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Oppenheimer Review
Oppenheimer Review
Oppenheimer Review
It’s also a fascinating companion piece to the only other Nolan movie that’s
rooted in real-life events: 2017’s Dunkirk. That film, which depicted the
evacuation of Allied troops during World War II, was light on dialogue and heavy
on complex action set pieces, bombarding the viewer’s eyes and ears with the fury
of the front lines. Much of Oppenheimer is set during the same war, but it focuses
on the behind-the-scenes figures who sought to end the war without firing a
bullet. Nolan’s chief fascination, of course, is Oppenheimer himself, whom
Murphy plays as a grand enigma—icy at times and effortlessly charming at others,
sympathetic to leftist revolutionary causes but happy to bury those sympathies as
he begins steering the Manhattan Project.
The film’s first hour barrels through his student years and his early days as a
physicist in England and Germany; Oppenheimer crosses paths with legends in
his field such as Niels Bohr (Kenneth Branagh), Ernest Lawrence (Josh Hartnett),
and Werner Heisenberg (Matthias Schweighöfer). Their energetic discussions of
quantum mechanics and atomic theory are difficult to keep up with, but as the
plot thundered on, I realized that was part of the point: Even these esteemed men
of science can’t quite grasp what they’re dealing with. The viewer knows where
things are headed—the total success of the Manhattan Project, and the
consequences of the weapons it produced—but there’s a frightening lack of
awareness as, spurred by a fear of the Nazis reaching the same consequential
milestone first, the development of the bomb is set in motion.
Nolan is best known for spectacle, and some viewers will be able to
see Oppenheimer in bone-rattling IMAX, projected on a skyscraper-size screen. But
it’s more impressive for how the director has made such a personal narrative feel
epic, not just in visual breadth but in dramatic sweep, presenting a story from the
past that feels knotted to so many present anxieties about nuclear annihilation.
After racing his way to scientific progress and achievement, Oppenheimer is
confronted with an amoral world he had previously ignored; that existential
horror, and the way it echoed into the 21st century, is the real hammer wielded by
this tale.