Oppenheimer
Now I become Death, the destroyer of worlds.
After a not perfectly focused return to the atmospheres of Inception (2010) with Tenet (2020), Christopher Nolan reappears in a historical key, as already experienced in the previous Dunkirk (2017), offering us a glimpse into the life of the scientist Julius Robert Oppenheimer, who allowed World War II to end with a disruptive scientific discovery that would forever change the face of war and the approach of mankind towards it.
The movie is divided into two timelines: the first, in the past, relates to the conception and construction of the atomic bomb; the second, in the present, follows the investigation that was opened against Oppenheimer by Lewis Strauss, a political exponent driven to muddy him for personal reasons using in his favor the great ferment and contrast to communism that took place in the USA in the 1950s, a period in which the protagonist could no longer expect negligence towards his past more or less inclined to the principles of that current. In this sense, it should be noted how the use of black and white returns from Memento (2000), in this case, applied to the scenes dedicated to Lewis Strauss.
Of the two, the first is certainly more engaging, thanks to its implicit scientific appeal. The high duration of the film (180 minutes) immediately clarifies his desire to rattle off the various phases of the…
