"If the radiance of a thousand suns were to burst forth at once in the sky, that would be like the splendour of the Mighty One”, so goes the classical translation of verse 12 from the Bhagavad Gita. In this sacred scripture, Krishna, the incarnation of the divine Vishnu, reveals his all-encompassing and all-powerful form, adorned with many mouths and eyes. This thought likely crossed Oppenheimer's mind when he witnessed the literal power of stars unleashed in New Mexico—a moment when he seemed to trespass into the realm of gods, carrying with it the weight of a giant crushing ants beneath his heel.
Oppenheimer holds a high place in director Christopher Nolan's filmography, rivalled objectively only by the seminal "Interstellar" and the genre-twisting "The Dark Knight." Let's begin with the evident positives. Reports of sensational acting by the entire cast are entirely accurate. Cillian Murphy's performance propels him to new heights in the acting world, stepping out of the opaque shadows (despite many great performances, he has realistically never had Brad Pitt's level of stardom) and challenging for mainstream accolades for the first time in his career. Emily Blunt delivers a phenomenal effort, skillfully balancing the emotional scenes with Murphy. Florence Pugh and Matt Damon also give commendable performances, providing Oppenheimer with a social and intellectual friendship/romance aspect that resonates alongside Blunt's Kitty.
Among the standout performances, the most impressive is Iron Man himself, Robert Downey Jr. Stepping away from his bravado, herculean caricature, Downey channels Machiavelli and Brutus to deliver his best performance in the last fifteen years. He flawlessly blends emotions and intellectual prowess in portraying a man who is increasingly paranoid, envious, and driven to achieve his desires. While Murphy's Oppenheimer remains uncertain, Downey's Lewis Strauss takes decisive action, leaving a powerful impact on the audience. Downey's portrayal is so compelling that it feels like being present with him in the courtroom, his words slicing through the cinema air.
Aside from Nolan himself, the only crew performances that can match Downey's are those of music composer Ludwig Göransson and sound editor Richard King. The music brilliantly builds tension multiple times throughout the film, particularly in the buildup to the Trinity Test. The slow, deliberate buildup to critical moments complements the film's narrative and avoids manipulating the audience's emotions on short timescales, as many blockbusters lean on to entertain (sorry, Marvel fans, but they do). When the tension peaks, Nolan's decision to stick with King's robust sound design proves justified, instantly surpassing any mixed reviews from Tenet. The sound sometimes becomes deafening, effectively reflecting the immense scale of the bomb and Oppenheimer's monumental achievement.
Next comes the cinematography. The customary Nolan shots—the sweeping panoramas, characters moving across vast landscapes—are undoubtedly some of the best on film this year. However, it's the scientific-oriented frames and abstractionism that genuinely stand out. The slow-motion shots of the bomb's explosion and the depiction of atoms at the film's beginning are visually captivating, evoking emotions of insignificance and smallness when juxtaposed against the grand scale of everything. Nolan also ventures into new territory by featuring several abstract images, predominantly seen from Oppenheimer's perspective in colour and others in black and white, delving into his internal struggles, including his affair with Tatlock and guilt over the bombings of Japan.
Nolan grapples with Oppenheimer's guilt throughout the film, a recurring theme. The most emotional and disturbing moment occurs when Oppenheimer delivers a speech to the Manhattan scientists after the first bomb is dropped on Japan. The speech's content, praising the bombing and wishing it upon the Germans, starkly contrasts with the abstract images of burnt corpses, trembling landscapes, and faces melting like those in "Raiders of the Lost Ark." We hear the corporate, patriotic Oppenheimer through our ears while witnessing his internal torment and the devastation inflicted upon the Japanese people on the screen. Oppenheimer struggles with the ethical dilemma of whether his actions are justified for the greater good or if he is, in fact, just a murderer.
There are many more positives to discuss in this film, but my recollection is based on a single cinema viewing. I encourage you to experience it for yourself and form your judgment. Undoubtedly, you will find it enjoyable.
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