Oppenheimer, 2023.
Written and Directed by Christopher Nolan.
Starring Cillian Murphy, Emily Blunt, Matt Damon, Robert Downey Jr., Florence Pugh, Benny Safdie, Michael Angarano, Josh Hartnett, Rami Malek, Kenneth Branagh, Dane DeHaan, Dylan Arnold, David Krumholtz, Alden Ehrenreich, Matthew Modine, Gary Oldman, Alex Wolff, Casey Affleck, Jack Quaid, Emma Dumont, Matthias Schweighöfer, David Dastmalchian, Olli Haaskivi, Christopher Denham, Scott Grimes, James D’Arcy, Louise Lombard, Jason Clarke, Danny Deferrari, Guy Burnet, Tom Conti, Josh Peck, Gregory Jbara, Tony Goldwyn, Gustaf Skarsgård, Tom Jenkins, Trond Fausa Aurvåg, Devon Bostick, Harrison Gilbertson, David Rysdahl, Josh Zuckerman, Olivia Thirlby, Jefferson Hall, James Remar, Máté Haumann, Flora Nolan, and David Strathairn.
SYNOPSIS:
The story of American scientist J. Robert Oppenheimer and his role in the development of the atomic bomb.
This piece was written during the 2023 WGA and SAG-AFTRA strike. Without the labor of the writers and actors currently on strike, Oppenheimer wouldn’t exist.
Broken up into three concurring timelines (flashing back and forward from the present, mixing in some black-and-white for objective storytelling segments, but also presumably to help viewers keep their heads on straight), writer/director Christopher Nolan’s Oppenheimer (based on the book American Prometheus by Kai Bird and Martin J. Sherwin, with a pointed quote about Prometheus opening the adaptation) has a daunting amount of characters and plot, only made more intimidating by the exquisite cinematography from Hoyte van Hoytema (cramped rooms or wide-open horseback scenery perfect for pained existential contemplation, every image is captivating).
There is also a meticulous, dense presentation packed with information, sometimes tucked into seemingly small moments (of which there are none here; practically every line of dialogue and frame is substantially engaging in some way, imparting historical wisdom, even if nothing important isn’t happening), also with enough blanks and intrigue leftover to cram in another three hours of characterization and storytelling if Christopher Nolan had wanted to. This mammoth-sized film still leaves one wanting more, diving down a rabbit hole of history to learn more about these figures.
Determining where to begin discussing Oppenheimer as a film is a tall task. Of course, it is centered on theoretical physicist J. Robert Oppenheimer (a flooring performance from regular Christopher Nolan collaborator Cillian Murphy, who wears his consequences and moral dilemmas across every inch of his face), known as the maker of the atomic bomb that leveled Hiroshima and Nagasaki at the end of World War II. One of the film’s first images is an anxiety-ridden, exhausted Oppenheimer with frazzled hair as if he hasn’t slept in years. Considering the history on display, it’s understandable. Audiences will feel the same way trying to consume and digest everything Christopher Nolan throws up on the screen. There are many high compliments to give here, but that might be the highest.
Some key figures within his orbit are U.S. Atomic Energy Commission chairman Lewis Strauss (Robert Downey Jr., a fiery ball of anger who respects Oppenheimer despite their opposing political beliefs, appointing him as head of the Manhattan Project), results-driven General Leslie Groves (a terrific Matt Damon), Emily Blunt’s Kitty Oppenheimer (the overworked wife and mom driven to alcoholism during Oppenheimer’s extended absence and inability to assist while working on groundbreaking science), and his first love and mistress, Florence Pugh’s psychiatrist Jean Tatlock, a communist who expanded Oppenheimer’s already liberal mind.
While there came a point where Oppenheimer never really saw Jean Tatlock anymore, there’s an emotionally stirring doomed romance aspect that feels in line with previous women in Christopher Nolan’s films such as Inception. Despite being a celebrated scientist, the film directly addresses that Oppenheimer was a flawed individual and most definitely a womanizer, ignorant of the harm his actions could cause (there’s a damning line here exclaiming that brilliant men often get away with unacceptable behavior). Naturally, there are cracks in that relationship that also go on to form a baseline for Oppenheimer’s eventual motives, or awakening of consciousness. It’s a beautifully moving dynamic, making for a minor quibble of wishing it was focused on more.
That’s not to say Oppenheimer isn’t aware of what he is potentially building. He makes it clear early on that there is a small chance that even testing out this nuclear weapon could cause a chain reaction that destroys the entire world. On that note, Oppenheimer itself (complete with those aforementioned timelines running parallel to one another) plays like a chain reaction, bouncing between past and present, actions and consequences. The more progress is made, the more Oppenheimer’s naivety in assuming America would share the horrifying details of these experiments and the potential destruction of these weapons with the United Nations (which is what the institution was created for) is destroyed. It is nothing short of ominous and timely to watch a film where scientists’ opinions are largely dismissed, especially considering where the world is today.
Oppenheimer explores theory and practice on the scientific side of things: people don’t want to believe scientists regardless of the dangers and catastrophes they warn are possible. People only understand through practice and experiment, which means testing the bomb and risking the world. Such as sequence is, righteously, unbearably intense with impeccable sound design, even though the history has already been written. Dialogue exchanges also contain visual flair, including some truly haunting touches during the third act tapping into Oppenheimer’s guilt-wrecked mental state.
However, the boardroom arguments, the pleas for the highest level of security clearance, and the inevitable trial of Oppenheimer for getting a bit too liberal are equally immersive and infuriating (a huge portion also focuses on the possibility of a Soviet spy having infiltrated Oppenheimer’sNew Mexico-based Los Alamos Laboratory, with plenty of plausible suspects and compelling intrigue for anyone unfamiliar with that part of the history). This also allows for a look at how America will discard someone and turn them into a villain the second they are disposable or step too far out of line, even if they are concerned with the greater good.
For 180 minutes, Christopher Nolan keeps up this breakneck pacing, hopping between time and space, aided by a powerful score from Ludwig Göransson and precise editing from Jennifer Lane. But it’s Cillian Murphy who carries the weight of the film on his shoulders with the same internal punishment toll crafting the atomic bomb took on J. Robert Oppenheimer. This is a blistering piece of filmmaking that’s only flaws are small shortcomings from its gargantuan ambition.
Flickering Myth Rating – Film: ★ ★ ★ ★ / Movie: ★ ★ ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com
