The atomic bomb: A powerful weapon and a symbol of mass destruction. With the creation of this weapon, a moral and ethical dilemma has emerged. This idea is a central theme in the most unexpected cinematic phenomenon of the year, a biographical picture of J. Robert Oppenheimer, Christopher Nolan’s “Oppenheimer.”
Cillian Murphy stars as the titular theoretical physicist who, while employed as a professor of the physics department at UC Berkeley, is recruited by Leslie Groves (Matt Damon) to be the head of the Manhattan Project. Murphy is mesmerizing as Oppenheimer in a performance that embodies the scientist’s struggles in his personal and professional life, conveyed through close-up shots of his facial expressions and eyes filled with guilt.
Robert Downey Jr. is unrecognizable as the Atomic Energy Commission (AEC) chairman Lewis Strauss, who plays a role in Oppenheimer’s post-war life. A testament to his incredible performance is a furious monologue that he gives in the third act of the film, which takes place in his office. In every scene that Downey Jr. was in, I was enthralled by his portrayal in such an uncommon role. I immediately raved about his performance after leaving the theater.
Benny Safdie is quite good as Edward Teller, a Hungarian theoretical physicist who is a part of the Manhattan Project. Safdie, who is well known for co-directing films with his brother Josh, such as “Uncut Gems” and “Good Time,” portrays Teller quite well. For instance, he shines in a scene showing the scientists in conflict on the Manhattan Project. This is one of his first significant acting roles after 2021’s “Licorice Pizza.”
Emily Blunt portrays Oppenheimer’s wife, Katherine “Kitty” Oppenheimer, whom he meets at a party. Blunt is excellent in this role, immersing herself in this character, with sequences such as a hearing showcasing her performance.
Regarding the supporting performances, Tom Conti is excellent as Albert Einstein. Conti, best known for his portrayal of Lt. Col. John Lawrence in 1983’s “Merry Christmas Mr. Lawrence,” along with a guest appearance on two episodes of “Friends,” portrays the famous scientist whom Oppenheimer interacts with at certain moments throughout the film. Conti’s appearance as Einstein is a dead ringer, with the costuming and makeup, along with nailing his German accent. Conti’s role is another example of Nolan’s brilliant casting choices for the film.
Christopher Nolan, the director and screenwriter of this epic biopic, crafts a uniquely structured film that is quite rare to see in a biopic. An example is the black & white sequences, the first to be filmed on IMAX, capturing and designating the post-war era of Oppenheimer’s life, specifically his association with Lewis Strauss. Also, Nolan’s choice to utilize practical effects especially pays off.
Regarding the score, Ludwig Göransson composed a fitting soundtrack for the film. In his second collaboration with Nolan — after his previous film, 2020’s “Tenet” — Göransson composes some stunning pieces, such as “Can You Hear the Music”, featured in the film’s first act.
One aspect I love about “Oppenheimer” is the film’s sound design. At certain moments (some only lasting a few seconds), the film is immersed in a cavalcade of explosive sounds, which makes the viewer feel like a firsthand witness to the power of the bomb, with this permeating throughout the film.
“Oppenheimer” immerses the viewer in a sea of tension and captures the staggering weight of the atomic bomb with the ethical dilemma of its very creation. With a well-chosen ensemble of performers, harrowing visuals and an excellent screenplay, Christopher Nolan has created what might be his magnum opus. “Oppenheimer” is a film that shows the world at the dawn of a new ominous age: the age of the apocalyptic weapon. Nearly eighty years later, the world is now closer to the brink of nuclear annihilation, with several countries wielding the power of death itself, or, as Oppenheimer once stated, destroyer of worlds.
