Oppenheimer

Despite ostensibly appearing to be at exact opposite ends of the movie spectrum, there are some similarities between Oppenheimer and Barbie.

Both have filled multiplexes and independent cinemas with punters in a time of great need and both have done so whilst being standalone, unique, interesting, original and thoroughly well-made visions from world class directing and acting talent.

Both are awards-worthy, thought-provoking, debate-encouraging, boundary-pushing and trend-setting.

Both have lead characters deep in existential thought whilst contemplating the power they possess as individuals and what repercussions that power has for the world.

Fun to compare but, of course, the films themselves are very different experiences.

Whilst both will encourage internal thought and self-examination, Christopher Nolan’s latest is a bum numbing three-hour biopic of the titular J. Robert Oppenheimer. A highly intellectual and highly highbrow depiction of science and politicking with absolutely no regard for holding the viewer’s hand.

There are a couple of very funny jokes here, but despite the runtime the only advice to give is save on those snacks and put your phone away if watching from home, this one is going to need all of your attention and even that may not be enough.

Nolan’s never been one to compromise, to his credit, but this is particularly dense. Obtuse and difficult to follow in the best and worst of ways. A little research and knowledge of the life of Oppenheimer, beyond just the Manhattan Project, would be well advised.

Timeline and perspective jumping all over the shop, we move from Oppenheimer’s early years of studying to his recruitment into the Manhattan Project, the years spent in Los Alamos prior to the Trinity Test and the subsequent removal of Oppenheimer’s security clearance as he pivoted towards pushing against the continued research into this technology.

The majority of the film is actually spent in these ‘kangaroo courts’ and the testimonies of those speaking for and against Oppenheimer dip us back into the history of his life.

As tricky to follow as it can be at times, it all comes together and is never less than absolutely enthralling and hugely interesting. It’s also staggeringly beautiful, peaking with the much talked about Trinity Test sequence where, with only a touch of digital effects to augment the practical, Nolan stages a nuclear explosion bound to stand as one of cinema’s all time great scenes.

It’s also immensely well acted and scored. Never has a bet been safer in banking on a couple of Oscars for those involved here, particularly the immense Cillian Murphy in the title role. Ludwig Goransson’s score, much like with Tenet before this, almost steals the MVP title though keeping you on the edge of your seat throughout, particularly in the aforementioned test scene. It can be argued though that its almost omnipresent use (following a recent sci-fi trend set by Dune to make all feature films feel like long trailers it seems) can be distracting from the dialogue which can often be lost in the noise.

It follows Nolan’s somewhat ironic theme of aversion to technology (his films feature protagonists or characters wary of what a technological advancement would mean for the world, from The Prestige, through to Batman, Interstellar, Tenet and beyond) whilst pushing and perfecting its use in filmic terms.

Another ground-breaking piece of cinema, and telling the story of one of history’s most important events. Essential viewing, and a great WWII companion piece to Dunkirk, but perhaps just too smart for its own good to be considered Nolan’s masterpiece.

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