Oppenheimer Movie Review

 

For all the anticipation surrounding Christopher Nolan's "Oppenheimer" and its depiction of the atomic bomb's explosion, the film's most striking element turns out to be the portrayal of the human face.

This extensive three-hour biography delves into the life of J. Robert Oppenheimer (Cillian Murphy), emphasizing faces as central elements. Faces speak, listen, and react, with the focus on Oppenheimer, the supervisor of the Los Alamos nuclear weapons team. His pivotal role in science earned him the moniker "The American Prometheus." Nolan and cinematographer Hoyte van Hoytema leverage the IMAX film system not just for capturing New Mexico's landscapes but also to juxtapose Oppenheimer's external composure with internal turmoil.

Numerous close-ups of Cillian Murphy's face depict Oppenheimer dissociating from interactions or immersed in memories, fantasies, and nightmares. "Oppenheimer" rediscovered the potency of such close-ups, revealing the inner struggles of characters as they grapple with self-identity and societal perceptions.

The film interlaces facial close-ups with flash-cuts of past and future events, using images of flame, debris, and chain-reaction explosions. These metaphors extend to Oppenheimer's personal life, where impulsive actions function like time-delayed bombs, showcasing the domino effect of individual decisions.

The film's weight lies in the exploration of faces, not only Oppenheimer's but also other significant characters like General Leslie Groves (Matt Damon), Kitty Oppenheimer (Emily Blunt), and Lewis Strauss (Robert Downey, Jr.). Strauss, in particular, becomes a central figure in a parallel story of pettiness and jealousy. The film delves into quantum physics principles, illustrating how observation can alter outcomes—a metaphor echoed in the editing, constantly reframing events to change their meaning.

"Oppenheimer" focuses more on the mysteries of human personality than on the atom bomb itself. While it addresses the impact on Japan, it avoids recreating the actual attacks, opting for Oppenheimer's agonized imagination. The film invites varied interpretations of the atomic bombings' necessity, refusing to take a definitive stance.

This review acknowledges the film's departure from traditional plot summaries, emphasizing Nolan's distinctive storytelling. "Oppenheimer" stands as an academic-psychedelic biography, reminiscent of 1990s Oliver Stone films, blending aesthetic daring with metaphorical storytelling. The performances exude an "old movie" vibe, featuring rapid-fire dialogue akin to screwball comedies.

As a physical experience, "Oppenheimer" remains enigmatic, resisting categorization. While some critique its length and narrative choices, the film's entropic tendencies align with discussions on individual and collective personalities. Characters face tribunals, held accountable for contradictions, hypocrisies, and sins, leaving audiences to decide their judgments—an apt reflection of the film's themes.

In essence, "Oppenheimer" transcends a straightforward tale, becoming a contemplative exploration of human complexities within historical contexts.