As one who has been completely fascinated by the actual reality of Nuclear Warfare (since my childhood), I have always found the creation of the Atomic Bomb to be the most important moment in all of human history (with exception of the actual beginning & origin of humanity & all of existence itself).
Christopher Nolan’s perfect film, “Oppenheimer”, is a significantly honorable & highly-sophisticated masterpiece that provides a cinematic insight into the individuals who were instrumental in the real life happenings of the theoretical design, creation, and eventual utilization of atomic power (as a means to an end) in one of the most defining moments in all of history.
Julius Robert Oppenheimer (portrayed Perfectly by Cillian Murphy in his finest performance) is the main focus of Nolan’s awe-inspiring cinematic achievement. Often considered to be “The Father of The Atomic Bomb”, J. Robert Oppenheimer (known commonly among his peers, family, and friends simply as, “Robert” and/or “Oppie”) was born in a Jewish household in New York City, New York, U.S.A. on April 22nd, 1904.
Born of a painter (Ella Oppenheimer/Mother) & textile importer (Julius Seligmann Oppenheimer/Father, respectively), J. Robert Oppenheimer is portrayed in the beginning of Nolan’s work as one who has an inherent appreciation for the beauty of artwork (in a somewhat subtle manner), showcased in a rather pensive moment in the beginning of the film (a moment slightly reminiscent of the end of the museum sequence in the American classic, “Ferris Bueller’s Day Off”; perhaps a deliberate cinematic nod). While the initial years of Oppenheimer’s life are not the main focus of this picture (Written & Directed Perfectly by Christopher Nolan), the film itself is based off a biographical book entitled, “American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer” (a monumental literary undertaking in it’s own right; championed by Martin J. Sherwin & Kai Bird, respectively).
Although the book is based on Oppenheimer’s life’s work (among other things), the film is a three-hour-epic which tells a tale of various meanings:
Firstly, the life of J. Robert Oppenheimer, which picks up in this film at the time of his initial years of his scientific legacy, as a student at The University of Cambridge (in Cambridge, England). In his academic years, Oppenheimer was not regarded with favor on the behalf of his scientific community. He had humbling beginnings in the scientific field, regardless of his inherent genius (which he would continue to enthrall himself in his own time). A particularly disturbing, yet accurate, moment in the film occurs when Oppenheimer actually attempts to poison his own instructor due to his considerable dissatisfaction of his experiences at Cambridge (without spoiling the story, this obviously does not come to fruition).
What does come to fruition, however, is the continual movement of subatomic & atomic particles working within the inner-structure of the mind (and overall being) of one J. Robert Oppenheimer (while he continues his pursuit of higher learning & his genuine love for all things astrophysical & theoretical science). Christopher Nolan’s film has a perfect ability of providing a visual interpretation of various scientific theories (whether it be conceptual or experimental) all-the-while providing a visual display of the deeply conflicted characterization of Oppenheimer himself throughout the entirety of his journey (via Murphy’s award-worthy performance). The cinematography of the film Oppenheimer is absolutely perfect (showcasing the undeniable superiority of film versus digital photography). The beauty of the picture is matched by moments of visceral intimacy (going in and out of focus at times with confidence) as well as larger-than-life & monumentally jaw-dropping imagery (especially during “The Trinity Test”). The musical score composed by Ludwig Göransson is a true work of genius as it creates an experimental (and highly profound & meaningful) atmosphere that helps shape the cinematic world within the film “Oppenheimer.” Göransson’s score is a refreshingly beautiful balance of symphonic & orchestral instrumentation while incorporating a tasteful implementation of electronic & synthetic instrumentation to balance the overall structure of the film. As Oppenheimer’s innermost thoughts & flashes of brilliance are scattered across the picture throughout the entirety of the story (with visual flair & editing mystique in a nonlinear method, indicative of Nolan’s directorial style), the musical score accommodates the plot & picture perfectly with a sincerely divine grace & power.
While speaking on power, the notion of atomic & nuclear power is the driving undercurrent of the film’s main protagonist as the story unfolds. As the theoretical possibilities are literally astronomical within the understanding of Oppenheimer’s significantly educated mind (as he displays a fascination for existence at cosmological proportions) - the threat of nuclear weapons being constructed and crafted by the dark forces of Fascism (by Hitler & The Nazis) halfway across the world is the other driving undercurrent of the film’s plot and main characters (all of whom, in real life, did actually place their lives on the line for the sake of our world). The known reality that the Nazis of Germany & Austria (of old) had already devised their own plan to have the ultimate weapon to command their own will over the will of others (as their invasion of Poland was merely a first step in their agenda) was not far from Oppenheimer’s mind as well as the many key individuals of whom had not only shared time with him in his life, but had become spiritual warriors of the cause to stop (once and for all) the unGodly atrocities birthed from the minds of actual evil in Nazi-era Germany.
Key individuals had indeed entered Oppenheimer’s life; individuals like Isidor Rabi (portrayed gracefully by David Krumholtz in his finest performance on screen to date), Ernest Lawrence (portrayed very impressively by Josh Hartnett in his finest performance yet), Lewis Strauss (portrayed masterfully by one Robert Downey, Jr. in his greatest performance since “Chaplin”), Jean Tatlock (portrayed strongly by Florence Pugh in a highly provocative & deeply off-putting performance), Leslie Groves (portrayed incredibly by Matt Damon in my favorite on-screen performance by him since “Good Will Hunting”), Katherine “Kitty” Harris (who would later become Katherine “Kitty” Oppenheimer in real life and in the film; portrayed Perfectly by Emily Blunt in one of my favorite performances in the entire film), as well as many, many other key individuals who played significant roles in the organization of the atomic bomb in order to end what had become known worldwide as “The Axis of Evil” in [accurate] historical documentation.
The countless individuals who shall remain in the history books as having been directly associated with the formation of the U.S. Military effort (not to mention Canada and The United Kingdom, respectively) to create the Atomic Bomb are represented with dignified refinement in Christopher Nolan’s masterwork, “Oppenheimer.” The ensemble cast is enormous, and no one single performance can be understated by any other performance. Every performer on camera honorably captures an accurate portrayal of the manner of which these real life individuals had lived (granted with a dramatic tone mostly reminiscent in any major motion picture’s cinematic retelling of any major historical world event to connect an overall thought to anyone of whom views the picture).
In addition to the enormous ensemble cast is the enormous production design of the film. It’s particularly astounding to observe how Oppenheimer had become involved in the most important government protocol known to modern society, and then had the most important responsibility of practically producing a space within the nation to run highly-classified government operatives & lead numerous scientists (of both men and women) to create something that had never been physically manifested before by anyone. Cillian Murphy’s charming on-screen dynamics with his peers & colleagues (even among some of the most fascinating & completely serious situations; i.e. The personal politics becoming an element of interference & conflict even among the very people who worked as a team to construct the nuclear solution to the atomic problem; the complete classification of his work due to the priority of the U.S. Military; the priority of national security; his overall personal relationships while putting a new team of scientists together to perform the most massive scientific undertaking in a race against evil) - is just as organic as it is compelling to observe on film.
The reality of Oppenheimer’s associations with the Communist Party (as well as his own family members and friends) are presented very clearly throughout the entire film. Regardless of the numerous verbal warnings from fellow scientists such as Ernest Lawrence to keep politics outside of the laboratory (due to Oppenheimer’s rather open and highly vocal political opinions in favor for the Communist ideals with an intensely pro-worker stance), Oppenheimer continued to struggle to find the balance between his own personal convictions & morals as an individual as well as working within the functioning realm of national loyalty & honorable servitude. As the film continues into the development of Oppenheimer’s leadership as an instructor for his own students (which continues to increase in numbers), he eventually calls upon the brightest and most capable minds within his field to join the cause of stopping the world from being totally annihilated by the forces of darkness (as the Nazi army had continued to murder & genocide countless innocent lives in Europe on a daily basis and intended on dominating the world by total violence & mass genocide).
With a newly formed team and his continued work alongside Leslie Groves (a true man of the cause; a decorated Engineer of the U.S. Military who did his service to his country with much Pride & Honor) to build a physical location to perform what would later be referred to as “The Manhattan Project” (which was a perfect recreation in terms of production design of the classified military operation in Los Alamos, New Mexico, U.S.A.), Oppenheimer’s vision had come to fruition in the most tangible form (with the relentlessness of Groves throughout the entirety of the nuclear arms race). After the painstaking search for the perfect team to create the most destructive force known to humankind was completed (even with a briefly elusive encounter between Oppenheimer & Albert Einstein [portrayed by Tom Conti with awe-inspiring perfection & grace] in the beginning of the film when Strauss extends an invitation to Oppenheimer), the increase of scientific gravitas becomes ever more present with each scene in the film and each additional scientist of whom helps construct “the weapon to end all wars.” With each additional individual who presents more & more ideas to the table (so-to-speak) on how to successfully achieve the most effective scientific results (during an intimate look inside the American think-tank that constructed the weaponization of atomic power), the collaborative efforts put forth by the men and women who built the atomic bomb was frequently rife with conflict & tremendous disagreement due to the meeting of massive minds (often harboring massive ideas & massive egos to boot).
The potential security threat that Oppenheimer’s Communist ties initially raised had been dissolved by Leslie Groves due to his concrete belief in Oppenheimer’s intellectual abilities as a Scientist. This clear confidence, regardless of personal reservations, is what prompts Robert Oppenheimer’s brother, Frank Oppenheimer (portrayed respectably by Dylan Arnold) to join the highly classified government operation to defeat the Nazis in the race for atomic power (regardless of his clear ties with the Communist Party). The cause had become greater than us all as our personal politics and personal reservations regarding who did [or did not] pose a potential security threat to our nation had been placed as a postponed priority during a race against time (and an actual race against evil). Just as it has always been (in regards to the most important moments in human history), desperate times called for desperate measures. This is the compelling beauty of the unified cooperation & sincere teamwork that had actually happened in real life with real human beings who truly did save the world from the further influence of the destructive forces of darkness (and our absolute end as an overall existence). Regardless of differing political ideologies, many individuals came together for the common cause to stop the world from succumbing to the most sinister darkness ever known to be (by collectively constructing a proverbial candlestick of God to bring forth from the heavens the ultimate force of light).
Secondly, “Oppenheimer” is a picture about the tragic betrayal & political persecution of J. Robert Oppenheimer despite his awe-inspiring commitment & loyalty to The United States of America as a government and as a nation (as well as the entirety of humanity and existence on Earth). The second act of this three-act work of art is primarily focused around the McCarthy-era “Red Scare” that occurred in America that followed the aftermath of the end of World War II in the following decade. The Red Scare had essentially been a witch-hunt in contemporary America for anyone who was a Communist, held affiliations with the Communist Party, or was suspected of having potential connections and/or ties with any individual(s) or organization(s) associated or in some way, shape, or form, and/or of having any relations with Communism as a whole (very reminiscent of another important socio-political picture focused on the era of McCarthyism in America entitled, “Good Night and Good Luck”).
Regardless of Oppenheimer’s complete commitment & sincere dedication to the cause of our great nation, he was still held under a severe amount of scrutiny and political punishment for his past associations with the Communist Party. In addition to a public hearing which had placed his entire scientific credibility & honor as a man under an unnecessary humiliation that attempted to destroy his life, family, and career - He also faced a significant amount of antagonistic questioning on a daily basis regarding a tapestry of arbitrary & meaningless questions that were implemented more severely & viciously with each passing day in order to further diminish, attack, and otherwise destroy his character (regardless of him & his family’s sacrifice for the greater good).
The second act is duplicitous in the sense that it’s nonlinear in it’s presentation (similar to the earlier work by Nolan, “Memento”). Act two is primarily in black & white, a clear indication of the nature of the duality of Oppenheimer’s scientific & humanitarian achievement in that he was once an exciting figure full of potential in the first act (with a sense of hope & color & adventure), and now the second act has him facing questions (in a stark contrast to act one) regarding his own character and his associations (in addition to the very achievement he was called upon in order to save the world from total annihilation, by the very people who asked for his help). The second act happens simultaneously with the first act which is a stroke of genius in the direction, writing, and overall production quality of the film. Without revealing too much in order to preserve the quality of the picture, the second act is a complete torment on Oppenheimer’s character and his actions and overall judgment calls (as the man responsible for having a scientific team working for the U.S. Military & U.S. Government that actually had Russian spies and double-agents infiltrating classified U.S. intelligence during The Manhattan Project and The Trinity Test). The truly unfortunate reality is that Oppenheimer, while being a genius who worked alongside many, many brilliant & wise individuals, still managed to succumb to the double-cross of individuals of whom were trusted with the highest security clearances in our own U.S. Government (while covertly operating within the means of international political subversion & government espionage).
While I will not indulge further into the premise regarding the socio-political plot-related themes of the film, I will indeed acknowledge the Kubrickian fashion in which Nolan has immersed his direction in this particular film (in all of it’s 70mm glory). Without spoiling the story for anyone; there is one scene during Oppenheimer’s questioning where the film provides a visual representation of how deeply each question had cut Oppenheimer as a person (and character). What would seem to be a completely gratuitous sex scene during Oppenheimer’s questioning (courtesy of Florence Pugh & Cillian Murphy, both in a highly artistic light), is actually an astonishing symbolic gesture that showcases the real suffering that was not only endured by Julius Oppenheimer (having been known for his illicit affairs), but also his wife, Katherine, during one of the worst times in Oppenheimer and his family’s life (which fed into Kitty’s alcoholism despite her own intellect & genius in real life). The questions of Oppenheimer’s commitment to our country, and to the greatest cause in the world, and the questioning of his personal affairs in order to smear his good name was discovered to be a deliberate method of private interest (facilitated by an individual later revealed in the film).
Oppenheimer’s credibility & worthiness had been completely tested, challenged, and disgraced regardless of the fact that he utilized his intellect (and the intellect of countless individuals in his immediate life that had all worked together) in order to bring an end to the forces of darkness by using the most powerful form of light: Atomic Power.
Thirdly, Christopher Nolan’s monumental cinematic achievement is, symbolically-speaking, about the Greek tragedy of the Titan known as Prometheus (originally based off of Hesiod’s ancient mythological poetry, “Theogony”; as well as the 5th Century [B.C.] epic trilogy written by Aeschylus, “Prometheia”; a trilogy of tragedy consisting of “Prōmetheús Desmótēs” (a.k.a. “Prometheus Bound”), “Promētheus Lyomenos” (a.k.a. “Prometheus Unbound”), and “Promētheús Pyrphóros” (a.k.a. “Prometheus The Bringer of Fire”). In the calculated words of Oppenheimer, himself, as he identifies with the paradigm of which confined Prometheus before him, “…I am become Death, the destroyer of worlds…” (taken from Eastern Philosophical Sanskrit spiritual text; quoting Vishnu of the Hindu faith; Bhagavad Gita, approximately 4th Century BCE). As Oppenheimer’s ability to “bring fire” to humanity (a cinematic similarity of the mythological tragedy of Prometheus), having stolen fire from Zeus and having given it to Humanity (in addition to civilization & science & knowledge from the heavens), the mythological being’s tale had become an obvious parallel to Oppenheimer in his actual waking life (when he was indeed alive on this earth and did aim to wield the power of the universal light). Regardless of Oppenheimer’s world-changing achievement (and the further harm it would prevent on a mass level), he was still able to intellectually determine his own profound understanding of the bloodshed & death that would be the result of his scientific creation (despite the necessity to stop the seemingly unstoppable armies of Germany & Japan at the time). Oppenheimer, like Prometheus before him, had successfully managed to reach for the stars and pull the light down from the heavens, and bring it to humanity on earth in order to prevent Zeus from completely obliterating and destroying humanity as a whole.
In Nolan’s masterpiece, as Prometheus had learned the ability to seize the power of fire could indeed be harnessed from the heavens, Oppenheimer had learned the ability to seize the atomic power that could actually be harnessed from existence itself (as the molecular structure of all existence as we know it is indeed a physical result of atomic activity combined with spiritual energy [individually & collectively]) within an interaction between the tangible & intangible forces of cosmic energy & matter & waves of sound.
As in the tale of Prometheus, after having brought fire to earth from the heavens, the following punishment was the eternal torture & torment of Prometheus (condemned by Zeus). Prometheus was shackled to a boulder, as his immortal liver was eaten on a daily basis (having the ability to regenerate each day) by an Eagle (typically identified as the emblem of Zeus). In a contemporary context, an eagle also identifies as a symbol of State Power; Authority of The State; Government Power. Zeus, in Nolan’s cinematic interpretation, has a much more fascinating and complex representation via two different major political figures (both Adolf Hitler as well as President Truman; the inherent duality of state power). Without giving anything away - The brief cameo of President Truman (as he and Oppenheimer meet) is an encounter similar to that of when Peter Finch’s ‘Howard Beale’ meets Ned Beatty’s ‘Arthur Jensen’ in the film “Network” (albeit more brief). While Oppenheimer’s brilliance and complete concern over the social responsibility of striving for a world where we no longer need to use any such weapons in order to remain a functioning society - President Truman (portrayed masterfully by an actor who shall remain nameless to maintain the integrity of the picture) shows the true nature of the political world by declaring the contrary and asserting a further implementation of research & development to deter any further international threats (regardless of Oppenheimer’s clear concern of any government having such access to such extensive means of weaponized methods of power on the nuclear level).
It’s a truly fascinating & monumental statement to have applied the cinematic telling of one of the most important moments in human history while simultaneously bringing forth poetic symbolism of a Greek tragedy (utilizing the most powerful form of cinematic triplicity; particularly with the utilization of Einstein who plays more like a force of nature rather than a man). The third act of the film releases Oppenheimer from his proverbial rock of eternal torment in his own modern Tartarus, as he is released by the help of the every-day scientist, David Hill (portrayed perfectly in a minor, but completely effective role by Rami Malek). As Heracles before him, Hill’s presence sheds new light on an intriguing internal development within the scientific community which not only shows the duplicitous nature of the second act, but also the duplicitous nature of the individuals of whom had called upon Oppenheimer to help create the atomic bombs that would be dropped on the civilian cities of Hiroshima & Nagasaki, Japan (respectively). Rami Malek’s brief, but significantly important role in the film is the pivotal turning point that grants Oppenheimer, his family, and his associations (both past and current) freedom from previous prejudice & extreme ridicule (in a gratifying on-screen showdown that brings forth the most important message of the entire film).
Lastly, and most importantly, the overall message of Nolan’s masterpiece is about honoring the people who deliberately rise to the occasion in order to save the good grace of humanity & the sanctity of life as we know it (regardless of prior or potential political affiliation or one’s professional ego or private interest). The importance of speaking up on the behalf of the ones who do good in the world, and celebrating each achievement in order to propel the individual (and the collective) further into the future is essential in all industries (not just the scientific field). The ones who literally step forward to save & preserve the fate of humankind & our world (by intellect, spirit, or body) should be awarded for their good faith (not punished or tortured or removed by exclusion due to the absurdity of bureaucracy or envious competitors or kicked back into the world merely as paupers, or as the film refers, a “Lowly shoe salesmen”).
In conclusion: The elusive moment between Einstein & Oppenheimer (which comes back around full circle from Act one through Act three) is a highly powerful moment on film that provides an insight into the purity of true genius & brilliance (more importantly & above all else: a wisdom that burns inside within the spirit of Oppenheimer as it had in Einstein; a candlestick of God’s light from within: All-Knowing, regardless of the tumultuous path ahead of the man that became known as “The Father of The Atomic Bomb”). The beauty of the film is not one individual’s achievement, but the collaborative achievement of the goodness of humanity as a species in order to stop the darkest evil known to humankind. It was one individual who lead a team of individuals (with unmeasurable personal & professional sacrifice on everyone’s behalf), a true human being alongside other noble human beings who did what was necessary to preserve the sanctity of life as we cherish it to be. Considering the known reality that the relevance of an actual threat of nuclear warfare still exists in our modern time (approximately one century after the real atomic bomb had been created by the most important team of individuals who placed, not only country above party, but humanity above it all), perhaps Christopher Nolan’s cinematic echo of the past will allow us all to consider the priority of humanity’s future as we look towards a better time, not just for a certain few, but for ALL of us as an entire world (now & forever).
