Cover Cillian Murphy as J. Robert Oppenheimer in OPPENHEIMER, written and directed by Christopher Nolan.This still is an 11K scan of a 70mm B&W IMAX film frame
Cillian Murphy as J. Robert Oppenheimer in OPPENHEIMER, written and directed by Christopher Nolan.This still is an 11K scan of a 70mm B&W IMAX film frame
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A deafening silence filled the cinema at the end of Christopher Nolan’s ‘Oppenheimer’. Inspired by the 2005 biography ‘American Prometheus: The Triumph and Tragedy of J Robert Oppenheimer’, viewers witnessed a frightening yet equally compelling cinematic masterpiece
J Robert Oppenheimer: father of the atomic bomb; a man enslaved by his genius. In more ways than one, Christopher Nolan’s 2023 epic biographical thriller carefully knitted fragments of the physicist’s life. Drawing from the work of Kai Bird and Martin Sherwin, the audience did not only step into the shoes of the late scientist—they were inside his head—trembling, succumbing to the pains of his mental turmoil.
The titular scientist confronts a fateful decision. He is torn between maintaining his government advisory positions and fighting the charges thrown by the powers-that-be: Oppenheimer is allegedly a security risk due to his past associations and sympathies with the communist party. Perhaps it is important to note that during the late 1940s and early 1950s, following the end of World War II, the U.S. intensified its anti-communist movement as part of the Second Red Scare. At the time, it was believed that communist infiltrators and those who sympathised with them were attempting to weaken American society.
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In a series of non-sequential flashbacks, Nolan sketched an outline of a man tormented by his ego. A scene placed early on in the movie was set in 1926—Oppenheimer, seemingly displeased by his physics professor, attempts to leave the latter’s apple doused with a lethal chemical. This parallels the scientist’s relationship with the atomic bomb, which he would help build decades later.
On both occasions, Oppenheimer found himself acting impulsively with unclear justifications afterwards. This presents a man whose brilliance devours sanity, one who does because he can, never mind the inevitable consequences.
Above An opening look at Christopher Nolan’s Oppenheimer
Above Cillian Murphy as J. Robert Oppenheimer
Cillian Murphy as J. Robert Oppenheimer
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American Prometheus
The film frequently cuts to images of sparks, ripples, fire, and sometimes beams of light that blind vieweres intermittently. This is a prominent hint that we are within the depths of Oppenheimer’s thoughts.
Nolan has presented a well-translated history. His knack for cinematic visuals, paired with musical scoring from Swedish composer Ludwig Göransson, who was also behind musical compositions for Blank Panther and The Mandalorian, fascinated and blew the audience away—figuratively.
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Above Front row from left to right: Christopher Denham as Klaus Fuchs, Seth Neddermeyer as Devon Bostick, Emily Blunt as Kitty Oppenheimer, Gustaf Skarsgård as Hans Bethe, and Josh Peck as Kenneth Bainbridge
Above Florence Pugh as Jean Tatlock and Cillian Murphy as J Robert Oppenheimer
Front row from left to right: Christopher Denham as Klaus Fuchs, Seth Neddermeyer as Devon Bostick, Emily Blunt as Kitty Oppenheimer, Gustaf Skarsgård as Hans Bethe, and Josh Peck as Kenneth Bainbridge
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The cast is also packed with respected talents such as Florence Pugh (Jean Tatlock), Matt Damon (brigadier general Leslie Groves), Cillian Murphy (J Robert Oppenheimer), Tom Conti (Albert Einstein), and Rami Malek (David Hill).
There were a few standout performances, including Emily Blunt (Kitty Oppenheimer), who delivered some savage argument during security interrogations, and Robert Downey Jr (Lewis Strauss), who—hats off and hands down—gave such a riveting performance in every single frame he was in.
Above OPPENHEIMER, written and directed by Christopher Nolan
OPPENHEIMER, written and directed by Christopher Nolan
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Trinity
Prior information about the absence of CGI made audiences wonder how the Trinity Test scene would come to fruition. In an interview with Collider, Nolan explains why he opted to shun computer graphics as they tend to evoke feelings of security. “That’s why they’re difficult to use in horror movies. Animation tends to feel a little safe for the audience. The Trinity Test, ultimately, but also these early imaginings of Oppenheimer visualising the Quantum Realm, they had to be threatening in some way,” he explains.
“They had to have the bite of real-world imagery. The Trinity Test, for those who were there, was the most beautiful and terrifying thing simultaneously, and that’s where we were headed with this film.”
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“Now I am become Death, the destroyer of worlds”
Above Cillian Murphy as J. Robert Oppenheimer
Cillian Murphy as J. Robert Oppenheimer
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Sure enough, the Trinity scene was among the most gripping parts of Nolan’s pop history. The build-up includes a terrifying musical arrangement from Göransson and an anxious, trembling hand just above the red button.
Horror transcended the movie screen and enveloped the cinema. . .just as the viewers expected a ground-shattering cinematic explosion, they were greeted by complete silence.
Worth the hype?
It is a bit preemptive to say that Oppenheimer is Nolan's opus. The film has yet to reach the contemporary timelessness of titles like The Dark Knight (2008) or Inception (2010). The filmmaker nevertheless proved that his 2023 historical recreation is just as powerful. Here, he captured the scientist’s essence and emotional complexity in ways no other platform has done before. It was a three-hour dance, a pendulum that swings between a man’s concessions with his devil and his constant battle with guilt.
Historically, it was never clear whether Oppenheimer felt remorse over what he had birthed. Ever since the atomic bombings of Hiroshima and Nagasaki, the theoretical physicist displayed postwar resistance to the American Air Force’s plans for strategic bombing; but an outright apology was conspicuously absent.
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Jove holds a degree in Journalism and is currently pursuing graduate studies in Philosophy at the University of the Philippines–Diliman. She has flair for in-depth, interview-driven stories that explore politics and culture, shaped by her background in national broadsheets.
When she’s not on assignment, Jove spends her days painting, sipping lemonade, and walking her dog, Jupiter. She can often be seen in Escolta with a film camera in hand, browsing novelty shops in search of rare memorabilia. For leads, reach her at Jove@tatlerphilippines.com.
