by Heath Lynch, Contributing Writer

“Now I am become Death, the Destroyer of Worlds.”

This famous quote originates from the sacred Hindu text, the Bhagavad Gita. However, if we’re being honest, it’s not famous because of the Bhagavad Gita. It’s famous for being repeated by one Julius Robert Oppenheimer after the testing of the very first atomic bomb ever made, Trinity. We’ve likely all heard the quote before. But now, here, for arguably the first time ever, we get to witness the full scope of what that quote meant to Oppenheimer, and how he felt about his world-altering creation, in Christopher Nolan’s newest masterpiece, Oppenheimer.

I know that it has become clichéd, especially in recent years, to slurp up Nolan as he stands on high as one of the figureheads of “film bro” mentality, but that doesn’t change the fact that he deserves accolades and recognition. I mean, there is a reason that so many people fell in love with him in the first place, because he genuinely is one of the best directors working today. He proves it here once again. Simply put, Oppenheimer is a towering feature that stands high above the competition. A triumphant, cinematic spectacle full of brilliant visuals, deafening sound design, a tension-filled score, and a harrowing narrative, mixed with fantastic performances that will keep you on the edge of your seat. You’ll be riveted from the opening moments to the closing credits, despite the three-hour runtime.

This film is so much more than what it appears to be on the surface. If you’re just checking in on the marketing, or only know the bare minimum about Oppenheimer as a person, you would suspect that it is simply about the creation of the atomic bomb. But that’s far from everything that takes place here. We have the political ramifications of the American Communist Party, the geopolitical tension of scientific minds competing in an arms race against time and each other, the fallout from the destruction of Hiroshima and Nagasaki, including the repeal of certain security clearances, as well as character assassinations in politics and in the press. It’s this jam-packed story that makes the movie fly by. It takes five hours worth of story and jams it into three, so there’s not a single wasted moment. What’s most surprising, though, is how thoroughly everything is handled, without the movie feeling bloated and overstuffed.

When the film fully delves into its themes around how the sins of our past can cause a figurative, and in Oppenheimer’s case literal, wasteland in our wake, it is firing on all cylinders. Especially as the expression of this wasteland is showcased by having the characters wrestle with the reconciliation of these sins. As Nolan is oft to do in his films, Oppenheimer’s story is told through a nonlinear timeline. It operates as a temporal pincer, having Oppenheimer recount his past chronologically while another perspective recounts some overlapping events in reverse order. As the film calls them, these “fusion” and “fission” perspectives provide interesting insight into the events of Oppenheimer’s life. While the film doesn’t go full Rashomon, at bare minimum the movie will feel very similar to The Social Network, as we see different depositions and hearings which provide conflicting perspectives. Through these fusion and fission perspectives, we get to see the splintering of Oppenheimer’s humanity, which parallels a larger conversation the film has about nuclear responsibility, as his soul yearns for repentance and forgiveness.

These expressions, these emotions, cannot be understated. At its very core, it’s this existential crisis, this guilt, this burden, that’s at the heart of this film, and what Nolan says to us. And by its end, this film pulls it all together perfectly. The last scene of this film just leaves you with a cold chill running down your spine. A sense of eerie uneasiness that you can’t shake. These well-rounded, and emotionally distressing, themes are put together not just due to Nolan’s fantastic directorial efforts, but also through his powerful screenplay that was adapted from the novel American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer. This film could’ve very easily settled on being a pro-Americana film, ending with all the praise and adoration Oppenheimer received after his invention ended World War II. However, wisely, this film persists, like the novel it is based on, to cover the betrayal of Oppenheimer. In fact, I would go so far as to say that, as spectacular as the Trinity test bomb sequence is, it might be one of the least impactful moments of the film. The last hour of this film, post-Trinity, is heads and tails above the actual explosion in terms of audience fascination and investment. That’s a testament to how great this picture is.

It’s not just Nolan who makes this picture sing; it’s also the spectacular performances from this shockingly large and robust cast. Cillian Murphy delivers what is undeniably the greatest performance of his career. He doesn’t just play Oppenheimer — he becomes Oppenheimer. We see his intelligence, his lust, his ego, his pride, and so much more, as well as his success and his failures. Seeing him transform from a surefire, and arguably cocky, individual, to a vulnerable and terrified soul by the film’s end is moving. 

Robert Downey Jr. is also a standout. It’s easy to forget exactly how talented he is, as we’ve largely seen him in Marvel movies for the better part of the last 15 years, but here he reminds us how skilled he actually is. His embodiment of Lewis Strauss is fascinating, especially because Strauss is a figure that I’m willing to bet most modern audiences have never heard about. The revelations made about him parallel the audience’s understanding of the truth. His performance makes these revelations so powerful. I also have to shout out Emily Blunt. 

Though she’s not always given much to do, when she does have a moment to shine, she shines just as bright as anyone else in the film. Watching her deposition in the third act of the film is easily one of the best parts. The way she punctuates her anger, as tears stream down her face, is the definition of what breeds empathy. I would love, and even expect, all three of these actors to receive Oscar nominations, and possibly even take home awards, for their efforts here.

It’s not just these three that make this work so well. Florence Pugh is riveting in her short time on screen. The pain expressed in Blunt, due to the contempt expressed in Pugh, is gripping. Matt Damon also plays well as the steadfast military figure, and is a commanding presence every time he’s on screen. Josh Hartnett, who has largely stepped away from acting for the better part of the last decade, shows why he should’ve never left. Rami Malek, who I feel is largely overrated, is actually good here as a surprise ally. Alden Ehrenreich once again shows that the faults of Solo: A Star Wars Story do not lie at his feet, Benny Safdie is menacing, Kenneth Branagh is a warm presence, and Jason Clarke comes across as one of the greatest assholes you’ve ever seen in film. Honestly, the list goes on and on. From surprise cameos, like that of President Harry S. Truman, and so many more, you can’t start a new scene without seeing a recognizable face. It’s as if Nolan has turned into Wes Anderson, where so many people want to work with him, even if the role is incredibly small, that he can just find a spot to put anyone in his pictures, and it always seems to work out. Everyone is here, and everyone is great.

But it’s not just the above-the-line attributes of Oppenheimer that makes it so special. It’s also all of the technical achievements that will knock your socks off. The production design is tremendous, with the full recreation of the Los Alamos and Trinity bomb test site. The costuming, which evokes so many different styles of fashion and military garb, from the mid-1920s to the early 1960s, is quite impressive. Matching that, the hair and makeup of the time also feels period accurate. The editing is also spectacular, as we see the inter-splicing of visuals that add to the tension and anxiety of the picture.

But it’s undeniable that the visuals and sound are what a lot of people will remember when walking away from this movie. It is worth noting that there are no computer generated visual effects throughout this movie. That’s right: It’s completely devoid of CGI. Everything is created using practical effects. It’s incredible how immersive the film feels because of its realness and rawness. This makes the quick cuts of particles floating around, or the massive Trinity bomb explosion, feel so much more visceral than they would in any other film. 

The sound is also fascinating. Of course the expected explosions will push you back into your chair, but it’s also the eerie sound waves, and uncomfortably long moments of silence, that will also eat at your senses. Furthermore, Ludwig Göransson’s original score is magnificent. I guess Nolan is done partnering with the legendary Hans Zimmer, but his films are no lesser for it, as Göransson has put together moving music which bursts with epic strings that crescendo into swelling emotional moments. At several points, the score becomes so engrossing that it is borderline deafening, making it nearly impossible to take in the film itself, but that’s kind of the point. The way the music works as an audial surrogate for anxiety, stress, and fear is quite impressive. Though I will note that there are moments in which the dialogue is difficult to hear in this film, as is a common criticism of Nolan’s work, it is far better here than it has been with recent films. Especially in comparison to Tenet.

Everything about this film is fantastic. Oppenheimer truly feels like the culmination of Nolan’s career. Though I have personal attachments and nostalgia with other Nolan films that would have me ranking them higher than this one, when I step back and try to detach myself and look at these films as objectively as I can, it’s hard not to say that this is easily one of the best films of Nolan’s illustrious career. I have no doubt that it will be one of the high watermarks that we look back on in the years to come when talking about the esteemed director. No doubt this film will be nominated for many accolades, and likely be awarded for a few. I wouldn’t be shocked to see half a dozen, to up to a dozen, Oscar nominations.

I could not recommend Oppenheimer enough. Whether you’re a massive Nolan fan, someone fascinated by history, or whether you want to experience a thoughtful yet chilling film about the fragility of humanity, this is a film for you. It’s an absolute masterpiece that will easily stand as one of the best movies of the year.

Rating: Loved It

Oppenheimer is currently playing in theaters


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