CINEMA REVIEW: OPPENHEIMER (2023)
Directed by: Christopher Nolan
Screenplay by: Christopher Nolan
Based on: American Prometheus by Kai Bird and Martin J. Sherwin
Produced by: Emma Thomas, Charles Roven, Christopher Nolan
Cast: Cillian Murphy, Emily Blunt, Matt Damon, Robert Downey Jr., Florence Pugh, Josh Hartnett, Casey Affleck, Rami Malek, Kenneth Branagh, Tom Conti and many more.
Cinematography: Hoyte van Hoytema
*** MAY CONTAIN SPOILERS ***
One wonders if Christopher Nolan sees himself reflected, on some subconscious level, in the character of J. Robert Oppenheimer. Both are geniuses within their chosen field, and both have had their critics who do not always agree with their choices. The intrinsic difference is that the work of Oppenheimer and his team of scientists created one of the most expensive and deadly weapons the world has even seen. His actions led to destruction and death on a mass scale. Christopher Nolan, on the other hand, merely creates expensive drama and destruction on a cinema screen for our entertainment.
J. Robert Oppenheimer is clearly a complex character to bring to life on the screen. Indeed, scientists are not always the most riveting of characters, nor particularly cinematic. Especially since they spend their days in laboratories, classrooms and have their heads buried in books. Thus, visually speaking it is a constant challenge for filmmakers to present such biopic narratives. Moreover, thematically, and philosophically there is much internal conflict to wrestle with. Especially someone as (in)famous as Oppenheimer. I mean, how does a man overcome the guilt of being responsible for the deaths of so many people?
Having said that, Oppenheimer, as the leader of the ‘Manhattan Project’ at Los Alamos, could also be interpreted as the saviour of lives. The invention of nuclear weapons is an act of aggression, but paradoxically also a shield of peace. Such is the fear generated by such a devastating tool we will never know how many lives the existence of nuclear bombs has saved. Unfortunately, human beings find other ways to kill each other. That sadly will never stop. Does Nolan explore these themes within the intense three hours of cinematic propulsion, Oppenheimer (2023)? It is certainly there in the subtext, but perhaps not as pronounced as I would have hoped.
Adapting American Prometheus by Kai Bird and Martin J. Sherwin, Christopher Nolan’s screenplay is highly intelligent and clearly professionally researched. It is also, when compared with the often-baffling Tenet (2020), simply structured. Events from Oppenheimer’s early life, post-war troubles with the United States government and the key stages of the ‘Manhattan Project’ are cut together in juxtaposing timelines throughout the lengthy running time. Nolan builds from the Senate and court hearings Oppenheimer faces after the war, where his security status is threatened with revocation due to his alleged association with the Communist party before the war.
That McCarthyistic-Red-Scare-paranoia was vilifying genuine heroes such as Oppenheimer is quite incredible, but unsurprising. I mean, here is a man, who served his country to personal cost and his own mental degradation. It is therefore a measure of his character, as presented via Cillian Murphy’s formidable portrayal, that he refuses to break in the face of constant questioning of his patriotism and commitment to America. I felt that the constant jolts from the Senate hearings, where Robert Downey Jnr’s, Lewis Strauss, is seeking election, to Oppenheimer’s security status “trial,” brought about an overly repetitive and talky series of scenes which bogged down the emotions for me.
Where the film truly blooms is when Oppenheimer makes his scientific breakthrough, builds his team of geniuses and the construction and testing of the nuclear weapons at Los Alamos. There is palpable suspense (even though we know what happens) in the race with the Germans to make the bomb first. Imagine if the Germans had won the race? It does not bear thinking about. The history of the world would have been irrevocably altered beyond comprehension. Nolan also does an effective job of keeping the scientific language at an understandable level, as he promotes personalities over jargon. Indeed, Nolan’s ultra-talented ensemble cast including Matt Damon, Rami Malek, Josh Hartnett, Dane DeHaan, Jason Clarke, Florence Pugh and the best of the lot, Robert Downey Jnr, are all superbly marshalled by the director.
As well as being rich in history and thematic power, Oppenheimer’s (2023) visuals, allied with Hoyte Van Hoytema’s pristine cinematography, are unsurprisingly impressive. Nolan makes the choice to switch between black-and-white and colour photography. This is initially jarring but works with the shifting character perspectives it is intended to denote. On the other hand, I would say the pulsating sound design and score felt overbearing at times. Similarly, one could argue the overload of cutting, aural battering and switching of film colour stock combine to overload the viewer and remove emotional and dramatic resonance.
Oppenheimer (2023) is another Nolan masterwork as he and Cillian Murphy will surely get Oscar nominations. Lastly, the film works best as a bullet-pointed history lesson, a fine tribute to a complex and flawed genius, and a powerful damnation of United States paranoid politics. However, the solipsist nature of Oppenheimer’s character study and crowd of talking heads often becomes dizzying, watering down the drama and emotion of this immaculate and nuclear work of cinema.
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