Oppenheimer (2023) Thriller Movie Review

Clocking in at over three hours, this biographical journey follows J. Robert Oppenheimer (played by Cillian Murphy), and it's all about faces. They speak volumes, conveying emotions, reacting to news, and sometimes, wandering into their own thoughts. Oppenheimer, the brains behind the nuclear weapons team at Los Alamos, earns the nickname "The American Prometheus" for his impactful yet apocalyptic scientific contributions.

Nolan and cinematographer Hoyte van Hoytema utilize the IMAX film system not just for the grandeur of New Mexico's landscapes, but to highlight the external calm and internal turmoil of Oppenheimer. The film captures close-ups of Murphy's face, as Oppenheimer deals with his impulsive nature, insatiable desires, and the creation of a weapon capable of massive destruction.

"Oppenheimer" rediscovers the potency of close-ups, delving into the characters' struggles with identity, societal perceptions, and the consequences of their actions. The film occasionally interjects these close-ups with flash-cuts of unrealized or past events, featuring imagery of fire, debris, and explosions akin to firecrackers. These visuals extend beyond the looming desert detonation, delving into Oppenheimer's personal explosions—sometimes triggered by his own actions, other times by long-forgotten mistakes.

The film employs a physics metaphor, comparing its narrative to the fissile cutting, demonstrating the domino effect of individual decisions. This idea is reinforced through recurring images of rippling water, symbolizing the chain reaction triggered by choices. The film's opening raindrops foreshadow both the end of Oppenheimer's public career and the impending nuclear explosion, illustrating the far-reaching impact of decisions in a visually captivating manner.

The heart of the film lies in the faces of its characters, particularly J. Robert Oppenheimer, but also other key figures like General Leslie Groves, Robert's wife Kitty, and Lewis Strauss. Strauss, who held a grudge against Oppenheimer for various reasons, becomes a central figure in a side story of pettiness and jealousy.

The film often references a quantum physics principle, suggesting that observing an event can alter its outcome. This idea is mirrored in the editing, constantly reshaping our understanding of events by introducing new information that challenges or expands our perception of characters' motivations.

Contrary to expectations, "Oppenheimer" is not primarily about the atomic bomb or its impact on the war and Japanese civilians. Instead, it delves into the psychological effects of the bomb on Oppenheimer, who envisions the suffering of Americans rather than directly depicting the attacks on Japan. This artistic choice may disappoint viewers seeking a more direct portrayal of Hiroshima and Nagasaki's devastation or those supporting arguments for the necessity of the bombings.

The film doesn't take sides in the debate over Japan's surrender, leaving it open-ended. It adopts the freedoms of novelists and poets, presenting Oppenheimer's life and the people around him in a visually bold way. The characters and events serve as metaphors, contributing to a larger canvas exploring the mysteries of human personality and the unforeseen consequences of individual and societal decisions.

"Oppenheimer" stands out for more than just focusing on the man himself, J. Robert Oppenheimer, even though Cillian Murphy's intense expressions dominate the screen. The film explores the ripple effect of Oppenheimer's personality and decisions on those around him, from his determined atomic bomb team members to his troubled wife Kitty, and his mistress Jean Tatlock. Even notable figures like General Groves and President Harry Truman, played by Gary Oldman in a standout cameo, feel the impact of Oppenheimer's choices.

Jennifer Lame's editing is dynamic and relentless, reminiscent of Terrence Malick's style, seamlessly navigating between multiple time periods within seconds. Ludwig Göransson's continuous musical backdrop, intertwined with intense dialogue, creates a unique, scientifically expository experience, akin to reading a book like "American Prometheus" while listening to Philip Glass film scores. The non-linear storytelling mirrors the unpredictable flow of human consciousness and captures the essence of reading a biography that delves into the subject's thoughts and emotions.

The review doesn't delve into the film's plot or the historical events it portrays because, in typical Christopher Nolan fashion, the allure lies more in how the story is told than the tale itself. Nolan, often criticized for being more showman than a dramatist, showcases a thoughtful and rewarding approach to depicting the real-life biography of Oppenheimer. "Oppenheimer" appears to mark a potential turning point in Nolan's filmmaking journey, where he channels two decades of stylistic and technical expertise into a more introspective exploration of a historical figure.

"Oppenheimer" is like a mind-bending biography straight out of the academic-psychedelic vibe of 1990s Oliver Stone films, where every scene feels meticulously edited. Think of it as a three-hour extension of the intensity in the park bench scene from "JFK." Adding to the allure is a dash of pitch-black humor a la Stanley Kubrick. Imagine top government officials casually deciding which Japanese cities to bomb, and one guy whimsically removes Kyoto from the list because of his honeymoon there. The Kubrick connection deepens with the presence of "Full Metal Jacket" star Matthew Modine, who plays American engineer Vannevar Bush.

This is top-tier studio art with swagger, drawing inspiration from a mix of influences like Michael Mann's "The Insider," late Terrence Malick, and nonlinear-edited classics such as "Hiroshima Mon Amour," "The Pawnbroker," "All That Jazz," and "Picnic at Hanging Rock." Plus, there's an inevitable nod to "Citizen Kane," complete with a Rosebud-like mystery surrounding Oppenheimer and Albert Einstein's conversation by a Princeton pond.

The performances carry a nostalgic "old movie" vibe, with actors delivering lines sharply and facial movements reminiscent of classic cinema. The dialogue races at a screwball comedy pace, especially in the charged arguments between Robert and Kitty about his indiscretions and refusal to heed her wise counsel. Abstract debates on power and responsibility between Robert and General Groves, as well as scenes between Strauss and a Senate aide, add depth.

Yet, "Oppenheimer" transcends mere cinema—it's an elusive physical experience that's hard to define, adding to its fascination. Some argue it's "too long" and could do without certain aspects, but the film's chaotic tendencies perfectly complement the theoretical discussions on individual and collective personality. Characters face their own tribunal, answering for contradictions, hypocrisies, and sins. The film leaves us in the dark, given information without a clear directive, allowing viewers to decide—a fitting conclusion to this enthralling cinematic journey.