Movie: Christopher Nolan's OppenheimerATOM is a kinetic thing of dark, imposing beauty, chronicling a moment that changes the course of human history
"Oppenheimer" -- Christopher Nolan's"Oppenheimer" is a kinetic thing of dark, imposing beauty that quakes with the disquieting tremors of a forever rupture in the course of human history.
J. Robert Oppenheimer examines the conditions in a scene from"Oppenheimer." - Courtesy of Universal Pictures It's told principally in close-ups, which, even in the towering detail of IMAX 70mm, can't resolve the vast paradoxes of Oppenheimer. He was said to be a magnetic man with piercing blue eyes who became the father of the atomic bomb but, in speaking against nuclear proliferation and the hydrogen bomb, emerged as America's postwar conscience.
Cillian Murphy channels physicist J. Robert Oppenheimer in Christopher Nolan's dark and excellent"Oppenheimer." - Courtesy of Universal Pictures The grubby, political machinations of these hearings -- the Strauss section is captured in black and white -- act like a stark X-ray of Oppenheimer's life. It's an often brutal, unfair interrogation that weighs Oppenheimer's decisions and accomplishment, inevitably, in moral terms.
Nolan, whose last film was the time-traveling, palindrome-rich"Tenet," may be the only filmmaker for whom delving into quantum mechanics could be considered a step down in complexity. But"Oppenheimer" is less interested in equations than the chemistry of an expanding mind. Oppenheimer reads"The Waste Land" and looks at modernist paintings. He dabbles in the communist thinking of the day. But he aligns with no single cause.
There is something inherently queasy about a big-screen spectacle dramatizing the creation -- justified or not -- of a weapon of mass destruction. Oppenheimer once called the atomic bomb"a weapon for aggressors," wherein"the elements of surprise and terror are as intrinsic to it as are the fissionable nuclei." Surely a less imperial, leviathan filmmaker than Nolan -- a British director making an American epic -- might have approached the subject differently.
Jean Tatlock and J. Robert Oppenheimer share a moment in"Oppenheimer." - Courtesy of Universal Pictures The greatest of all of them, though, is Murphy. The actor, a Nolan regular, has always been able to communicate something more disturbing underneath his angular, angelic features. But here, his Oppenheimer is a fascinating coil of contradictions: determined and aloof, present and far away, brilliant but blind.
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