Oppenheimer (2023) — A Biopic Masterpiece and the Best Film of the Year
“Now I am become Death, the destroyer of worlds.”
Christopher Nolan has been one of my favourite directors for as long as I can remember. For a time, he was the favourite. I’ve watched his entire filmography and there isn’t a single film that I can call mediocre, let alone awful. Even the weakest ones — Tenet and The Dark Knight Rises — have plenty to appreciate. While I try not to get swept up in the mainstream hype machine and on a general level, keep my expectations moderated, it can’t be helped sometimes. So I was ecstatic to finally experience Nolan’s latest offering with the only wish to not be left disappointed. Nolan made sure to grant that because Oppenheimer is a masterpiece.
Oppenheimer (2023) is an epic biographical thriller about J. Robert Oppenheimer detailing his involvement in the Manhattan Project that led to the creation of the Atomic Bomb during World War 2 and ushered in a new era for humanity, and the resulting fallout from being at the centre of such an endeavour. It is based on a biography called American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer by Kai Bird and Martin J. Sherwin (which I plan to read).
The 3-hour-long behemoth can be divided into three sections: the early life of Oppenheimer during his academic days and recruitment to the Manhattan Project; the Manhattan Project itself leading up to the Trinity test; the trials and tribulations afterwards concerning the Atomic Energy Commission and the Hydrogen Bomb.
Since Nolan has a penchant for tinkering with Time, the story is non-linear, seemingly erratic at first yet ultimately purposeful, cutting between different periods and events where pieces of the story are revealed and perfectly slot in. Initially, it is daunting when combined with the exposition of complex physics and complicated politics bombarding you from a plethora of historical figures and their intermingling relations but eventually (about half an hour in), the grander picture materializes and the flow stabilizes.
It is remarkable and stupefying how Nolan with his editor Jennifer Lame (can’t help but chuckle) crafted an energetic and thrilling pace that never lets up or sags into meanderings and boredom for the entire 180-minute runtime consisting largely of conversations and contemplations. Unrelenting and intimidating, while the film justifiably feels long (because it is long), it doesn’t feel 3-hours-long. I was taken aback when it ended after realizing how quickly swathes of the feature went by, including the final half hour, even though considerable time was spent.
It wouldn’t have been possible to convey that effect without the spectacular score from Ludwig Gorannson. This is his second collaboration with Nolan (Tenet being the first) and he goes above and beyond this time around. Nerve-wracking, haunting, mesmerizing, thrilling, ethereal, and just straight-up beautiful, the music consistently and superbly dances with the visuals and editing to imbue cinematic excellence. Eargasmic and EPIC! Certain tracks kept ringing in my head long after the film was over. Even as I’m keying down my thoughts, I had to put on the playlist in the background because of how mesmerizing the music is.
Furthermore, the sound design and sound editing superbly utilize sharp cutoffs and fades with intense SFX, and the visuals accompany those moments with warping VFX. All of it elicits Oppenheimer’s mental state and the immense pressure he faces either due to his genius torturing him, slimy politicking or confrontations with the realization of the severity of the historic undertaking.
The visual experience throughout is sublime. Practically all of it is achieved without the use of CGI which follows in line with the director’s persistence in using practical effects whenever possible. Cinematographer Hoyte van Hoytema returns for his 4th collaboration with Nolan (Interstellar, Dunkirk and Tenet being the previous three) and delivers yet another gorgeous presentation. Whether it is the vast landscape of Los Alamos, the plenty of facial close-ups of a multitude of characters, the interior shots, the abstract representation of Oppenheimer’s mental vision of theoretical physics, or the iconic Trinity test, the cinematography brilliantly conveys the grandeur of the director’s filmmaking style and the momentous story being told. A treat for the eyes.
All of the technical wizardry astoundingly complements the story of J. Robert Oppenheimer, the genius theoretical physicist at the centre of the Manhatten Project managing the largest scientific project in human history at the time and dubbed as the ‘father of the atomic bomb’. Since I knew bits and pieces of the endeavour and the people involved but a far cry from the entire picture, it was enlightening to witness the race against the Nazis to produce the weapon of mass destruction during the bloodiest war humanity witnessed.
It is one thing to be a specific cog in the machine focused and determined in your lane. It is entirely another matter to oversee the machine and all the interconnected cogs. Thinking about the responsibilities shouldered by Oppenheimer makes your hands sweat and your mind numb.
The narrative effortlessly balances the Triumph and Tragedy of this part of history. It’s stirring and inspiring to witness some of the greatest minds of the period assemble and tirelessly work towards a singular goal. It’s haunting to see their realizations of their accomplishments. It’s infuriating and saddening to see the ugly treatment of them afterwards when their viewpoints outgrew their need. It’s a heavy watch.
While the film sheds light on the cerebral acuity of Oppenheimer and his efforts from every fibre of his being, it also doesn’t shy away from delving into the faults of the man. He has his vices. He makes mistakes, whether in arrogance or ignorance, creating a ripple effect or a chain reaction of consequences rattling him and people close to him.
The writing refrained from including any contemporary politics and that gladdened me wholeheartedly. In someone else’s hands, this could have been a story marred by preachiness or lecturing from a modern retroactive gaze. I loathe this trend where people often judge history from their present comforts and accessibility to knowledge without putting in the effort to learn and imagine themselves in the shoes of people in the era they are looking down upon. Nolan did what a master storyteller should do, stick to the story. All politics are within the confines of the era and the people being portrayed.
The questions that are still debated to this day of whether the bomb should have even been created or not and whether it should have been dropped on Japan or not has a vagueness to it that works exceedingly well for the entire experience. The purpose of the film is not to tell you the answers from a modern perspective but rather to show you the story of Oppenheimer, and within those confines, they are tackled maturely, leaving the rest off to you. I fucking loved that.
Now, with all the praise I’ve already showered on the film, it would not have exceeded being such an amazing watch for me without the cast. Just as the Manhatten Project gathered the scientific cream of the crop, so did Nolan assembled some of the finest actors in the business. The film boasts a massive ensemble cast with so many recognizable faces that you would be surprised time and time again by their sudden appearance.
Of course, the man of the hour is Cillian Murphy as J. Robert Oppenheimer himself. I adore the actor and have enjoyed his inclusion in every one of Nolan’s films, so it’s elating to finally see him cast as the lead. He earns it resoundingly as this might be the actor’s best performance to date, which is saying something since he has been consistently brilliant prior. Murphy magnificently captured the tortured genius with a dash of egotism alongside the charisma and charm that made Oppenheimer stand out among his peers. The most notable aspect of his performance is the eyes that speak volumes whether in despair, indifference, shock, horror or rumination.
The second powerhouse performance comes from Robert Downey Jr. Gone is the heroic Tony Stark replaced with a member of the Atomic Energy Commission and a sleazy politician Lewis Strauss, Downey nails the role with a stupendous performance getting lost in it so completely, that it is hard to recognize the man. It is also surprising how much screen time he receives because going by the previews, you’d think he’d have a minor part but that isn’t the case.
Other notable performances: Matt Damon as General Leslie Groves, the man in uniform in charge, who had some of my favourite interactions with Murphy; Emily Blunt as Kitty Oppenheimer who, although underutilized, nailed it in every scene and had a superb badass moment in the final hour; Jason Clarke as Robert Robb, the scumbag attorney aiding Strauss to undermine Oppenheimer during the closed door security hearings who you love to hate; Josh Harnet as Ernest Lawrence, a nuclear physicist working with Oppenheimer at Berkley and it was simply heartwarming to see him after a long time in a proper production and he came in swinging; Tom Conti as Albert Einstein who had only a few scenes but I loved every second of them. Generally, the massive cast — the biggest I’ve seen in a LONG time — delivered across the board.
An amusing side-note: This is the film where Christopher Nolan popped his nudity cherry via Florence Pugh (she gave a good performance too). Was it worth it for the R-rating? I mean… I’m not complaining but this could have easily been slightly edited to be PG-13 instead but considering the success, it doesn’t matter.
It warms my heart to see that Oppenheimer ended up with almost a Billion Dollars at the box office. It is Nolan’s highest-grossing standalone film surpassed only by the Batman sequels — The Dark Knight and The Dark Knight Rises. Even more impressive is that it was created with a hundred-million-dollar budget. Further still it made all that by being a 3-hour-long biopic dominated by dialogue. It sends a positive signal for other potential similar outings from creatives and studios who might have been on the fence about profitability.
In conclusion, Oppenheimer left me off with a state of bliss and awe where a noticeable smile appeared and stayed long after the credits rolled. My mind was blank as I simply felt satisfied and happy. No thoughts, just serenity. The kind of state you get after a masterpiece. I tip my proverbial hat to Christopher Nolan and the entire team involved in this humungous historical project.
Easily the best film of 2023 edging out John Wick: Chapter 4, and one of the best in recent years. I can’t say for sure at this point in time and space since I adore several of his works and would have to give them a refresher but I reckon Oppenheimer will take a spot near the top of Nolan’s filmography after some time has passed and I rewatch it, something I plan to do after going through the book it is based upon. It has the potential to be Nolan’s Magnum Opus.
Suffice it to say, this is an absolute must-watch. A monumental historical epic delivering one of the most crucial events (and person) of the 20th century through outstanding execution of every filmmaking element. When the word ‘Cinema’ is used, this is the type of film that comes to mind; these kinds of productions truly personify that word. And if I were to rate my experience with Oppenheimer, I’d give it a 10/10.
