Oppenheimer (Christopher Nolan, 2023) Review
A gripping biopic of the American Prometheus.
In his first attempt at a biopic, Christopher Nolan manages to unfold the broad strokes of J. Robert Oppenheimer’s scientific career in just 3 hours. The in media res technique fully immerses the viewer from the first minute and develops the story with a dynamic pace through the events narrated by Oppenheimer himself during the security hearing. Even if the film feels short and misses interesting points worth exploring, like the actual development of the atomic bomb, it manages to give a global vision of the important aspects of Oppenheimer’s life, although there are completely disposable scenes related to his love affairs that feel made to appeal to a more Hollywood-esque script.
Throughout history, many events have been defended with the phrase “the end justifies the means”. Oppenheimer’s magnum opus is no exception to this, building a nuclear weapon that cost the deaths of hundreds of thousands of Japanese and the reconstruction of Hiroshima and Nagasaki, supposedly in exchange for ending all war. This was the outcome of the Moloch1 in the nuclear arms race of the 20th century, which could have potentially led to the extinction of the human race, and the destruction of the Earth itself. Oppenheimer beautifully encapsulated the said Moloch with this statement:
I don’t know if we can be trusted with such a weapon. But I know the Nazis can’t. We have no choice.
The climax of the story, and one of the most significant events of the 20th century, comes with the culmination of Oppenheimer’s Manhattan Project. The scenes depicting the Trinity test are some of the most petrifying ones that I’ve ever witnessed in a motion picture, representing the moment Prometheus stole fire from the gods and gave it to man. Sound, an important component throughout the film, is handled masterfully during this scene, which even made me think about the concept of a sound jumpscare.
The consequences of creating the atomic bombs are explored after the detonation of Little Boy and Fat Man, which shifts the focus of the plot to a political drama revolving around McCarthyism, national chauvinism, lust for power, and betrayal, themes that were especially latent after the end of World War II. The psychological impact that Oppenheimer endured for his craft is underexplored, touched upon in his post-Hiroshima speech, where a David Lynch-esque scene unravels Oppenheimer’s hazy state of mind as he contemplates the aftermath of the bombing. The film would have benefited from more scenes like this to delve deeper into Oppenheimer’s psyche. As it is, this is not explored enough beyond his brief answers about the moral implications of his work and his meeting with Truman.
The political aspect shows the moment when Prometheus was chained to a rock and tortured for eternity: the cycle of being a protégé of the government while they trust you to do their dirty work for them, to getting rid of you once you have fulfilled their quest, giving them all the pride and credit for such an achievement. In an encounter with Einstein, he describes this process perfectly by telling Oppenheimer this:
Now it’s your turn to deal with consequences of your achievement. And one day, when they punished you enough, they’ll serve you salmon and potato salad. Make speeches. Give you a medal. Pat you on the back, tell you all is forgiven. Just remember, it won’t be for you. It will be for them.
Thanks to the exquisite performances of the cast, especially Cillian Murphy and Robert Downey Jr., we’re able to witness the legal conflict between Oppenheimer and Strauss, and the nature of the testifiers when called to talk about Oppenheimer’s alleged affiliation with the Communists. This whole arc is a reflection of the patience of vengeful people and the use of their power against those they consider enemies. This comment by Strauss on power sums up its nature well:
Amateurs seek the sun. Get eaten. Power stays in the shadows.
Oppenheimer’s biopic succeeds as a compelling piece of media to deliver a powerful message to the mainstream with an unconventional length, reminiscent of what Schindler’s List did back in 1993. Such a message is an appropriate reminder for a time like this, where there are still ongoing conflicts, and there will be until the dawn of mankind. We have the power and the means to destroy the world in a matter of a few seconds, yet we don’t seem to fully understand how omnipresent and terrifying this threat is. History doesn’t repeat itself, but it often rhymes, so I’m afraid the next time we find ourselves in a situation similar to the one depicted in Oppenheimer, it won’t just be two cities that fall victim to such a nuclear catastrophe.
P.S.: After writing this, I lurked around some other reviews to see what people thought of the film, and came across nostaghia’s review. It’s a fantastic account of the relationship between Prometheus and Oppenheimer’s role, and the best commentary on the film I’ve seen so far.