Oppenheimer review
Christopher Nolan's latest film, Oppenheimer, is not your typical biopic. While it tells the story of J Robert Oppenheimer, the "father of the atomic bomb," it goes beyond mere retelling of historical events. Instead, it is a complex and sprawling tale that weaves together courtroom drama, romantic relationships, scientific breakthroughs, and cults of personality. Most strikingly, Oppenheimer is a monster movie that explores the boundless potential of science and the devastating consequences of its misuse. Cillian Murphy's portrayal of Oppenheimer captures the character's Frankenstein-like quality, a man who is consumed by his creation's destructive power. However, the true monster in this story is humanity's insatiable hunger for destruction, which Oppenheimer's invention unleashes. As the film progresses, Murphy's haunting performance and piercing gaze convey the weight of this realization. Ultimately, Oppenheimer is a film that uses all of its resources, including Murphy's captivating physicality, to deliver a poignant and thought-provoking exploration of one of history's most significant scientific achievements.
Gen Leslie Groves is portrayed as a bullish and solid figure, always ready to fight. On the other hand, Oppenheimer is seen carrying a load of books, appearing to be overwhelmed by his vast knowledge. At times he seems calm and detached, removed from the conflicts and ideas that will eventually lead to the creation of the ultimate weapon. The portrayal of Oppenheimer changes throughout the film, indicating which timeline the audience is currently in. The film shows Oppenheimer's early academic achievements, as well as a later humiliating security clearance hearing that scrutinized every aspect of his life. The development of the Manhattan Project is intertwined with a Senate hearing to determine whether Oppenheimer's former colleague, Lewis Strauss, should be appointed to a federal government role. The film's structure is complex, and time in Oppenheimer doesn't always feel linear. There are moments, such as a significant encounter with Albert Einstein, that seem disconnected from the rest of the movie.
Many films require multiple viewings to fully comprehend, and while it may not be as confusing as Tenet, Oppenheimer is no exception. However, there are some issues with the film's portrayal of female characters. Florence Pugh's character, Oppenheimer's mistress Jean Tatlock, is underdeveloped, and Emily Blunt's character, J Robert's wife Kitty Oppenheimer, is mostly seen holding a martini on the edge of the screen. Despite this, the film is a remarkable achievement, with a level of detail that can be overwhelming. The film features scenes of scientific genius represented by furious blackboard scribbling, but the abstract moments are even more captivating. The sets themselves seem to tremble during moments of tension, reflecting the shockwaves of the reaction set in motion in Oppenheimer's world.
An effective way to convey the horrors of war in film is through the use of sound and music, as seen in Jonathan Glazer's upcoming film, The Zone of Interest. Rather than showing the violence, the audience is able to feel the weight of the situation through what they hear. Ludwig Göransson's score is exceptional and changes throughout the film. The soundscape also includes a recurring motif of thunderous foot stomping, originally representing a moment of triumph in Oppenheimer's career. However, as the catastrophic potential of his work becomes clear, the sound takes on a mounting sense of threat.
