This piece was written during the 2023 WGA and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike, the work being covered here wouldn’t exist.
When you look at Christopher Nolan’s filmography, a number of his films have explored the mechanics of a particular science, whether it is the dreamscapes in Inception, or even the stages of a magic trick in The Prestige. They are also about men, who have expertise in these sciences, use them to achieve an obsessive goal, usually on a deadline; with time being a recurring theme of Nolan’s films. With his latest entry, Oppenheimer, Nolan tells another story in World War II history that feels like the culmination of the ideas that he seems to be obsessed with.
Based on the 2005 biography American Prometheus by Kai Bird and Martin J. Sherwin, this unconventional biopic chronicles the life of J. Robert Oppenheimer (Cillian Murphy), an American theoretical physicist who was pivotal in developing the first nuclear weapons as part of the Manhattan Project, and thereby ushering in the Atomic Age. Like many of Nolan’s films, there is a non-linear narrative, starting with Oppenheimer’s academic studies starting in Cambridge to eventually his work at Los Alamos, to then jumping to his security hearing in 1954, as well as Lewis Strauss’ (Robert Downey Jr) confirmation hearing in 1959 to remove Oppenheimer from political influence.
With a three-hour running time that mostly comprises of men talking, it is a demanding experience, especially in the first hour which establishes its non-linear format from the jump, so you have to adjust its pacing. On the one hand, you have the life of Oppenheimer, who balances studies, relationships and a secret military operation, all of which is shot in color while what it told from Strauss’ perspective in which we see what motivated him to go after Oppenheimer (political mistreatment and misinterpretation) is in black-and-white.
Nolan is moving a lot of gears, not least in the incredible all-star cast, some of which only pop in one scene, but when the narrative either focuses on a singular perspective or centers on achieving that one goal, Oppenheimer finds its function. As the titular J. Robert, Cillian Murphy dominates the screen, and not just because there are a lot of close-ups of his face, where you can read the signs of dread and anxiety.
Seen as the oddball outsider who is suddenly in charge of a project that will decide the fate of the world, he may have scientific knowledge and confidence, but there are various moments where he is in an emotional state. Although you can argue that Nolan is not the best in writing relationships as the female characters are just there to serve Oppenheimer’s arc, Emily Blunt and Florence Pugh deliver terrific performances. If there is another central relationship that Oppenheimer has, it is his banter with US Army officer Leslie Groves, with Matt Damon bringing the few moments of levity.
As for the subplot involving the two hearings to showcase the rivalry between Oppenheimer and Strauss, this is where audiences will be divided since it is all about politics. You do have Robert Downey Jr delivering an Oscar-worthy performance as a political figure who seems petty over a ridicule towards him and goes to great lengths for a victory. Nolan acknowledges the influence of Oliver Stone’s JFK, and you can see that in the debates that feel like an intense action sequence, thanks to Jennifer Lame’s sharp editing and Ludwig Göransson’s thumping score.
Considering the intimacy that the film provides, particularly in showing Oppenheimer’s domestic life outside of science and politics, Nolan and cinematographer Hoyte van Hoytema shoot the whole thing as if they are preparing for the Trinity Test themselves. Speaking of the test itself, seeing this set-piece in 70mm IMAX is an immersive experience, in which you see the many scientists witnessing if their work has been a success, or they might blow themselves up in the process. Even though the Trinity Test could have served as the climax, the long aftermath delves into our protagonist’s mindset about the repercussions of what they achieved, which is not the initial promise of international peace, but the sole control of greater weapons, leading to greater wars. Given its historical context, Oppenheimer is ultimately about the end of the world.
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