Oppenheimer is a biographical drama by Christopher Nolan that gives insight into the life of J. Robert Oppenheimer, an American physicist central to the development of the first nuclear weapons during World War II. The film details convoluted political, scientific, and moral dilemmas circling Oppenheimer, most notably his leadership of the Manhattan Project that produced the atomic bomb.
These crucial moments in Oppenheimer’s life involve the leadership of the Manhattan Project, complicated personal relations with his wife Kitty and his girlfriend Jean Tatlock, and his earlier academic and political involvements. It all culminates with Trinity Test, when an atomic bomb is detonated for the first time and marks the scientific peak for Oppenheimer. From here, the movie moves into dealing more with the moral and ethic problems that his invention was creating, namely his growing opposition to the proliferation of nuclear weapons. The film also shows the political backlash that he underwent in the McCarthy era. The film tries to give the deep, philosophical eye of the man behind one of history’s most devastating inventions.
For Cillian Murphy, Oppenheimer has found an actor who could portray his image to perfection; it is haunting, yet nuanced, as it nails intellectual flashes of brilliance with which Oppenheimer’s mind is made and his emotional turbulence. Kitty Oppenheimer, played by Emily Blunt, comes forth as a very strong emotional anchor, while Robert Downey Jr. brings marked intensity to the role of Lewis Strauss, the man who proved to be instrumental in Oppenheimer’s downfall.
Nolan’s direction received accolades for his masterful use of non-linear storytelling and powerful visual imagery. The IMAX cameras and practical effects, particularly in the Trinity Test sequence, in a way, ground it in reality. The cinematography by Hoyte van Hoytema puts in one frame the serene landscapes of Los Alamos in relation to the destructive power of the bomb. It contains the deepest themes of scientific responsibility, the morality of war, and psychological costs of creating a weapon of mass destruction. It also delves into the political atmosphere at the time—from the Red Scare to the after-effects on scientists who criticized the government.
But “Oppenheimer” has also received criticism, particularly regarding its pacing: many found it slow, more so at the middle parts. Running almost at three hours long, the film demands much focus from the viewers not as invested in its heavy dose of history and science. Such dense subject matter, weaved in with a non-linear storyline and attention to scientific and historical ideas, might be taxing for those viewers who are not familiar with the situation surrounding the Manhattan Project. Additionally, while it can be a plus point, the intellectual depth shown characterizes ‘talkiness’ over ‘action-ness’, which cannot appeal to a mass audience. There has also been debate concerning the balance between accuracy and artistic license, with some critics even questioning Nolan’s portrayal of certain facts and characters.
On the whole, however, “Oppenheimer” rates nearly universal critical raves for its intellectual heft, fine performances, and Nolan’s usual knack for making complex material cinematically digestible. Indeed, though a strongly dialogical and character development-based film, and as such not possibly interesting for everyone, it is being considered one of the year’s best.
