Whenever a Christopher Nolan film is released in theatres, moviegoers tend to sit up, book a ticket, and travel to the nearest cinema on release day. He is one of the few directors working today who possesses the same —if not more —pull than A-list actors. His filmography includes a combination of time-bending elements, a non-linear approach to storytelling and complex labyrinth plots.
This interesting narrative-based style, along with his prioritisation of utilising real filming locations and practical effects in a time where CGI-fuelled superhero movies rule the box office, is where Nolan stands out from the crowd. This year’s Oppenheimer was no different, as the summer hit grossed $950,000,000 worldwide. Perhaps, a figure aided by the phenomenon of ‘Barbenheimer’, in which two comically opposed films managed to turn competition into collaboration.
Oppenheimer comes with all the same hallmarks of a Nolan movie wrapped into the form of a historical biopic, with all the sensitivity and responsibility attached to it. He undoubtedly succeeds in this feat, as he combines all his usual gravitas and spectacle with real people and events into a 3-hour experience. While the film focuses on the Manhattan Project, it is rather the father of the atomic bomb that Nolan intends to explore.
Oppenheimer comes with all the same hallmarks of a Nolan movie wrapped into the form of a historical biopic, with all the sensitivity and responsibility attached to it.
As the title suggests, Oppenheimer is about the man himself and all the conflict, pressure and complex emotion that comes with being a self-proclaimed “destroyer of worlds”. Cillian Murphy delivers a faultless performance as J. Robert Oppenheimer; approaching the character in an almost Shakespearian manner; rife with flaws and a certain haunted nature constantly shrouding him.
Nolan’s direction and Murphy’s portrayal paint a man who is neither a villain nor a hero, but instead a perfect example of the dark side of human nature. The many close-up shots that force the audience to stare deep into Murphy’s eyes successfully convey the duality of a man. In one scene, Murphy can portray a genius scientist burdened by knowledge and intellect.
Next, he can become a man with hate and great moral conflict. Ludwig Göransson’s masterful soundtrack captures the essence of these emotions with the ever-looming feeling of a ticking time bomb, which conveys the fast-paced race to nuclear arms against the Nazis alongside Oppenheimer’s internal battle with morality. In typical Nolan fashion, the theme of time is prevalent, with the sounds of a ticking clock often harmonising with the drama on screen.
This tension is always one tick from going over the edge, making the 3-hour run time feel much shorter. Matt Damon and Emily Blunt provide stellar performances as General Groves and Kitty Oppenheimer respectively. Robert Downey Jr. gives an arguably career-best performance as Lewis Strauss, acting as the perfect foil to Murphy’s Oppenheimer —interactions between the two marvellously capture the spiral and downfall of a two-faced man.
Nolan overlays the origins of Oppenheimer, the Manhattan Project, and the aftermath of the atomic bomb in his quintessential time-shifting narrative structure, requiring the audience’s attention to be engaged at all times. Along with its masterful cinematography, Oppenheimer becomes unmissable. While the long, dialogue-heavy run time may be too much for some viewers, the sheer tension and impactful drama will have others glued to their screens.
Its importance as a story is encapsulated by its final scene, leaving the audience with more questions about the contemporary world than before and cementing Robert Oppenheimer’s story as integral to modern society. Nolan’s masterpiece is a vehicle for this tale, making it a must-see for all who want a greater understanding of our world.