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മരണത്തിന്റെ ദൂതനോ ഓപ്പന്‍ഹൈമര്‍? അതോ വേട്ടയാടപ്പെട്ടവനോ? | Oppenheimer Movie Review

അനുശ്രീ മാധവന്‍, 21 july 2023, 06:30 pm ist.

ചിത്രത്തിൽ നിന്നും

രണ്ടാംലോക മഹായുദ്ധത്തിന്റെ അവസാനത്തില്‍ ജപ്പാനിലെ ഹിരോഷിമയിലും നാഗസാക്കിയിലും അമേരിക്ക അണുബോംബ് വര്‍ഷിച്ച് ആയിരക്കണക്കിന് ആളുകളെ കൊന്നത് സ്‌കൂള്‍ കാലഘട്ടം മുതല്‍ സാമൂഹ്യപാഠ പുസ്‌കത്തിലൂടെ വായിച്ചറിഞ്ഞ ചരിത്രമാണ് ഒട്ടുമിക്കവര്‍ക്കും. എന്നാല്‍, ആണവായുധത്തിന്റെ ചരിത്രം എന്തെന്ന് തിരഞ്ഞു പോകുമ്പോള്‍ എത്തിച്ചേരുന്നത് ജെ. റോബര്‍ട്ട് ഓപ്പണ്‍ഹൈമര്‍ എന്ന വ്യക്തിയിലാണ്. ആണവായുധത്തിന്റെ പിതാവ് എന്ന പേരില്‍ ആഘോഷിക്കപ്പെടുകയും പിന്നീട് വേട്ടയാടുകയും ചെയ്യപ്പെട്ട ഭൗതിക ശാസ്ത്രജ്ഞന്‍.

ആരാണ് ഓപ്പന്‍ഹൈമര്‍? അണുബോംബ് കണ്ടുപിടിക്കുന്നതിന് മുന്‍പും ശേഷവും അദ്ദേഹത്തിന്റെ ജീവിതം എങ്ങിനെയായിരുന്നു? അംഗീകാരങ്ങളുടെ നെറുകയിലെത്തിയ ഓപ്പന്‍ഹൈമര്‍ പിന്നീട് എങ്ങിനെ ഒറ്റുകാരനായി?. ഈ ചോദ്യങ്ങള്‍ക്ക് ഉത്തരം നല്‍കാന്‍ ശ്രമിക്കുകയാണ് ഹോളിവുഡ് സംവിധായകന്‍ ക്രിസ്റ്റഫര്‍ നോളന്‍. കൈ ബേര്‍ഡ്, മാര്‍ട്ടിന്‍ ജെ ഷെര്‍വിന്‍ എന്നിവര്‍ രചിച്ച 'അമേരിക്കന്‍ പ്രോമിത്യൂസ്: ദ ട്രൈംഫ് ആന്‍ഡ് ട്രാജഡി ഓഫ് ജെ റോബര്‍ട്ട് ഓപ്പന്‍ഹൈമര്‍' എന്ന 2005-ല്‍ പുറത്തിറങ്ങിയ ജീവചരിത്രത്തെ ആധാരമാക്കിയാണ് നോളന്‍ ചിത്രമൊരുക്കിയത്.

കിലിയന്‍ മര്‍ഫിയാണ് ചിത്രത്തില്‍ ഓപ്പന്‍ഹൈമറെ അവതരിപ്പിക്കുന്നത്. റോബര്‍ട്ട് ഡൗണി ജൂനിയര്‍, എമിലി ബ്ലണ്ട്, മാറ്റ് ഡാമന്‍, ഫ്ലോറന്‍സ് പഗ്ഗ്, ജോഷ് ഹാര്‍ട്ട്നെറ്റ്, കേസി അഫ്ലെക്, റാമി മാലിക്ക്, കെന്നത്ത് ബ്രനാഗ് തുടങ്ങിയവരാണ് മറ്റു കഥാപാത്രങ്ങളെ അവതരിപ്പിച്ചത്.

ഓപ്പന്‍ഹൈമറിന്റെ ഹാര്‍വാര്‍ഡ് യൂണിവേഴ്സിറ്റയിലെ വിദ്യാഭ്യാസകാലം മുതലാണ് സിനിമ ആരംഭിക്കുന്നത്. ഹാര്‍വാര്‍ഡിലെ പഠനം അദ്ദേഹത്തിന് സംതൃപ്തി നല്‍കുന്നില്ല. തുടര്‍ന്ന് ക്വാണ്ടം മെക്കാനിക്സില്‍ തല്‍പ്പര്യം തോന്നിയ ഓപ്പണ്‍ഹൈമര്‍ പ്രമുഖ ഭൗതികശാസ്ത്രജ്ഞനായ മാക്സ് ബോണിന്റെ ശിക്ഷണത്തില്‍ ജര്‍മനിയിലെ ഗോട്ടിംഗന്‍ സര്‍വകലാശാലയില്‍നിന്ന് പിഎച്ച്ഡി പൂര്‍ത്തിയാക്കുന്നു. ആ കാലയളവില്‍ ക്വാണ്ടം മെക്കാനിക്സില്‍ അദ്ദേഹം ധാരാളം പ്രബന്ധങ്ങള്‍ പ്രസിദ്ധീകരിക്കുന്നുണ്ട്. ജര്‍മനിയില്‍നിന്ന് പഠനം അവസാനിപ്പിച്ച് തിരിച്ചുവരുന്ന ഓപ്പന്‍ഹൈമര്‍ പിന്നീട് യൂണിവേഴ്സിറ്റി ഓഫ് കാലിഫോര്‍ണിയ, ബെര്‍ക്കെലിയില്‍ അധ്യാപകനായി ജോലിയ്ക്ക് കയറുന്നു. സര്‍വ്വകലാശാലയിലെ തിരക്കുകള്‍ക്കിടയിലാണ് ജീന്‍ ടാറ്റ്ലോക് എന്ന മെഡിക്കല്‍ വിദ്യാര്‍ഥിയുമായി പ്രണയത്തിലാകുന്നത്. അമേരിക്കയിലെ കമ്മ്യൂണിസ്റ്റ് പാര്‍ട്ടിലെ സജീവപ്രവര്‍ത്തകയാണ് ടാറ്റ്ലോക്. കമ്മ്യൂണിസ്റ്റ് ആശയങ്ങളോട് ഓപ്പന്‍ഹൈമര്‍ ആകൃഷ്ടനാകുന്നത് അങ്ങനെയാണ്. എന്നാല്‍ ജീന്‍ ടാറ്റ്ലോകുമായുള്ള പ്രണയത്തിന് അധികം ആയുസ്സുണ്ടായിരുന്നില്ല, തുടര്‍ന്ന് കമ്മ്യൂണിസ്റ്റ് പാര്‍ട്ടി അംഗമായ കിറ്റി എന്ന യുവതിയെ വിവാഹം കഴിക്കുന്നു. മരണംവരെ അദ്ദേഹത്തിന്റെ പങ്കാളിയായിരുന്നു കിറ്റി.

ഒരു ഘട്ടമെത്തിയപ്പോള്‍ കമ്മ്യൂണിസ്റ്റ് പ്രസ്ഥാനവുമായി ബന്ധപ്പെട്ട പ്രവര്‍ത്തനങ്ങളില്‍നിന്ന് പൂര്‍ണമായും മാറി നില്‍ക്കുന്ന ഓപ്പന്‍ഹൈമര്‍ ഗവേഷണത്തില്‍ ശ്രദ്ധ കേന്ദ്രീകരിക്കാന്‍ തീരുമാനിക്കുന്നു. ആ കാലഘട്ടത്തില്‍ തന്നെയാണ് ഹിറ്റ്ലറിന്റെ നാസി ഭരണത്തിലുള്ള ജര്‍മനി അണുബോംബ് നിര്‍മിക്കാനുള്ള ശ്രമങ്ങള്‍ ആരംഭിക്കുന്നത്. ഇത് അമേരിക്കയിലെ ഒരു വിഭാഗം ശാസ്ത്രജ്ഞരെ പരിഭ്രാന്തരാക്കുന്നു. ബോംബ് നിര്‍മാണത്തില്‍ ജര്‍മനിയ്ക്ക് മുന്‍പേ സഞ്ചരിച്ചില്ലെങ്കിൽ അമേരിക്കയ്ക്ക് ഭീഷണിയാകുമെന്നതായിരുന്നു അവരുടെ ആശങ്ക. അങ്ങനെയാണ് മാന്‍ഹട്ടണ്‍ പ്രൊജക്ട് എന്ന ആശയത്തിലേക്ക് എത്തുന്നത്.

ഈ പ്രൊജക്ടിന്റെ ചുമതല വഹിച്ചിരുന്ന ലെസ്ലി ഗ്രോവ്സ് ആണ് ലോസ് ആലാമോസ് ലബോറട്ടറിയുടെ ഡയറക്ടറായി ഓപ്പന്‍ഹൈമറുടെ പേര് നിര്‍ദ്ദേശിക്കുന്നത്. പരിചയക്കുറവും കമ്മ്യൂണിസ്റ്റ് ബന്ധവും ആരോപിച്ച് ഓപ്പന്‍ഹൈമറിന്റെ നിയമനത്തെ പലരും വിമര്‍ശിച്ചുവെങ്കിലും അതിനെയെല്ലാം മറികടന്ന് മുന്നോട്ടുപോവുകയായിരുന്നു ലെസ്ലി ഗ്രോവ്സ്. ലോസ് ആലാമോസ് ലബോറട്ടറില്‍ ഓപ്പന്‍ഹൈമറും സംഘവും അണുബോംബ് നിര്‍മിക്കാനായി നടത്തുന്ന സംഭവബഹുലമായ യാത്രയാണ് ചിത്രത്തെ ഉദ്വേഗജനകമാക്കുന്നത്. ഹിരോഷിമ-നാഗസാക്കി സ്‌ഫോടനത്തിന് ശേഷം ഹീറോ ആകുന്ന ഓപ്പന്‍ഹൈമറിനെ തൊട്ടുപിന്നാലെ രാജ്യദ്രോഹിയായി ചിത്രീകരിച്ച് വേട്ടയാടുന്ന വൈകാരിക മുഹൂര്‍ത്തങ്ങളിലൂടെയാണ് കഥ പിന്നീട് സഞ്ചരിക്കുന്നത്.

ഒരു പക്കാ നോളന്‍ സിനിമയല്ല ഓപ്പന്‍ഹൈമര്‍. നോണ്‍ ലീനിയറായി കഥ പറയുന്ന ചിത്രത്തെ നാല്ഘട്ടങ്ങളായി വേര്‍തിരിക്കാം. സിജിഐ-വിഎഫ്എക്സ് തുടങ്ങിയ സാങ്കേതിക വിദ്യകളുടെ അതിപ്രസരമില്ലാതെ കെട്ടുറപ്പുള്ള തിരക്കഥയും മനോഹരമായ അവതരണവുമാണ് ഓപ്പന്‍ഹൈമറെ വത്യസ്തമാക്കുന്നത്. നോളന്റെ മറ്റു സിനിമകളുമായി താരതമ്യം ചെയ്യുമ്പോള്‍ സംഭാഷണങ്ങള്‍ ഏറെയുള്ള ചിത്രമാണ് ഓപ്പന്‍ഹൈമര്‍. ഈ സംഭാഷണങ്ങള്‍ക്കിടയില്‍ പശ്ചാത്തല സംഗീതത്തെയും നിശബ്ദതയെയും അതിസമര്‍ഥമായാണ് ഉപയോഗിച്ചിരിക്കുന്നത്. ലൂവിഗ് ഗൊരാന്‍സണാണ് സംഗീതമൊരുക്കിയിരിക്കുന്നത്. ഹായ്‌ട്ടെ വാന്‍ ഹൊയ്ട്ടാമയാണ് ഛായാഗ്രഹണം. ജെന്നിഫര്‍ ലാം എഡിറ്റിങും നിര്‍വഹിച്ചിരിക്കുന്നു.

ഓപ്പന്‍ഹൈമറായി കിലിയന്‍ മര്‍ഫി മികച്ച പ്രകടനമാണ് കാഴ്ച വച്ചിരിക്കുന്നത്. ഓപ്പന്‍ഹൈമറിന്റെ കാഴ്ചപ്പാടില്‍ നിന്നുകൊണ്ടാണ് ഹിരോഷിമ-നാഗസാക്കി ദുരന്തത്തിന്റെ തീവ്രത പ്രേക്ഷകരിലേക്ക് എത്തിക്കുന്നത്. 'ഞാന്‍ മരണമാകുന്നു; ലോകത്തിന്റെ അന്തകന്‍ ' എന്ന വാക്കുകളിലൂടെ ആയിരക്കണക്കിന് ജപ്പാന്‍കാരുടെ മരണത്തിന് താന്‍ നിമിത്തമായല്ലോ എന്ന കുറ്റബോധം ഓപ്പന്‍ഹൈമറെ വേട്ടയാടുന്നത് കാണാം. അതിവൈകാരികമായ ഈ രംഗങ്ങളിലെല്ലാം കിലിയന്‍ മര്‍ഫിയെന്ന പ്രതിഭയുടെ കൈകളില്‍ ഭദ്രമായിരുന്നു. ആറ്റോമിക് എനര്‍ജി കമ്മീഷന്‍ ചെയര്‍മാനായെത്തുന്ന റോബര്‍ട്ട് ഡൗണി ജൂനിയറിന്റെ പ്രകടനവും എടുത്ത് പറയേണ്ടതാണ്.

മുന്നറിയിപ്പ് : സിനിമ കാണാന്‍ ആഗ്രഹിക്കുന്നവര്‍ മുന്നോടിയായി ഓപ്പന്‍ഹൈമറെക്കുറിച്ചുള്ള അടിസ്ഥാന വിവരങ്ങള്‍ അറിഞ്ഞുവയ്ക്കുന്നത് നന്നായിരിക്കും. സിനിമയുടെ ആസ്വാദനത്തെ അത് ഒരു തരത്തിലും ബാധിക്കാന്‍ പോകുന്നില്ലെങ്കിലും നോണ്‍ ലീനിയറായി കഥ പറയുന്ന സിനിമയെ വായിച്ചെടുക്കാന്‍ ബുദ്ധിമുട്ട് തോന്നിയേക്കാം.

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ഓസ്‌കര്‍ വേദിയില്‍ നൂല്‍ബന്ധമില്ലാതെ ജോണ്‍ സീന; വീഡിയോ

വീണ്ടും ഓപ്പന്‍ഹൈമര്‍; ബാഫ്തയില്‍ തിളങ്ങി നോളന്‍ ചിത്രം

ഓസ്‌കര്‍ ചുരുക്കപ്പട്ടിക; ഇന്ത്യയുടെ 'ടു കില്‍ എ ടൈഗറി'ന് നാമനിര്‍ദ്ദേശം

മരണത്തിന്റെ ദൂതനോ ഓപ്പന്‍ഹൈമര്‍? അതോ വേട്ടയാടപ്പെട്ടവനോ?

വാര്‍ത്തകളോടു പ്രതികരിക്കുന്നവര്‍ അശ്ലീലവും അസഭ്യവും നിയമവിരുദ്ധവും അപകീര്‍ത്തികരവും സ്പര്‍ധ വളര്‍ത്തുന്നതുമായ പരാമര്‍ശങ്ങള്‍ ഒഴിവാക്കുക. വ്യക്തിപരമായ അധിക്ഷേപങ്ങള്‍ പാടില്ല. ഇത്തരം അഭിപ്രായങ്ങള്‍ സൈബര്‍ നിയമപ്രകാരം ശിക്ഷാര്‍ഹമാണ്. വായനക്കാരുടെ അഭിപ്രായങ്ങള്‍ വായനക്കാരുടേതു മാത്രമാണ്, മാതൃഭൂമിയുടേതല്ല. ദയവായി മലയാളത്തിലോ ഇംഗ്ലീഷിലോ മാത്രം അഭിപ്രായം എഴുതുക. മംഗ്ലീഷ് ഒഴിവാക്കുക..

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Exclusive Report --> രഹസ്യ നഗരത്തിൽ ജ്വലിച്ച 'മരണ വെളിച്ചം'; ആരാണ് ഓപ്പൺഹൈമർ? എന്താണ് നോളന്റെ കഥ?

സി.ആർ.രതീഷ് കുമാർ

Published: July 21 , 2023 11:20 AM IST

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‘ഉജ്വലമായ താപതരംഗത്തോടെയുള്ള അതിശക്തമായ മിന്നലിനൊപ്പം 40,000 അടിയോളം ഉയരമുള്ള കൂൺമേഘം ആകാശത്തേക്കു മുളച്ചുപൊന്തി. മരുഭൂമിയിൽ സ്ഫോടന സ്ഥലത്തിനു ചുറ്റുമുള്ള ആയിരക്കണക്കിന് ചതുരശ്ര അടി സ്ഥലത്തെ മണൽ തിളക്കമുള്ള റേഡിയോ ആക്ടിവ് ഗ്ലാസായി മാറി...’ 1945ൽ നടന്ന, യുഎസിന്റെ ആദ്യ ആണവസ്ഫോടനമായിരുന്നു അത്. ഇതെങ്ങനെ ഗ്രാഫിക്സിന്റെ സഹായമില്ലാതെ പുനഃസൃഷ്ടിക്കും? ആ അദ്ഭുതം ഉൾപ്പെടെയാണ് ക്രിസ്റ്റഫർ നോളന്റെ ‘ഓപ്പൺഹൈമർ’ സിനിമയിൽ കാത്തിരിക്കുന്നത്? ആരായിരുന്നു ഓപ്പൺഹൈമർ? എന്തായിരുന്നു മരണത്തിന്റെ വിൽപനക്കാരനായ മാൻഹാട്ടൻ പ്രോജക്ട്?

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സമയവും കാലവുമൊക്കെ തകിടംമറിയുന്ന സിനിമകളിലൂടെ ലോകമെങ്ങുമുള്ള സിനിമാ പ്രേക്ഷകരുടെ പ്രിയപ്പെട്ട സംവിധായകനാണ് ക്രിസ്റ്റഫർ നോളൻ. നോളൻ സംവിധാനം ചെയ്ത ബയോപിക് ‘ഓപ്പൺഹൈമർ’ ജൂലൈ 21ന് റിലീസ് ആവുകയാണ്. ഒരുപക്ഷേ, ലോകം ഇത്രയേറെ ഒരു സിനിമയെ കാത്തിരുന്നിട്ടുണ്ടാകില്ല. നോളന്റെ സിനിമ എന്നതിലുപരി കംപ്യൂട്ടർ ഗ്രാഫിക്സുകൾ ഉപയോഗിക്കാത്ത സിനിമ എന്ന സംവിധായകന്റെ സാക്ഷ്യപ്പെടുത്തലിലൂടെയും ഈ സിനിമ ശ്രദ്ധയാകർഷിക്കുന്നു. സിനിമ കാണും മുൻപേ, സിനിമ പറയുന്ന ഇതിഹാസ ജീവിത കഥയിലെ നായകന്റെ ജീവിതത്തെപ്പറ്റിയും പ്രവർത്തനങ്ങളെപ്പറ്റിയും അറിയാം. 1997ൽ പുറത്തിറങ്ങിയ ‘ഡൂഡിൽബഗ്’ എന്നൊരു ഷോർട്ട്ഫിലിം പ്രശസ്തമാണ്. മൂന്നു മിനിട്ടിൽ താഴെ മാത്രം ദൈർഘ്യമുള്ള ഈ ഷോർട്ട് ഫിലിമിൽ ഒരാൾ മാത്രമേ മുഖം കാണിച്ചിട്ടുള്ളൂ. ഡൂഡിൽബഗ് എന്ന ടൈറ്റിലിൽ തെളിയുന്ന പരിഭ്രാന്തമായ രണ്ടു കണ്ണുകളിലാണ് ഷോർട്ഫിലിം തുടങ്ങുന്നത്. തന്റെ വീട്ടിലൊരു മുറിയിൽ ഏതോ ഒരു പ്രാണിയെ തന്റെ ഷൂ കൊണ്ട് അടിച്ചുകൊല്ലാനുള്ള ഒരാളുടെ ശ്രമമാണ് ചിത്രത്തിൽ കാണിക്കുന്നത്.

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Oppenheimer

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Oppenheimer Movie Review : A tense & riveting portrait of human disillusionment

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Kaushik Manivezh 76 62 days ago

Best cinematography

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Binayak pradhan 246 days ago, sumi choudhary 752 262 days ago.

I am sure everything is commercialized including the movie reviews by so called critics. It was showing houseful in Bookmyshow and based on reviews I had made advance booking. Last night I went to watch this trash with 5 members of my family and 3 other viewers. Entire show was empty, and we spent torturous 3 hours. It can be a story about someone but certainly not worth making a movie. Do we spend so much just to watch how a scientist was treated by a government . In so many years never watched such a pathetic movie. Want my money back along with compensation.

Dilip Kumar 1921 267 days ago

One of the greatest film of Nolan

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‘Oppenheimer’ Review: A Man for Our Time

Christopher Nolan’s complex, vivid portrait of J. Robert Oppenheimer, the “father of the atomic bomb,” is a brilliant achievement in formal and conceptual terms.

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‘Oppenheimer’ | Anatomy of a Scene

The writer and director christopher nolan narrates the opening sequence from the film, starring cillian murphy..

Hi, I’m Christopher Nolan director, writer, and co-producer of “Oppenheimer.” Opening with the raindrops on the water came late to myself and Jen Lane in the edit suite. But ultimately, it became a motif that runs the whole way through the film. Became very important. These opening images of the detonation at Trinity are based on the real footage. Andrew Jackson, our visual effects supervisor, put them together using analog methods to try and reproduce the incredible frame rates that their technology allowed at the time, superior to what we have today. Adapting Kai Bird and Martin Sherwin’s book “American Prometheus,” I fully embraced the Prometheun theme, but ultimately chose to change the title to “Oppenheimer” to give a more direct idea of what the film was going to be about and whose point of view we’re seeing. And here we have Cillian Murphy with an IMAX camera inches from his nose. Hoyte van Hoytema was incredible. IMAX camera revealing everything. And I think, to some degree, applying the pressure to Cillian as Oppenheimer that this hearing was applying. “Yes, your honor.” “We’re not judges, Doctor.” “Oh.” And behind him, out of focus, the great Emily Blunt who’s going to become so important to the film as Kitty Oppenheimer, who gradually comes more into focus over the course of the first reel. We divided the two timelines into fission and fusion, the two different approaches to releasing nuclear energy in this devastating form to try and suggest to the audience the two different timelines. And then embraced black-and-white shooting here. Robert Downey Jr. as Lewis Strauss being shot on IMAX black-and-white film. The first time anyone’s ever shot that film. Made especially for us. And he’s here talking to Alden Ehrenreich who is absolutely indicative of the incredible ensemble that our casting director John Papsidera put together. Robert Downey Jr. utterly transformed, I think, not just in terms of appearance, but also in terms of approach to character, stripping away years of very well-developed charisma to just try and inhabit the skin of a somewhat awkward, sometimes venal, but also charismatic individual, and losing himself in this utterly. And then as we come up to this door, we go into the Senate hearing rooms. And we try to give that as much visibility, grandeur, and glamour to contrast with the security hearing that’s so claustrophobic. And takes Oppenheimer completely out of the limelight. [CROWD SHOUTING]

By Manohla Dargis

“Oppenheimer,” Christopher Nolan’s staggering film about J. Robert Oppenheimer, the man known as “the father of the atomic bomb,” condenses a titanic shift in consciousness into three haunted hours. A drama about genius, hubris and error, both individual and collective, it brilliantly charts the turbulent life of the American theoretical physicist who helped research and develop the two atomic bombs that were dropped on Hiroshima and Nagasaki during World War II — cataclysms that helped usher in our human-dominated age.

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The movie is based on “ American Prometheus : The Triumph and Tragedy of J. Robert Oppenheimer,” the authoritative 2005 biography by Kai Bird and Martin J. Sherwin. Written and directed by Nolan, the film borrows liberally from the book as it surveys Oppenheimer’s life, including his role in the Manhattan Engineer District, better known as the Manhattan Project. He served as director of a clandestine weapons lab built in a near-desolate stretch of Los Alamos, in New Mexico, where he and many other of the era’s most dazzling scientific minds puzzled through how to harness nuclear reactions for the weapons that killed tens of thousands instantly, ending the war in the Pacific.

The atomic bomb and what it wrought define Oppenheimer’s legacy and also shape this film. Nolan goes deep and long on the building of the bomb, a fascinating and appalling process, but he doesn’t restage the attacks; there are no documentary images of the dead or panoramas of cities in ashes, decisions that read as his ethical absolutes. The horror of the bombings, the magnitude of the suffering they caused and the arms race that followed suffuse the film. “Oppenheimer” is a great achievement in formal and conceptual terms, and fully absorbing, but Nolan’s filmmaking is, crucially, in service to the history that it relates.

The story tracks Oppenheimer — played with feverish intensity by Cillian Murphy — across decades, starting in the 1920s with him as a young adult and continuing until his hair grays. The film touches on personal and professional milestones, including his work on the bomb, the controversies that dogged him, the anti-Communist attacks that nearly ruined him, as well as the friendships and romances that helped sustain yet also troubled him. He has an affair with a political firebrand named Jean Tatlock (a vibrant Florence Pugh), and later weds a seductive boozer, Kitty Harrison (Emily Blunt, in a slow-building turn), who accompanies him to Los Alamos, where she gives birth to their second child.

It’s a dense, event-filled story that Nolan — who’s long embraced the plasticity of the film medium — has given a complex structure, which he parcels into revealing sections. Most are in lush color; others in high-contrast black and white. These sections are arranged in strands that wind together for a shape that brings to mind the double helix of DNA. To signal his conceit, he stamps the film with the words “fission” (a splitting into parts) and “fusion” (a merging of elements); Nolan being Nolan, he further complicates the film by recurrently kinking up the overarching chronology — it is a lot.

It also isn’t a story that builds gradually; rather, Nolan abruptly tosses you into the whirl of Oppenheimer’s life with vivid scenes of him during different periods. In rapid succession the watchful older Oppie (as his intimates call him) and his younger counterpart flicker onscreen before the story briefly lands in the 1920s, where he’s an anguished student tormented by fiery, apocalyptic visions. He suffers; he also reads T.S. Eliot’s “The Waste Land,” drops a needle on Stravinsky’s “The Rite of Spring” and stands before a Picasso painting, defining works of an age in which physics folded space and time into space-time .

This fast pace and narrative fragmentation continue as Nolan fills in this Cubistic portrait, crosses and recrosses continents and ushers in armies of characters, including Niels Bohr (Kenneth Branagh), a physicist who played a role in the Manhattan Project. Nolan has loaded the movie with familiar faces — Matt Damon, Robert Downey Jr., Gary Oldman — some distracting. It took me a while to accept the director Benny Safdie as Edward Teller, the theoretical physicist known as the “father of the hydrogen bomb,” and I still don’t know why Rami Malek shows up in a minor part other than he’s yet another known commodity.

As Oppenheimer comes into focus so does the world. In 1920s Germany, he learns quantum physics; the next decade he’s at Berkeley teaching, bouncing off other young geniuses and building a center for the study of quantum physics. Nolan makes the era’s intellectual excitement palpable — Einstein published his theory of general relativity in 1915 — and, as you would expect, there’s a great deal of scientific debate and chalkboards filled with mystifying calculations, most of which Nolan translates fairly comprehensibly. One of the film’s pleasures is experiencing by proxy the kinetic excitement of intellectual discourse.

It’s at Berkeley that the trajectory of Oppenheimer’s life dramatically shifts, after news breaks that Germany has invaded Poland. By that point, he has become friends with Ernest Lawrence (Josh Hartnett), a physicist who invented a particle accelerator, the cyclotron , and who plays an instrumental role in the Manhattan Project. It’s also at Berkeley that Oppenheimer meets the project’s military head, Leslie Groves (a predictably good Damon), who makes him Los Alamos’s director, despite the leftist causes he supported — among them, the fight against fascism during the Spanish Civil War — and some of his associations, including with Communist Party members like his brother, Frank (Dylan Arnold).

Nolan is one of the few contemporary filmmakers operating at this ambitious scale, both thematically and technically. Working with his superb cinematographer Hoyte van Hoytema, Nolan has shot in 65-millimeter film (which is projected in 70-millimeter), a format that he’s used before to create a sense of cinematic monumentality. The results can be immersive, though at times clobbering, particularly when the wow of his spectacle has proved more substantial and coherent than his storytelling. In “Oppenheimer,” though, as in “ Dunkirk ” (2017), he uses the format to convey the magnitude of a world-defining event; here, it also closes the distance between you and Oppenheimer, whose face becomes both vista and mirror.

The film’s virtuosity is evident in every frame, but this is virtuosity without self-aggrandizement. Big subjects can turn even well-intended filmmakers into show-offs, to the point that they upstage the history they seek to do justice to. Nolan avoids that trap by insistently putting Oppenheimer into a larger context, notably with the black-and-white portions. One section turns on a politically motivated security clearance hearing in 1954, a witch hunt that damaged his reputation; the second follows the 1959 confirmation for Lewis Strauss (a mesmerizing, near-unrecognizable Downey), a former chairman of the United States Atomic Energy Commission who was nominated for a cabinet position.

Nolan integrates these black-and-white sections with the color ones, using scenes from the hearing and the confirmation — Strauss’s role in the hearing and his relationship with Oppenheimer directly affected the confirmation’s outcome — to create a dialectical synthesis. One of the most effective examples of this approach illuminates how Oppenheimer and other Jewish project scientists, some of whom were refugees from Nazi Germany, saw their work in stark, existential terms. Yet Oppenheimer’s genius, his credentials, international reputation and wartime service to the United States government cannot save him from political gamesmanship, the vanity of petty men and the naked antisemitism of the Red scare.

These black-and-white sequences define the last third of “Oppenheimer.” They can seem overlong, and at times in this part of the film it feels as if Nolan is becoming too swept up in the trials that America’s most famous physicist experienced. Instead, it is here that the film’s complexities and all its many fragments finally converge as Nolan puts the finishing touches on his portrait of a man who contributed to an age of transformational scientific discovery, who personified the intersection of science and politics, including in his role as a Communist boogeyman, who was transformed by his role in the creation of weapons of mass destruction and soon after raised the alarm about the dangers of nuclear war.

François Truffaut once wrote that “war films, even pacifist, even the best, willingly or not, glorify war and render it in some way attractive.” This, I think, gets at why Nolan refuses to show the bombing of Hiroshima and Nagasaki, world-defining events that eventually killed an estimated 100,000 to upward of 200,000 souls. You do, though, see Oppenheimer watch the first test bomb and, critically, you also hear the famous words that he said crossed his mind as the mushroom cloud rose: “Now I am become death, the destroyer of worlds.” As Nolan reminds you, the world quickly moved on from the horrors of the war to embrace the bomb. Now we, too, have become death, the destroyers of worlds.

Oppenheimer Rated R for disturbing images, and adult language and behavior. Running time: 3 hours. In theaters.

Audio produced by Kate Winslett .

An earlier version of this article misidentified J. Robert Oppenheimer as director of the Manhattan Project. He was director of its clandestine weapons laboratory, Los Alamos.

How we handle corrections

Manohla Dargis is the chief film critic of The Times, which she joined in 2004. She has an M.A. in cinema studies from New York University, and her work has been anthologized in several books. More about Manohla Dargis

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For all the pre-release speculation about how analog epic-maker Christopher Nolan's "Oppenheimer" would re-create the explosion of the first atomic bomb, the film's most spectacular attraction turns out to be something else: the human face. 

This three-plus hour biography of J. Robert Oppenheimer ( Cillian Murphy ) is a film about faces. They talk, a lot. They listen. They react to good and bad news. And sometimes they get lost in their own heads—none more so than the title character, the supervisor of the nuclear weapons team at Los Alamos whose apocalyptic contribution to science earned him the nickname The American Prometheus (as per the title of Nolan's primary source, the biography by Kai Bird and Martin J. Sherman). Nolan and cinematographer Hoyte van Hoytema use the large-format IMAX film system not merely to capture the splendor of New Mexico's desert panoramas but contrast the external coolness and internal turmoil of Oppenheimer, a brilliant mathematician and low-key showman and leader whose impulsive nature and insatiable sexual appetites made his private life a disaster, and whose greatest contribution to civilization was a weapon that could destroy it. Close-up after close-up shows star Cillian Murphy's face staring into the middle distance, off-screen, and sometimes directly into the lens, while Oppenheimer dissociates from unpleasant interactions, or gets lost inside memories, fantasies, and waking nightmares. "Oppenheimer" rediscovers the power of huge closeups of people's faces as they grapple with who they are, and who other people have decided that they are, and what they've done to themselves and others. 

Sometimes the close-ups of people's faces are interrupted by flash-cuts of events that haven't happened, or already happened. There are recurring images of flame, debris, and smaller chain-reaction explosions that resemble strings of firecrackers, as well as non-incendiary images that evoke other awful, personal disasters. (There are a lot of gradually expanding flashbacks in this film, where you see a glimpse of something first, then a bit more of it, and then finally the entire thing.) But these don't just relate to the big bomb that Oppenheimer's team hopes to detonate in the desert, or the little ones that are constantly detonating in Oppenheimer's life, sometimes because he personally pushed the big red button in a moment of anger, pride or lust, and other times because he made a naive or thoughtless mistake that pissed somebody off long ago, and the wronged person retaliated with the equivalent of a time-delayed bomb. The "fissile" cutting, to borrow a physics word, is also a metaphor for the domino effect caused by individual decisions, and the chain reaction that makes other things happen as a result. This principle is also visualized by repeated images of ripples in water, starting with the opening closeup of raindrops setting off expanding circles on the surface that foreshadow both the ending of Oppenheimer's career as a government advisor and public figure and the explosion of the first nuke at Los Alamos (which observers see, then hear, then finally feel, in all its awful impact). 

The weight of the film's interests and meanings are carried by faces—not just Oppenheimer's, but those of other significant characters, including General Leslie Groves ( Matt Damon ), Los Alamos' military supervisor; Robert's suffering wife Kitty Oppenheimer ( Emily Blunt ), whose tactical mind could have averted a lot of disasters if her husband would have only listened; and Lewis Strauss ( Robert Downey , Jr.), the Atomic Energy Commission chair who despised Oppenheimer for a lot of reasons, including his decision to distance himself from his Jewish roots, and who spent several years trying to derail Oppenheimer's post-Los Alamos career. The latter constitutes its own adjacent full-length story about pettiness, mediocrity, and jealousy. Strauss is Salieri to Oppenheimer's Mozart, regularly and often pathetically reminding others that he studied physics, too, back in the day, and that he's a good person, unlike Oppenheimer the adulterer and communist sympathizer. (This film asserts that Strauss leaked the FBI file on his progressive and communist associations to a third party who then wrote to the bureau's director, J. Edgar Hoover.)

The film speaks quite often of one of the principles of quantum physics, which holds that observing quantum phenomena by a detector or an instrument can change the results of this experiment. The editing illustrates it by constantly re-framing our perception of an event to change its meaning, and the script does it by adding new information that undermines, contradicts, or expands our sense of why a character did something, or whether they even knew why they did it. 

That, I believe, is really what "Oppenheimer" is about, much more so than the atom bomb itself, or even its impact on the war and the Japanese civilian population, which is talked about but never shown. The film does show what the atom bomb does to human flesh, but it's not recreations of the actual attacks on Japan: the agonized Oppenheimer imagines Americans going through it. This filmmaking decision is likely to antagonize both viewers who wanted a more direct reckoning with the destruction of Hiroshima and Nagasaki, and those who have bought into the arguments advanced by Strauss and others that the bombs had to be dropped because Japan never would have surrendered otherwise. The movie doesn't indicate whether it thinks that interpretation is true or if it sides more with Oppenheimer and others who insisted that Japan was on its knees by that point in World War II and would have eventually given up without atomic attacks that killed hundreds of thousands of civilians. No, this is a film that permits itself the freedoms and indulgences of novelists, poets, and opera composers. It does what we expect it to do: Dramatize the life of Oppenheimer and other historically significant people in his orbit in an aesthetically daring way while also letting all of the characters and all of the events be used metaphorically and symbolically as well, so that they become pointillistic elements in a much larger canvas that's about the mysteries of the human personality and the unforeseen impact of decisions made by individuals and societies.

This is another striking thing about "Oppenheimer." It's not entirely about Oppenheimer even though Murphy's baleful face and haunting yet opaque eyes dominate the movie. It's also about the effect of Oppenheimer's personality and decisions on other people, from the other strong-willed members of his atom bomb development team (including Benny Safdie's Edwin Teller, who wanted to skip ahead to create the much more powerful hydrogen bomb, and eventually did) to the beleaguered Kitty; Oppenheimer's mistress Jean Tatlock ( Florence Pugh , who has some of Gloria Grahame's self-immolating smolder); General Groves, who likes Oppenheimer in spite of his arrogance but isn't going to side with him over the United States government; and even Harry Truman, the US president who ordered the atom bomb dropped on Hiroshima and Nagasaki (played in a marvelous cameo by Gary Oldman ) and who derides Oppenheimer as a naive and narcissistic "crybaby" who sees history mainly in terms of his own feelings.

Jennifer Lame's editing is prismatic and relentless, often in a faintly Terrence Malick -y way, skipping between three or more time periods within seconds. It's wedded to virtually nonstop music by  Ludwig Göransson  that fuses with the equally relentless dialogue and monologues to create an odd but distinctive sort of scientifically expository aria that's probably what it would feel like to read American Prometheus  while listening to a playlist of  Philip Glass film scores. Non-linear movies like this one do a better job of capturing the pinball-machine motions of human consciousness than linear movies do, and they also capture what it's like to read a third-person omniscient book (or a biography that permits itself to imagine what its subjects might have been thinking or feeling). It also paradoxically captures the mental process of reading a text and responding to it emotionally and viscerally as well as intellectually. The mind stays anchored to the text. But it also jumps outside of it, connecting the text to other texts, to external knowledge, and to one's own experience and imaginings.

This review hasn't delved into the plot of the film or the real-world history that inspired it, not because it isn't important (of course it is) but because—as is always the case with Nolan—the main attraction is not the tale but the telling. Nolan has been derided as less a dramatist than half showman, half mathematician, making bombastic, overcomplicated blockbusters that are as much puzzles as stories. But whether that characterization was true (and I'm increasingly convinced it never entirely was) it seems beside the point when you see how thoughtfully and rewardingly it's been applied to a biography of a real person. "Oppenheimer" could retrospectively seem like a turning point in the director's filmography, when he takes all of the stylistic and technical practices that he'd been honing for the previous twenty years in intellectualized pulp blockbusters and turns them inward.

The movie is an academic-psychedelic biography in the vein of those 1990s Oliver Stone films that were edited within an inch of their lives (at times it's as if the park bench scene in " JFK " had been expanded to three hours). There's also a strain of pitch-black humor, in a Stanley Kubrick  mode, as when top government officials meet to go over a list of possible Japanese cities to bomb, and the man reading the list says that he just made an executive decision to delete Kyoto from it because he and his wife honeymooned there. (The Kubrick connection is cemented further by the presence of "Full Metal Jacket" star  Matthew Modine , who co-stars as American engineer and inventor Vannevar Bush.) It’s an example of top-of-the-line, studio-produced popular art with a dash of swagger, variously evoking Michael Mann's " The Insider ," late-period Terrence Malick, nonlinearly-edited art cinema touchstones like "Hiroshima Mon Amour," "The Pawnbroker," "All That Jazz" and " Picnic at Hanging Rock "; and, inevitably, " Citizen Kane " (there's even a Rosebud-like mystery surrounding what Oppenheimer and his hero Albert Einstein, played by Tom Conti , talked about on the banks of a Princeton pond). 

Most of the performances have a bit of an "old movie" feeling, with the actors snapping off their lines and not moving their faces as much as they would in a more modern story. A lot of the dialogue is delivered quickly, producing a screwball comedy energy. This comes through most strongly in the arguments between Robert and Kitty about his sexual indiscretions and refusal to listen to her mostly superb advice; the more abstract debates about power and responsibility between Robert and General Groves, and the scenes between Strauss and a Senate aide (Alden Ehrenreich) who is advising him as he testifies before a committee that he hopes will approve him to serve in President Dwight Eisenhower's cabinet.

But as a physical experience, "Oppenheimer" is something else entirely—it's hard to say exactly what, and that's what's so fascinating about it. I've already heard complaints that the movie is "too long," that it could've ended with the first bomb detonating, and could've done without the bits about Oppenheimer's sex life and the enmity of Strauss, and that it's perversely self-defeating to devote so much of the running time, including the most of the third hour, to a pair of governmental hearings: the one where Oppenheimer tries to get his security clearance renewed, and Strauss trying to get approved for Eisenhower's cabinet. But the film's furiously entropic tendencies complement the theoretical discussions of the how's and why's of the individual and collective personality. To greater and lesser degrees, all of the characters are appearing before a tribunal and bring called to account for their contradictions, hypocrisies, and sins. The tribunal is out there in the dark. We've been given the information but not told what to decide, which is as it should be.

Matt Zoller Seitz

Matt Zoller Seitz is the Editor at Large of RogerEbert.com, TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism.

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Film credits.

Oppenheimer (2023)

Rated R for some sexuality, nudity and language.

181 minutes

Cillian Murphy as J. Robert Oppenheimer

Emily Blunt as Katherine 'Kitty' Oppenheimer

Matt Damon as Gen. Leslie Groves Jr.

Robert Downey Jr. as Lewis Strauss

Florence Pugh as Jean Tatlock

Benny Safdie as Edward Teller

Michael Angarano as Robert Serber

Josh Hartnett as Ernest Lawrence

Rami Malek as David Hill

Kenneth Branagh as Niels Bohr

Dane DeHaan as Kenneth Nichols

Dylan Arnold as Frank Oppenheimer

David Krumholtz as Isidor Isaac Rabi

Alden Ehrenreich as Senate Aide

Matthew Modine as Vannevar Bush

Gary Oldman as Harry S. Truman

Alex Wolff as Luis Walter Alvarez

Casey Affleck as Boris Pash

Jack Quaid as Richard Feynman

Emma Dumont as Jackie Oppenheimer

Matthias Schweighöfer as Werner Heisenberg

David Dastmalchian as William L. Borden

Christopher Denham as Klaus Fuchs

Josh Peck as Kenneth Bainbridge

Tony Goldwyn as Gordon Gray

Olivia Thirlby as Lilli Hornig

James Remar as Henry Stimson

• Christopher Nolan

Writer (based on the book by)

• Martin Sherwin

Cinematographer

• Hoyte van Hoytema
• Jennifer Lame
• Ludwig Göransson

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എംസോൺ റിലീസ് – 3300

ഓസ്കാർ ഫെസ്റ്റ് 2024 – 05

“ അമേരിക്കന്‍ പ്രൊമിത്യൂസ്: ദ ട്രൈയമ്പ് ആന്‍ഡ്‌ ട്രാജഡി ഓഫ് ജെ. റോബര്‍ട്ട് ഓപ്പന്‍ഹൈമര്‍ ” എന്ന ജീവചരിത്ര ഗ്രന്ഥത്തെ അടിസ്ഥാനമാക്കി 2023-ല്‍ പുറത്തിറങ്ങിയ, വൻ താര നിരയെ നിരത്തി ക്രിസ്റ്റഫര്‍ നോളന്‍ രചനയും സംവിധാനവും നിര്‍വ്വഹിച്ച അമേരിക്കന്‍ ചലച്ചിത്രമാണ് “ ഓപ്പന്‍ഹൈമര്‍ “. ആണവബോംബിന്റെ പിതാവ് എന്നറിയപ്പെടുന്ന അമേരിക്കന്‍ ഭൗതികശാസ്ത്രജ്ഞനായ ഓപ്പന്‍ഹൈമറുടെ യൗവനവും, ആണവബോംബിന്റെ നിര്‍മ്മാണവും, അതിനുശേഷം അദ്ദേഹത്തിന് തന്റെ രാജ്യത്തിലെ സര്‍ക്കാരില്‍ നിന്നും നേരിടേണ്ടി വന്ന തിക്താനുഭവങ്ങളുമെല്ലാം സിനിമയിലൂടെ നോളന്‍ പ്രേക്ഷകര്‍ക്ക് കാണിച്ചുതരുന്നു.

ആണവായുധങ്ങള്‍ നമ്മുടെ സമൂഹത്തിലുണ്ടാക്കിയ ധാര്‍മ്മികമായ ആശങ്കകളും, അവയുടെ പ്രത്യാഘാതങ്ങളും, തുടങ്ങി പലവിധ പ്രമേയങ്ങള്‍ പര്യവേഷണം ചെയ്യുന്ന ശക്തവും, ചിന്തോദ്ദീപകവും, കാണുന്ന പ്രേക്ഷകനെ ആത്മപരിശോധനക്ക് പ്രേരിപ്പികുകയും ചെയ്യുന്ന ഒരു സിനിമയാണ് ഓപ്പന്‍ഹൈമര്‍. ഒരു സീനിൽ പോലും കമ്പ്യൂട്ടർ നിർമ്മിത വിഷ്വൽ എഫക്ടുകൾ ഉപയോഗിക്കാതെ പൂർണ്ണമായും ക്യാമറയിൽ തന്നെ ഷൂട്ട് ചെയ്തു എന്ന അവകാശവാദവുമായി എത്തിയ ചിത്രത്തിലെ 1945-ൽ നടന്ന ട്രിനിറ്റി ആണവ പരീക്ഷണം പുനർ നിർമ്മിച്ച സീനുകൾ ഒട്ടേറെ ശ്രദ്ധ നേടിയിരുന്നു.

ഒരു ബയോപിക് ജോണറിൽ പെട്ട സിനിമക്ക് ചരിത്രത്തില്‍ കിട്ടിയ ഏറ്റവും വലിയ ബോക്സ് ഓഫീസ് കളക്ഷന്‍ നേടിയ ചിത്രം നല്ല രീതിയില്ലുള്ള നിരൂപകശ്രദ്ധയും പിടിച്ചുപറ്റി. ഗ്രെറ്റ ഗെര്‍വിഗിന്റെ “ ബാര്‍ബി ” എന്ന സിനിമയുടെ കൂടെ ചിത്രം റിലീസ് ചെയ്തത് “ ബാര്‍ബന്‍ ഹൈമര്‍ ” എന്ന പ്രതിഭാസത്തിന് കാരണമാവുകയും, രണ്ട് ചിത്രങ്ങളുടെയും റിലീസ് വാരം, ഇരുപത്തിയൊന്നാം നൂറ്റാണ്ടിലെ ലോക ബോക്സ് ഓഫീസ് കണ്ട ഏറ്റവും വലിയ പണം വാരി വാരങ്ങളില്‍ ഒന്നാവുകയും ചെയ്തു.

2024 ഓസ്കറിൽ മികച്ച ചിത്രം, സംവിധായകൻ, നടൻ, സഹനടൻ, സംഗീതം, ഛായാഗ്രഹണം, ചിത്രസംയോജനം എന്നീ പുരസ്കാരങ്ങൾ സ്വന്തമാക്കി.

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Oppenheimer

Where to watch.

Watch Oppenheimer with a subscription on Peacock, rent on Fandango at Home, Prime Video, Apple TV, or buy on Fandango at Home, Prime Video, Apple TV.

What to Know

Oppenheimer marks another engrossing achievement from Christopher Nolan that benefits from Murphy's tour-de-force performance and stunning visuals.

Oppenheimer is an intelligent movie about an important topic that's never less than powerfully acted and incredibly entertaining.

Audience Reviews

Cast & crew.

Christopher Nolan

Cillian Murphy

J. Robert Oppenheimer

Emily Blunt

Kitty Oppenheimer

Robert Downey Jr.

Lewis Strauss

Leslie Groves Jr.

Movie Clips

More like this, movie news & guides, this movie is featured in the following articles., critics reviews.

Oppenheimer Movie Review: Christopher Nolan tries a form (i.e., his form) of minimalism in 'Oppenheimer', and the results are mixed

• 21 Jul 2023
• Release Date: 21 Jul 2023

Oppenheimer Movie Cast & Crew

When Christopher Nolan announced a biopic, of all things, I was curious. It's like Hitchcock making a Fred Astaire musical. It's like Spielberg making Saw . It's like Scorsese making a screwball comedy or a Western. There's nothing to say that a filmmaker cannot change pace, and before he became Christropher Nolan™, we did get a superb psychological thriller in Insomnia . But now that he's trademarked as one of the biggest filmmakers (who makes films as big as his reputation, with big IMAX cameras for big IMAX screens), what could have possibly interested him in the intricacies and intimacies of "normal life" – even if it is the life of J Robert Oppenheimer, "The Father of the Atomic Bomb"? The real subject of Oppenheimer , therefore, is not the life and times of its protagonist, but whether Nolan can enter the subatomic levels of the human psyche. In other words, do we know more about Oppenheimer coming out than we did going in?

The answer is yes and no. On a broad level, yes, we do get to see the various types of education the man put himself through. We get to see him associating with people we have only read about in Physics books: Einstein and Niels Bohr and Enrico Fermi. We see his facility with learning languages: he even reads Sanskrit, in the only cinematic instance of the Bhagavad Gita being used in a bedroom scene. We see his Left-leaning tendencies, even if he does not officially join the Communist party. We see him with a wife, a lover – both very tragically underwritten. And we see Oppenheimer being questioned, after the “success” of Hiroshima and Nagasaki, about his allegiance to America.

What we don’t see is a distinct directorial vision. Let me explain this with a spectacular early stretch from Interstellar , when the protagonist leaves his family to fly off into space. It’s a super-intense stretch, and you really feel the bigness of the emotion on a big IMAX screen. The screaming, weeping daughter runs out, only to be greeted by the dust raised by her father’s speeding car. She cannot see him. Then we get the other point-of-view shot, from the side of the car – this time, the clouds of dust obscure the father’s view of his house and his family. The collected, composed nature of the grandfather and brother is contrasted with the emotional nature of father and daughter. And over the tear-filled father’s face, we get one of Nolan’s most effective instances of playing with time. He fuses the visual of the speeding car with the audio of the countdown – that is, the present and the immediate future – and… boom! The screen is suddenly filled with fire as the rocketship takes off. I remember feeling breathless and knocked out in the theatre.

The only time we see this kind of auteur-ial signature in Oppenheimer is during the Trinity test, which was the first time a nuclear device was detonated. Nolan ratchets up the tension almost unbearably in the minutes leading up to the test (there’s another countdown clock here, a wonderfully analog version compared to the digital one in Interstellar ) – and when the bomb goes off, there’s just silence. In a film scattered with religious references, this stretch feels almost… sacred. Even if you are not the religious type, I’ll bet you’ll feel something seeing the dreadful mushroom clouds. It’s as though we are both playing God and witnessing the wrath of God. Silence is the only possible soundtrack. And then the thunderous sound hits, and… boom! The implication that humankind has been altered forever is unmistakable.

But the rest of the time, Oppenheimer is more dutiful than dazzling, more admirable than awe-inspiring. The most surprising thing about the film is that it feels so much like other, earlier films. The early “he did this, and then he did that” portions feel like any other biopic that ticks off the protagonist’s traits and achievements. The big hearings feel like the portions of The Godfather: Part II where Michael Corelone is under trial. And amidst this, the most important aspect of Oppenheimer never comes through. We are told about his guilt in creating this genocidal weapon, but we never feel the weight of this guilt – because the film is always in a hurry to rush to the next bit of exposition, the next stretch of talk. (And trust me, there is a lot of talk.) There is no stay on any single emotion. The talking is all on the outside, but what we really needed to hear is Oppenheimer’s inner voice.

Oppenheimer is certainly a watchable film. There’s a great cast including Matt Damon, Kenneth Branagh, Robert Downey Jr., Emily Blunt, a fabulous Gary Oldman, and of course, Cillian Murphy, who does more for the character than the writing does for him. Also, Nolan does his patented “time thing” – both screenplay-wise and editing-wise – to keep things moving at express speed. Let’s take the part where Oppenheimer meets an army officer named Pash, played by Casey Affleck. We get three timelines: the present, where Oppenheimer meets Pash; the immediate future where the Matt Damon character asks Oppenheimer about this meeting with Pash; and the far future, where this meeting with Pash is discussed in front of the interrogating committee. So yes, the talkiness of the film never makes it “boring”.

But there’s also a feeling of things being very generic, especially in the way the “real villain” is exposed at the end. It feels right out of a cheap melodrama. The Florence Pugh character, whom Oppenheimer has an affair with, never feels like she’s fully there. And so when he grieves the end of the relationship, the grief does not pierce us. Emily Blunt plays Oppenheimer’s wife as a stern, strong woman whose early scenes with her infant are entirely stripped of dramatic potential, and even in her later scenes of being a pillar of support, she comes across more like a placeholder than a person. Oppenheimer’s brother, similarly, is spoken about as being central to his life, but the man barely registers.

The best biopics in recent times – Lincoln, Steve Jobs –  were highly focused, and with a few events, we broke into the psyche of the subjects. Oppenheimer crams in so much that it is diffuse to the point of seeming vaporous. The more we see of the man, the less we seem to really know him. Early on, we seem to be in the “troubled genius” biopic mode. Eventually, we end up with the biopic of a modern-day Jesus Christ, nailed on a cross for being an anti-war martyr. Oppenheimer’s wife keeps asking him to fight back, and you feel her frustration. But this is also the easiest way to earn the audience’s sympathy. Had Oppenheimer fought back, had he been more complex, we may not have “liked” him so much – and for all the technical/screenwriting complexity that marks Nolan;’s work, he’s never been one for psychological complexity.

I liked Nolan’s decision to show things mainly from his protagonist’s point of view. So we never see the Hiroshima/Nagasaki bombings. We hear of them over the radio, like Oppenheimer does. We don’t see images of what happened to the Japanese in these cities in the days after the war. We either hear about the horrible after-effects, or see them imagined through Oppenheimer’s eyes, as he’s hit by visions while doing regular things like addressing an audience. But as if to compensate, every little thing Oppenheimer hears is supplemented by a visual that lasts a fraction of a second. For instance, if we hear about a bomb blast in Halifax, the screen micro-cuts to fragments of an explosion before we cut back to the talking that’s going on about the bomb blast in Halifax. It’s as though the non-stop information dump isn’t keeping the movie busy enough, and Nolan felt we needed the occasional Nolan-esque visuals to keep his fans interested. Speaking of Nolan-esque, there’s also the non-stop music. And I really couldn’t see why this film needed to be shot in IMAX, or why the fussy back and forth between colour and black-and-white was needed. 

Yes, a lot of these decisions have been “pre-sold” and explained to us through interviews and promos, but do they feel true to us while we watch it? That’s the question. I am not a fan of Tenet , but at least it felt like the distinctive work of a very distinctive filmmaker. It had scope. It was wildly ambitious. Oppenheimer feels so bland in comparison, though it is – overall – the better film. At least, it is clean, one of a piece. It doesn’t trip over itself trying to be “clever”. But when David Lean made Lawrence of Arabia , which ran 30 minutes more than this three-hour film, it felt like we were inside the man’s molecules. With Oppenheimer , we feel like we are watching the man through a telescope, or getting a grasp of him by skimming through a Wikipedia page. He looms large on the screen, as though you can reach out and touch him. And yet he feels so distant.

Rathnam Movie Review

• 26 Apr 2024

Aavesham Author BR Movie Review

• 11 Apr 2024
• About The Author
• More From Author

Baradwaj Rangan

National Award-winning film critic Baradwaj Rangan, former deputy editor of The Hindu and senior editor of Film Companion, has carved a niche for himself over the years as a powerful voice in cinema, especially the Tamil film industry, with his reviews of films. While he was pursuing his chemical engineering degree, he was fascinated with the writing and analysis of world cinema by American critics. Baradwaj completed his Master’s degree in Advertising and Public Relations through scholarship. His first review was for the Hindi film Dum, published on January 30, 2003, in the Madras Plus supplement of The Economic Times. He then started critiquing Tamil films in 2014 and did a review on the film Subramaniapuram, while also debuting as a writer in the unreleased rom-com Kadhal 2 Kalyanam. Furthermore, Baradwaj has authored two books - Conversations with Mani Ratnam, 2012, and A Journey Through Indian Cinema, 2014. In 2017, he joined Film Companion South and continued to show his prowess in critiquing for the next five years garnering a wide viewership and a fan following of his own before announcing to be a part of Galatta Media in March 2022.

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Home » Reviews » Hollywood Movie Reviews

Oppenheimer Movie Review: Christopher Nolan On The Behalf Of Modern Cinema, Gives One Of The Greatest Gifts To Cinephiles & Cillian Murphy His First Ever Oscar Nomination!

Scattered timelines, different shoot styles, abstract montages to portray oppenheimer's psychological state, and an overtly detailed narrative, this has everything (and more) you'd expect from a christopher nolan film..

Star Cast: Cillian Murphy, Emily Blunt, Robert Downey Jr, Matt Damon, Florence Pugh, Alden Ehrenreich, Scott Grimes, Josh Hartnett, Kenneth Branagh, Benny Safdie, Olivia Thirlby, Rami Malek, Jack Quaid, Macon Blair, Casey Affleck and David Krumholtz

Director: Christopher Nolan

What’s Good: You won’t just watch what’s happening on screen, you’ll feel it! Be it the explosion outside or inside the characters’ minds, especially Murphy’s Oppie

What’s Bad: The ‘feel’ portion of the above compliment is only limited to the IMAX screens (because of their gargantuan sub-woofers) and those are either very expensive to get in or are full for the initial period

Loo Break: It’s a 3-hour film, you’ll have to despite this being a 5/5

Watch or Not?: Only if you hold the patience of digesting too many dialogues, but I assure you that would come with one of the greatest gifts Modern Cinema has ever given to cinephiles!

Available On: Theatrical Release

Runtime: 3 Hours

Divided into two parts Fission & Fusion, the first one splits the story of ‘the big daddy of Atomic Bomb’ J. Robert Oppenheimer’s (played by Cillian Murphy comfortably securing his debut Oscar nomination) secret 1954 hearing regarding renewing his security clearance post the Promethean torture he faces following the historic moment of dropping the atomic bomb in Japan & the latter one (Fusion), shot in the recently invented IMAX b&w Kodak cameras taking us through Lewis Strauss’ ( Robert Downey Jr ) involvement in the Oppenheimer business as he runs for Eisenhower’s Secretary of Commerce in the year 1959.

Fission is crammed with the incidents that made Oppenheimer sit in front of the United States Government and plead (without showing it loud) them to cleanse his soul by letting go of the accusations of his tying with Communists. All this while he was working on creating a history that the world will remember. Fusion brings in the conspiracy theory side of the story depicting a diplomatic war between scientists & politicians of the US revolving around the legacy J. Robert Oppenheimer would leave for the world to witness.

Oppenheimer Movie Review: Script Analysis

Kai Bird and Martin J. Sherwin’s meticulous 700-page long non-fictional book ‘American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer finally get the master who would not only translate the story for the biggest screen possible but also will make sure you feel each and every bang that comes with the most resonant story you’d find in the history of atomic physics.

When Christopher Nolan revealed that the viewers would be able to ‘feel’ the detonation, I dismissed it thinking it was the production house speaking but I forgot he’s someone who’d switch the production houses when it boils down to restricting his imagination. I was wrong and yes the ‘it’ scene, the explosion passed right through me. Yep, I know it’s an exaggeration to say that but Nolan has achieved a sui generis place in the history of World Cinema.

You won’t need a 4DX version to shake your seats if you’re watching this on an IMAX screen, thanks to Richard King’s in-sync transcending sound design with the music composer Ludwig Göransson (more on Music, a little later). Its sound is the soul of this Christopher Nolan film and you’re reminded of this in every single scene. The sound pushes everything, from the written print to the first-class performances by the first-class actors.

Also, can we sign a peace treaty regarding Nolan’s sound overpowering his dialogues? Because that’s the way he intends it to be, the lines which are audibly blurred aren’t something he wants you to focus on but the way they’re cut through with the score is what he’s trying to convey. Moving on from Wally Pfister, Nolan returns with the cinematographer Hoyte van Hoytema (for their 4th collab since Interstellar) and he continues to suck you into the narrator’s world with his sharply focused angles developing a connection sooner than you’d expect.

Oppenheimer Movie Review: Star Performance

Cillian Murphy is all set to get his debut Oscar nomination (and probably he’d win it too), but the more important thing is he’ll get this for a Christopher Nolan film. It almost looks like he’s achieved a character arc no other actor could’ve in Nolan’s filmography. From being the Scarecrow to the shivering soldier and getting a film which not only is perfect for him to lead but almost delivers the performance his lifetime (almost because I love Thomas Shelby too much), with this Cillian Murphy has achieved what only a handful of performers get to in their lifetime.

Robert Downey Jr as Strauss astounded me to the levels I didn’t expect. Put Cillian, and Matt Damon in Nolan films and you already know they’re going to outdo themselves but putting Robert Downey Jr, our beloved Iron Man in here l, Nolan challenged our hopes like he always does and won like he always does. Emily Blunt breaks the archetype of Nolan’s half-baked woman as she delivers a sensational performance despite the limited screen time.

Matt Damon is outstanding as Leslie Groves and holds his ground amidst the other towering performances. Florence Pugh’s mysterious Jean Tatlock leaves a brief impact with her solid presence, though the n*dity did come across as unnecessary but that might be because to cover her up with a fake CGI-created Black sheet done by the Indian censor board. Benny Safdie as Edward Teller, Kenneth Branagh as Oppenheimer’s Danish mentor Niels Bohr, and Josh Hartnett as Oppie’s close colleague Ernest Lawrence all come, achieve what they’re set to and leave delivering good acts.

Oppenheimer Movie Review: Direction, Music

Christopher Nolan attempts his style to portray a biopic on screen, despite being a story based on true events this remains to be a classic Nolan film. Scattered timelines, different shoot styles, abstract montages to portray Oppenheimer’s psychological state, and an overtly detailed narrative, this has everything (and more) you’d expect from a Christopher Nolan film. What’s new is the fact that you’re going through what has actually happened in history through Nolan’s lens, which means you’d be subjected to multiple BRAAAMs throughout. The extreme tonal shift from being a political documentary along with sci-fi elements and almost touching the horror genre is commendable.

Is Ludwig Göransson the new Hans Zimmer for Christopher Nolan? Post Tenet (which Hans rejected for Dune), many of us thought we’ll see Zimmer return but it’s not the case. Ludwig continues to case what Zimmer is best at, blending the music so well with the narration that, at times, they feel like the same thing. While we still hope to see Zimmer-Nolan’e comeback, I don’t really mind Ludwig filling the void.

Oppenheimer Movie Review: The Last Word

All said and done, in a scene while getting frustrated from the country’s Politics destroying his image, Cillian’s Oppenheimer says “Is anyone ever going to tell the truth about what’s going here?” and I exclaimed, “Yes Oppie, one day Christopher Nolan will!”

Five stars!

Oppenheimer Trailer

Oppenheimer releases on 20th July, 2023.

Share with us your experience of watching Oppenheimer.

For more recommendation, read our Extraction 2 Movie Review here.

Must Read:   Oppenheimer First Reviews Out! Christopher Nolan’s Magnum Opus Labelled Knockout That ‘Splits Brain Open’, Cillian Murphy & Robert Downey Jr’s Performance Leave Critics Stunned!

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