factor to note is Nolan’s use of swapping between color and black & white. He’s previously stated that the former represents an objective view, while the latter represents a subjective one. There, however, is another dimension to those differing points of view that I found was absolutely brilliant in how it tied to the larger story.
The Height of Many Careers
Cillian Murphy gave his all for this role. It’s an intense, enigmatic performance that stands out as a career-best for him. The way he embodies a man of great ego, and he can sell the audience on that alongside a developing, deeply human, regret and pain— he absolutely nails it. The terror on his face. The anguish in his eyes. The confidence in his voice that later turns to perplexion. Murphy is sure to be a front-runner for Best Actor at the Oscars.
Oppenheimer’s wife, Kitty, is played by the illustrious Emily Blunt. She also comes swinging with a career-best performance— despite being in the backseat for a good portion of the film. The few times she gets a chance in the spotlight, she takes full advantage… bringing bouts of anger, sometimes channelled into a vindictive, fiery energy. Speaking of vindictive… Robert Downey Jr. plays Lewis Strauss, bringing out levels of unbridled emotion no longer held back by the confines of an iron suit. He proves beyond a shadow of a doubt… he’s still got career-defining performances within him, and it made me excited to see what he does next. Of course, Oppenheimer is filled with a massive, star-studded cast— some of which show up in a blink-and-you’ll-miss-it role. But the other standout performances would have to be Florence Pugh (who I wish we saw more of), Jason Clarke, Alden Ehrenreich, Dane DeHaan, and Gary Oldman. Everyone delivered their absolute A-game.
“Can You Hear The Music?”
The look and sound of Oppenheimer is absolutely profound. I had the chance to see the film in IMAX 70mm, and if you have the chance to do the same, I can’t recommend it enough. I was left awestruck by moments of fire and fury alike— enveloped in waves of wonder and terror. As always, Nolan’s use of practical effects shines much brighter than CGI typically does— bringing flashes of light, sparkling chain reactions, and explosions a real, grandiose feel. He brings a beauty to that which we would fear, immersing you in all of it’s glory, and using the story to turn your reactions into emotions— ones that will adhere to your soul well beyond the conclusion of the film.
The relationship of the narrative and score is similar to that of an atomic reaction— continually building off of one another in a grand display of tense harmony and exquisite dissonance. Sweet, fluttery violin arpeggios beautifully blend with muted, staccato synth notes— only to have a poisonous feeling of regret and sorrow injected in, leading to a downward spiral. The strings whine with mourning, while the brass synth blares out as a warning siren, signalling impending doom. But, the most dramatic part of all is when the music stops. Our typical understanding of music in film is one where we expect the climax to have the most explosive score. Here, when the climax brings silence, you’re frozen in terror. It gnaws at your soul and accentuates what’s happening on screen in a horrifying way. Ludwig Göransson’s score— and the utilization of it— fills Oppenheimer with a level of operatic emotion that I’d say only Nolan’s Interstellar has come close to presenting until now; It’s an all-time great that is sure to be remembered.
‘Oppenheimer’ – Final Thoughts
A legendary work of historical drama, interwoven with intense moments showcasing the plight of humanity’s destructive tendencies— Oppenheimer is a masterpiece for the ages. As Nolan’s magnum opus, it has firmly cemented itself in history as one of the great American epics, and its foreboding nature as a cautionary tale has reignited a dialogue that is sure to plague our society to its end. Murphy offers a haunting career-best performance, while Blunt and RDJ also deliver fiery, memorable performances. Nolan’s typical usage of practical effects pays off, while his dialed-back storytelling mechanics offers space for the narrative to take center stage. Göransson delivers an all-timer score that ties everything together perfectly. Oppenheimer isn’t just possibly the best film of the year, but also of the decade. It’s an intricate work of the horrors of mankind’s actions and their grave consequences— the importance of which won’t be forgotten.
Oppenheimer releases exclusively in theaters on July 21. Check out the trailer below.
The Review
Oppenheimer
A legendary work of historical drama, interwoven with intense moments showcasing the plight of humanity's destructive tendencies— Oppenheimer is a masterpiece for the ages. As Nolan's magnum opus, it has firmly cemented itself in history as one of the great American epics, and its foreboding nature as a cautionary tale has reignited a dialogue that is sure to plague our society to its end.