Christopher Nolan’s sprawling biopic of J. Robert Oppenheimer, after a slow-moving opening to set the backstory, finally comes into its own with the countdown before the Trinity test near Los Alamos, New Mexico confirmed that an atomic bomb would work. Supposedly that site was chosen as no civilians were living in the area, yet Indigenous inhabitants did. Whether any of those were injured by the blast and fallout is never mentioned.
In the title role, Cillian Murphy fits the physical, emotional and intellectual requirements of the daunting role to a T. Oscar will be taking notice.
Long-suffering, former communist wife, Kitty, is in good hands due to Emily Blunt’s wide-ranging performance—especially her palatable disdain for those jealous of her husband’s fame and success. The only narrative weakness being her “constant cocktail” habit, which soon becomes tiresome. Florence Pugh gives a commendable take on the forever communist, sometime lover of the intrepid scientist who definitely moves up in his profession as head of the Manhattan Project in a small but most important role, Tom Conti fires on all cylinders as Albert Einstein (kudos to the makeup and hair department) who, naturally, provides telling advice and prediction of the future for Oppenheimer the villain of the piece (and in real life) comes in the selfish, treacherous form of Lewis Strauss—Atomic Energy Commission chairman and Eisenhower cabinet wannabe. Robert Downey Jr. digs into the role with copious venom and ambition as required.
The most notable aspect of this production is Nolan’s decision to let viewers’ imaginations fill in the truly horrific results of the A-bombs landing on Hiroshima and Nagasaki. There are hints of that in some of the black-and-white “vague” images, then later, assurances from President Harry Truman (Gary Oldman, a readily believable occupant of the White House) that he was responsible for the bombings—not Oppenheimer (dubbed father of the atomic bomb in the media).
Once the “dust” settles (and the war ends) the remainder of the film delves into Oppenheimer’s appearances in a kangaroo court (setup “anonymously” by Strauss to feed his political ambitions).
Sadly, importantly, those hearings are all too close to the ongoing trials and tribulations for a former president whose crimes are—like Strauss’—revenge-driven but far removed from actual facts. The timing couldn’t have been better.
As always, Nolan’s non-linear storytelling (based on the book American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer by Kai Bird and Martin Sherwin), keeps the mind engaged even as the adroit cinematography from Hoyte van Hotema and superb editing, thanks to Jennifer Lame, becomes a visual feast. The artistic icing on this generous cake comes in the form of copious amounts of nervous strings and forceful brass heard in Ludwig Göransson’s most effective original score.
Still, when all is said, resolved and over, it’s more difficult to admire the accomplishments of this film than the death and destruction that brought thousands upon thousands of unsuspecting civilians to their deaths, thanks to the power-grabbing greed of their governments. JWR