Oppenheimer - 3 hours 2 mins - English - Drama
ver the last three decades, there have been very few Hollywood filmmakers with the power to bring audiences to cinemas purely on the strength of their name—Martin Scorsese, Steven Spielberg (probably limited now), Quentin Tarantino, James Cameron, David Fincher, and… Christopher Nolan, to name a few.
Christopher Nolan is probably the last of the filmmakers blending old-school craftsmanship with modern technology—striving to leave behind a legacy of complete cinematic experiences. The magic of scale (big or small!), sound (or the lack of it), colour (or its deliberate absence), practical effects (with little or no CGI), and his signature non-linear storytelling all define his body of work.
At the very beginning of this biopic, we are introduced to Fission (in colour) and Fusion (in black and white)—two separate inquests being conducted on key characters. The film traces the journey of the legendary physicist J. Robert Oppenheimer, from Cambridge to becoming the “American Prometheus” (the father of the atomic bomb), and how his actions changed the world.
You’ll need to pay attention to the dialogue—but thankfully, it’s not too “physics-y,” nor is it the typically convoluted, non-linear Nolan narrative. Along the way, we’re introduced to Oppenheimer’s brilliant contemporaries—Niels Bohr, Heisenberg, Ernest Lawrence, Enrico Fermi, Edward Teller, and Albert Einstein. Oppi’s (as he was fondly known) journey to becoming the most important man in the world—and how he was ultimately cast aside—is explored through the pivotal creation of the atomic bomb. The film ends in a “tidy” way, pinning the villain role on a key character—though I’m not sure that was entirely necessary.
Cillian Murphy, a Nolan staple often seen in supporting roles, finally gets the part of a lifetime. He looks the part, and the close-ups bring out his expressive blue eyes, trembling lips, and emotional depth. The vanity, the turmoil, and the eventual self-realization of what he’s done (and become) are superbly portrayed. He has surely done enough to be in contention for Best Actor.
Robert Downey Jr. (finally, some of us get to see the actor and not the star) is terrific. There’s even a scene where you catch a glimpse of the “Iron Man” swagger—when he walks up to open the car door for Oppi.
This could well be Matt Damon’s award year (following his excellent turn in Air). He is fantastic once again as General Leslie Groves, the military lead on the Manhattan Project. His scenes with Murphy light up the screen—whether it’s humour, tension, or shifting power dynamics.
The supporting cast leaves a strong impression despite limited screen time:
• Kenneth Branagh (as Niels Bohr) has two key scenes.
• Tom Conti (as Einstein) is delightful—especially in the now-famous “hat” scene.
• Josh Hartnett (as Ernest Lawrence) is classy.
• Jason Clarke (as Roger Robb, the key inquisitor during Oppenheimer’s hearing) is stunning—and makes you want to hate him.
The women, as in many Nolan films—strong, but always in turmoil—feel slightly shortchanged. Florence Pugh (as Oppi’s lover) and Emily Blunt (as his wife) are both excellent, but you wish they had more to do. Emily Blunt gets two powerful scenes toward the end—especially during the interview—which make you wonder why she spends most of the film either drinking or crying over her baby.
I write this while listening to the hauntingly beautiful, wildly oscillating score—from the sublime to the nerve-shattering bass—by Ludwig Göransson. (Hans Zimmer, Nolan’s usual collaborator, was unavailable due to other commitments—including Dune. The same was true for Tenet.)
The sound design and engineering—thankfully far more coherent than the brain-melting Tenet, where some dialogue was inaudible—are integral to the experience. The tension leading up to the Trinity Test (the bomb’s first detonation), the extended silence that follows the blast, and the eventual thunderous boom—this sequence must be experienced. (It rivals the “docking scene” in Interstellar.)
All the hype about IMAX is totally justified. They even invented black-and-white IMAX film for specific scenes! The format immerses you in the faces of the characters—you see their frowns, quivering rage, and quiet anguish. The cinematography by Hoyte van Hoytema is stunning, with exquisite detail in every frame.
Fans expecting a typical Nolan mind-bending action thriller might be disappointed—though I’m not sure why you’d expect that from this story. Find the nearest IMAX (or PXL, or even Dolby Atmos, which I rewatched it in) to experience this cinematic masterclass.
It takes a truly great filmmaker to create a three-hour, dialogue-heavy drama that keeps audiences on the edge of their seats—and even earns applause at the end. Maybe this is Nolan’s best shot at the Oscars yet.
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