The Modern Prometheus Through the Eyes of Christopher Nolan (Oppenheimer review)

It’s pretty common to have a biopic about musicians these days but Christopher Nolan decides to make one based on a monster. Oppenheimer is a bombastic (in every sense of the word) telling of a belittled Jewish scientist turned Father of the Atomic Bomb. With a star-studded cast, Nolan returns to tell yet another tragic story of our past with his rules of filmmaking and the exceptions of having scene-by-scene shot by IMAX cameras. 

The film follows J.Robert Oppenheimer, of course, when his capabablity is finally seen to be put into good use but I can safely say even if Nolan or anyone else seems to dismiss it, it also follows Lewis Strauss's involvement in finding him and secretly allowing the Manhattan Project. The film separates these points of view by simply calling them Fusion and Fission with Oppenheimer representing the former and Strauss the latter. This can be seen by how Oppenheimer has the idea and combines his intellect with his students and colleagues to bring about an idea. On Strauss’ hand, his end goal was to rip Oppenheimer apart using his crippling regret, attempting the rest of the world to turn on him further. They are two opposites that brought about one of the greatest tragedies of human history and it is interesting how two people of the same outcome were never on the same team. 

These points of view are played well by both Cillian Murphy and Robert Downey Jr. in their best portrayals thus far. Murphy was born to play Oppenheimer. Only for the fact that he looks and maybe that he subtly has sounds like him too. It is hard to say but there at least 2 scenes in the film that probably used archival ADRs from Oppenheimer’s original speeches used in this film but for the use of Strauss's point of view. When these same scenes are shown in Oppie’s POV, Murphy delivers the same register, making it hard to differentiate between the two. I could be wrong but why would two versions of a scene sound obviously different if that were not the case. Finally, Murphy is front and center in a Nolan flick after years of being a standout supporting cast member. He finally brings the intrigue and charisma that he has always brought with his characters into this portrayal non a fictitious figure. 

There aren’t many films anyone remembers other than Tony Stark with Downey Jr. but even with that in recent memory, you’d know that this Downey is pulling all punches here with his chops that it is almost surprising and interesting to watch. The role pursued as an old timer does make him seem older than he actually seems but Downey works the best out of a privileged double-crossing-man-in-a-high-position giving him well-deserved expectations for nomination chances. 

The runtime goes on for 3 hours and that might seem like slog but anyone who finds that intimidating can find solace in separating the film into 3 parts for each other hour. I’d like to name these parts Motivation, Success, and Regret. The first third of this film introduces our supposed protagonist and the environment he lives in as World War 2 looms and his rise on the radar of the American government. It also shows his struggle as a Jewish man in a world where white men underestimate the contribution of someone who is not. In Success, we see Oppenheimer finally be in the position he has always wanted to be in. The government hires him to make the atomic bomb and assemble a team to help him in a group effort. Regret is where consequences kick in and the court case ensues as Oppenheimer is villainised for his actions. 

The first third of the film barely catches the eye for introductory reasons. This is because the film spends most of this hour introducing characters but the introduction that matters are the two that make the film what it is, and maybe as well as Matt Damon.  This is also where Florence Pugh is introduced and unfortunately, this is her least favorable role to date, from its relevance to its portrayal. It also shows Nolan’s star-studded cast of familiar faces that he had been wrangling up since the pandemic started such as the likes of Rami Malek, Kenneth Branagh, Casey Affleck and many more supporting roles. We are also introduced to Emily Blunt in her portrayal of Kitty, Oppie’s wife who is an unlikeable character from the moment she steps onscreen. The female characters in this film alone take a step backwards with Hollywood’s bad writing towards women but with what Blunt is given here, her portrayal is unlike anything we have seen before in her career. 

The second half of the film is where Nolan seems to suffer to keep the film appealing. Despite being the most interesting and important of the film, it slogs through and takes too long to develop. We are introduced to more characters who will be a part of the Manhattan Project. A recruiting montage is where it shows off or at least gives off the illusion of an ensemble being the focus. Sadly, even the many famous actors that came across could not help keep things interesting. You would have to wait until the bomb test for tension as the film really kicks off the minute the bomb is unknowingly used on Hiroshima and Nagasaki. 

Then comes the third part of the film, which soars and saves the film from its near-disregard. If anything, the film probably is gaining the credit it’s been getting due to the last hour of the film. Oppie’s crippling anxiety to being the God that gave humans the power to destroy themselves is a characterization that makes Oppenheimer all the more interesting. Murphy carries this part of the film well as he is haunted by his own actions after years of trying to be recognized for his work. It is also the part of the film where the trial ensues and everyone part of the project is questioned for the consequences it caused. All main characters are delivering A-rated performances here as they are being nitpicked like vultures picking after their prey until there is nothing left but bone. Downey’s Strauss as the antagonist to Oppie’s protagonist, sits on his high horse as the remains are rifled with shows that Downey can more than be the hero that carries a franchise but formidable asshole that you love to hate. It is here only that the film as a whole can be perceived as a kind of horror film, where a Prometheus - or in this case, Oppenheimer - inadvertently gives fire (creates an atomic bomb) to people who only mean to misuse it. 

Luckily, it is not only the last hour of the film that salvages this feature but rather Ludwig Goransson’s score that booms its way through the speakers. For this reason, only will it be worth watching Oppenheimer in IMAX. His work here sounds either too similar to his work in Tenet or at times, trying to recreate what Hans Zimmer’s signature work is like for Nolan’s films specifically. Despite all that, the score helps the gargantuan feeling of a film of this scale feel bigger than it seems. 

Although points of the film may have been exaggerated for dramatic purposes, it sticks with audiences long after the credits roll. Themes of regret, betrayal, and arrogance drive this film from start to finish, and lo behold, it centers around men who thought of winning a war but never thought of how it affects the people around him or himself. It is not my favorite Nolan film -with the exception of it being better than the sluggish war enthusiastic that is Dunkirk - but Oppenheimer is the polar opposite of the event of the movie season is Barbenheimmer. Watching Oppenheimer may involve a bit of rational thinking beforehand and during the experience but either way, no matter how you perceive the film, it is eye-opening, dark, and mainly caters to people interested in this specific historical event/figure or are fans of Nolan’s filmmaking choices.