Oppenheimer is a biographical film about Dr. J. Robert Oppenheimer (Cillian Murphy), an American theoretical physicist, best known as the Father of the Atomic Bomb due to his significant contributions to the development of the atomic bomb during the Second World War. Adapted from the 2005 biography “American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer” written by Kai Bird and Martin J. Sherwin, the film covers a broad range of events that happened in Oppenheimer’s life and is especially interested in his involvement in the Manhattan Project and its consequences on his life.

First and foremost, there is no subtle way to put this — Oppenheimer is a stunning masterpiece. I do not use this word lightly, and director Christopher Nolan’s latest work certainly deserves it. Oppenheimer is an incisive, thoughtful, and multi-faceted portrayal of one of the most important historical figures of the 20th century. It delves deep and picks apart many of the controversies surrounding the titular character, uncovering the paradoxical nature of his monstrous creation and his very being. By framing Oppenheimer’s story using his infamous 1954 security hearing, the film achieves a retrospective effect similar to that of a series of educational videos by Ted Ed, known as ‘History Vs.’. In this series, each video features a controversial historical figure (Vladimir Lenin, Genghis Khan, etc.) on trial, where their infamous legacies are reexamined. By employing flashbacks during the interrogation of Oppenheimer and witnesses in the hearing, the film dissects and examines the life of Oppenheimer, including his contributions along with his controversies.

In parallel to the Oppenheimer hearing is a second thread that features the 1959 Senate confirmation hearing of Lewis Strauss, chairman of the U.S. Atomic Energy Commission. Filmed in black-and-white, this thread aims to provide a more objective point of view about Oppenheimer’s life, particularly his post-war years, from the perspective of Strauss, an acquaintance and rival of Oppenheimer. The two threads intertwine, each featuring its own flashbacks, sometimes depicting the same events but from different perspectives.

This film is one of the few instances in Nolan’s filmography where the intertwining of timelines and non-linear structure do not obfuscate the narrative. In Oppenheimer, Nolan notices and exploits the similarities between both hearings, allowing both threads to build off one another, achieving a greater dramatic effect. There are multiple instances where the film cross-cuts between the different threads and flashbacks, allowing the story to ride the collective buildup of dramatic energy. While Nolan’s cross-cutting can prove to be problematic and disorienting in the past (take the climatic battle sequence in Tenet, for example), this film might be the first instance where his maxim of “Don’t try to understand it, feel it” works. I find myself less concerned with tracking when and where each piece takes place in the timeline, but more interested in flowing with the rising suspense that the cross-cutting creates.

Oppenheimer is a great balancing act by Nolan. This is an epic that portrays nature at both the cosmic level and at the atomic scale, vast landscapes of the desert and raindrops in puddles, the triumph and tragedy of the atomic bomb, and most importantly, enormous explosions that happen physically and implosions that occur in the mind of Oppenheimer. The film spell binds with breathtaking visuals, but also haunts its audience with the storm that happens in Oppenheimer’s head. Most of the emotional weight falls on the shoulders, or rather, the eyes of the film’s terrific lead actor, Cillian Murphy.

Cillian Murphy is simply incredible. The depth and range of his performing talent are equally represented by the huge expanse of the IMAX format. While IMAX is spectacular at capturing vast physical landscapes, this film demonstrates the true potential of this huge and immersive format, which is to capture the emotional landscape on an actor’s face. Close-ups of Murphy draw you into Oppenheimer’s headspace as you stare into his troubled eyes. The closing shot of the film lingers in my mind even after a week. It is impactful, in the best way possible. Flanking Murphy is a talented ensemble cast. Robert Downey Jr. was surprising and unrecognisable as Lewis Strauss — a powerful performance that reminds me of F. Murray Abraham’s Salieri in the 1984 epic Amadeus. Emily Blunt as Kitty Oppenheimer and Matt Damon as General Groves have equally delightful screen presence.

The sound design of the film is absolutely sublime. First and foremost, no words can do justice to the greatness of Ludwig Göransson’s score. The score is haunting, beautiful, romantic, suspenseful, and terrifying. Just like the images, its impact lingers. The use of strings is immediately reminiscent of Jóhann Jóhannsson’s score for The Theory of Everything, but Göransson took it further. The versatility of the strings is used to its fullest, portraying both romance and terror, peace and war, and optimism and dejection — from the high-pitched violins to the deep and mellow bass. A melodious and romantic tune is often just a glissando away from sounding unhinged or borderline neurotic. This fragile balance is key to the film and is present throughout the soundtrack.

There are two particular standout pieces of music – “Can You Hear The Music” and “Destroyer of Worlds”. “Can You Hear The Music” is simply spectacular. Listening to the music and flowing along with the rising and falling rhythms and melodies is an experience in itself, but experiencing it with the visuals and noticing how the racing instrumentals are wedded so perfectly to the images of spinning atoms and vibrating cosmic strings are breathtaking and beyond words. “Destroyer of Worlds” is the ideal closing piece to the perfect closing scene. The single sustaining dissonant note at the end of the piece stays with you even as the screen goes dark and the credits start rolling. Complimenting the score is the ingenious sound design. The incessant ticking not only counts down the detonation of the nuclear weapon but also counts down the days of glory for Oppenheimer as he is being picked apart in his hearing. Feet stomps and thunderous applause are ear-splitting, but to Oppenheimer, they might not be as deafening as the silence in his mind.

All in all, I absolutely adore Oppenheimer the film. It is Nolan’s best film by far. For the first time, he is able to achieve the perfect balance of rationality and emotions that he often struggled with. He cross-cuts effectively and balances between timelines without tying the film up into knots. The performances are roof-raising, and Nolan’s collaboration with Göransson marks a new era for the sound of his films. With almost no reservations, Oppenheimer is Nolan’s magnum opus and currently the film of the year for me. I simply cannot wait for Nolan’s next film.

Author: Chia Jing Heng (andreusjh99)