Christopher Nolan’s upcoming film project, “Oppenheimer,” is an intriguing departure for the renowned director. Known for his complex and visually stunning films, such as “Interstellar” and “Tenet,” Nolan now delves into the story of J. Robert Oppenheimer, the father of the atomic bomb. The film explores Oppenheimer’s internal conflicts as he confronts the moral implications of his work on the Manhattan Project.
In a striking visual image, Oppenheimer is portrayed wearing his iconic uniform – a fedora cap, a smoking pipe, and an oversized suit. This distinctive attire serves as a kind of armor, shielding him from the world around him. Much like Batman donning his cape and cowl, Oppenheimer uses his appearance to present a charismatic and enigmatic persona to both his admirers and his adversaries within the military and political spheres.
It may initially seem surprising that Nolan has chosen this particular subject matter for his next film. After concluding his acclaimed Batman trilogy, he has taken on increasingly intricate projects. “Interstellar” explored the personal sacrifices made by an explorer searching for a new planet for humanity, while “Tenet” combined mind-bending time travel concepts with exhilarating action sequences. In contrast, “Oppenheimer” appears to be a more dialogue-driven and introspective film, focusing on intense conversations that take place in various meeting rooms.
However, a closer examination reveals that the exploration of complex moral dilemmas is a recurring theme in Nolan’s filmography. From Christian Bale’s Bruce Wayne/Batman to the dedicated magicians in “The Prestige” and the expert dream divers/super spies in “Inception,” Nolan often centers his stories around intelligent and capable individuals who grapple with significant ethical questions. Oppenheimer’s swaggering genius aligns perfectly with this wheelhouse.
Based on the biography “American Prometheus” by Martin J. Sherwin and Kai Bird, the film traces Oppenheimer’s journey from his time as a doctoral student in Germany to his professorship at UC Berkeley. Along the way, he interacts with notable scientists like Albert Einstein, establishing himself as a respected quantum physics researcher. Oppenheimer’s character is revealed to be more than just an intellectual; he supports anti-fascists in the Spanish Civil War, advocates for workers’ rights, and aligns himself with local Communists, a decision that later comes back to haunt him.
As Oppenheimer is enlisted to work on the Manhattan Project and build an atomic bomb, the process of myth-making begins. Nolan treats this as he would a heist film, with Oppenheimer assembling a team of brilliant minds and persuading the government to establish a secret research base in Los Alamos, New Mexico. The film delves into the race against Nazi Germany to create the bomb and the concerns raised by scientists about its potentially catastrophic consequences.
The movie predominantly presents Oppenheimer as a heroic tortured genius. Only he possesses the necessary expertise to bring together the right scientists and unravel the enigmas of quantum physics to safeguard his country. While some colleagues criticize his cavalier attitude towards building the bomb, believing it could lead to unimaginable disaster, Oppenheimer remains naively optimistic that its power could end all future wars. The film subtly suggests that he is ultimately betrayed by a country that fails to appreciate his subsequent anti-nuclear activism.
Although unable to experience the film in IMAX, the reviewer found the theatrical presentation captivating. Despite the mostly mundane settings of people conversing in ordinary rooms, the cinematographer, Hoyte Van Hoytema, manages to make these conversations visually engaging. Cillian Murphy’s piercing blue eyes, in particular, convey profound emotions in close-up shots.
However, the film does have its shortcomings. Female characters, such as Oppenheimer’s wife Kitty (played by Emily Blunt) and Communist activist Jean Tatlock (portrayed by Florence Pugh), are thinly developed, a recurring weakness in Nolan’s films. Furthermore, the reviewer suggests that more insight into Oppenheimer’s contemplations on the aftermath of the Hiroshima and Nagasaki bombings would have enriched the narrative. Although the film features a scene in which Oppenheimer confronts President Harry Truman (played by Gary Oldman) in an attempt to prevent the continued development of nuclear weapons, these moments come across as self-serving.
Ultimately, at the conclusion of the film, Oppenheimer realizes what his colleagues had recognized all along – his actions have irrevocably changed the world. The specter of nuclear annihilation looms over the peace he had hoped to achieve, leaving him forever haunted by the consequences of his work.
In summary, Christopher Nolan’s “Oppenheimer” provides a thought-provoking exploration of J. Robert Oppenheimer’s internal struggles as he grapples with the moral implications of his involvement in the Manhattan Project. While the film establishes a captivating premise and visually arresting moments, it falls short in terms of character development, particularly when it comes to its female characters. Nonetheless, “Oppenheimer” further solidifies Nolan’s penchant for exploring complex moral dilemmas through the lens of brilliant and tortured individuals.
