Christopher Nolan's movies are among the best ever made, be it his Dark Knight Trilogy, gritty and trope-challenging crime operas that happen to have superheroes in them, or his science-fiction movies like Inception and Interstellar, which are though-provoking, yet still with the required amusement factor for the blockbuster audience. His last sci-fi movie, Tenet, was as high concept as ever, but also complex to a fault, and somewhat lacking a heart to win over the big crowds. But even though every movie that Nolan makes is big, he tends to alternate between something more mainstream (for lack of a better term) and something that feels a bit smaller and more personal. And though it tackles big themes, few of his movies feel so personal as Oppenheimer.
In the beginning, it may feel a bit confusing why Nolan keeps moving back and forth in time, but as soon as we are pulled into the narrative, it becomes clear that the emotional core is formed by Dr. Robert Oppenheimer being interrogated in a private hearing. It is the scaffolding for a series of flashbacks that illustrate the topics that are being discussed, from the doctor's beginnings as a promising but clumsy student, to the man who saved America, to an enemy of the state who had to be silenced for not walking in sync with the political climate at the time. At the surface, the movie is a re-telling of a decisive moment in human history, and it is easy to see why the parallels with today's situation makes it such a suitable subject: the ease with which allies can change into enemies; governments eagerly exploiting those with opposite ideas when they are needed, but disposing of them when they stop being useful; and people getting cancelled by labeling their views too liberal or socialist.
On another level, Oppenheimer is also a biopic of a man who is brilliant yet also flawed, with many talents and an almost annoying lack of vanity. Apart from his brilliance, his biggest talent is eschewing his own ego by bringing other great minds together on the Manhattan project. He is also a womaniser who has trouble being a family man and a faithful husband, is sometimes too honest, and can step on the wrong toes, like those of his counterpart, Senator Strauss (Robert Downey Jr.). Cillian Murphy, Nolan's secret weapon in their sixth collaboration, is great as the man who understands the necessity of what he is inventing, yet is also realistic enough to know where he should stop. None of his shortcomings makes him in any way bad or unqualified, but those are grounds to be silenced even today, especially if one's political views can be easily taken out of context.
Nolan skillfully films Oppenheimer's narrative in color, and switches to black-and-white when showing Strauss' side. Which brings us to the third layer within the movie, as a carefully crafted morality tale. For a seemingly simple story about a country at war with ruthless enemies, and scientists being asked to help invent a solution, the film shows that the science and decision-making was not driven by intellect, but more often than not frought with human shortcomings such as pride, resentment, egoism, desires and revulsion. The great thing is that both sides of the drama get ample time and exposure, so that we see why these people do what they did, with the judgment left to the viewer. We are drawn into the movie so well that we can emotionally understand that no one at the time knew the outcome of the morel dilemma, so basically no one's actions were clearly wrong or right; it is only in hindsight that our minds can decide that.
In selling the drama, it certainly helps that everyone wants to work with Nolan: even the smallest parts are filled with great artists, from Florence Pugh as the strong-willed mistress, David Krumholz as a scientist with a clear moral compass, to Downey Jr. As an unforgettable two-faced politician, an achievement that should get him Oscar gold.
A movie with so many perspectives, topics and timeframes could have easily become a top-heavy mess, and some sides could have been underplayed, but due to a great script, clear direction and skillfull editing, we never get lost in one big jumble of timelines and characters. The makers thoroughly manage to turn it into a great thriller drama in which all the pieces fall into place until the final shot, while still keeping the audience intellectually engaged, captivated and amused throughout the entire 3-hr runtime. And that work of precision may be the biggest achievement of all. Please bring out the Oscars!
In the beginning, it may feel a bit confusing why Nolan keeps moving back and forth in time, but as soon as we are pulled into the narrative, it becomes clear that the emotional core is formed by Dr. Robert Oppenheimer being interrogated in a private hearing. It is the scaffolding for a series of flashbacks that illustrate the topics that are being discussed, from the doctor's beginnings as a promising but clumsy student, to the man who saved America, to an enemy of the state who had to be silenced for not walking in sync with the political climate at the time. At the surface, the movie is a re-telling of a decisive moment in human history, and it is easy to see why the parallels with today's situation makes it such a suitable subject: the ease with which allies can change into enemies; governments eagerly exploiting those with opposite ideas when they are needed, but disposing of them when they stop being useful; and people getting cancelled by labeling their views too liberal or socialist.
On another level, Oppenheimer is also a biopic of a man who is brilliant yet also flawed, with many talents and an almost annoying lack of vanity. Apart from his brilliance, his biggest talent is eschewing his own ego by bringing other great minds together on the Manhattan project. He is also a womaniser who has trouble being a family man and a faithful husband, is sometimes too honest, and can step on the wrong toes, like those of his counterpart, Senator Strauss (Robert Downey Jr.). Cillian Murphy, Nolan's secret weapon in their sixth collaboration, is great as the man who understands the necessity of what he is inventing, yet is also realistic enough to know where he should stop. None of his shortcomings makes him in any way bad or unqualified, but those are grounds to be silenced even today, especially if one's political views can be easily taken out of context.
Nolan skillfully films Oppenheimer's narrative in color, and switches to black-and-white when showing Strauss' side. Which brings us to the third layer within the movie, as a carefully crafted morality tale. For a seemingly simple story about a country at war with ruthless enemies, and scientists being asked to help invent a solution, the film shows that the science and decision-making was not driven by intellect, but more often than not frought with human shortcomings such as pride, resentment, egoism, desires and revulsion. The great thing is that both sides of the drama get ample time and exposure, so that we see why these people do what they did, with the judgment left to the viewer. We are drawn into the movie so well that we can emotionally understand that no one at the time knew the outcome of the morel dilemma, so basically no one's actions were clearly wrong or right; it is only in hindsight that our minds can decide that.
In selling the drama, it certainly helps that everyone wants to work with Nolan: even the smallest parts are filled with great artists, from Florence Pugh as the strong-willed mistress, David Krumholz as a scientist with a clear moral compass, to Downey Jr. As an unforgettable two-faced politician, an achievement that should get him Oscar gold.
A movie with so many perspectives, topics and timeframes could have easily become a top-heavy mess, and some sides could have been underplayed, but due to a great script, clear direction and skillfull editing, we never get lost in one big jumble of timelines and characters. The makers thoroughly manage to turn it into a great thriller drama in which all the pieces fall into place until the final shot, while still keeping the audience intellectually engaged, captivated and amused throughout the entire 3-hr runtime. And that work of precision may be the biggest achievement of all. Please bring out the Oscars!