"Oppenheimer": Father of the 21st Century Cinema Experience

 (This review includes spoilers)

Christopher's Nolan's bio-film, 'Oppenheimer' exemplifies exactly what is missing in 21st century film culture: character dimensionality, moral dilemma and captivating storytelling

At the heart of the human being is a complex battle between motivations, desire and reality. We often find ourselves at conflict between these three contentious elements of our existence yet it is not too rare to see how the competing forces of our motivations and desires can delude our perception of reality. 

That is until our delusions explode and we are forced to confront it. 

This is exactly the concept that is at the crux of Christopher Nolan's 2023 film, 'Oppenheimer', which guides its audience through the lens of Julius Robert Oppenheimer and the development of the atomic bomb during World War II.  

Led by the reigning hero of cinematography, Nolan, it comes to no surprise that the seismic film was brought to the big screen as a visceral spectacle, with deliberate manipulation of auditory and visual imagery that evoke an all-rounder sensory experience. 

Yet despite its fantastic camera and editing work, the most intriguing aspect of the film is the perhaps the intricate and ironically, scientific method of Nolan's storytelling.

A deep, humanist analysis of the film, unveils the life of a man whose journey closely resembles that of the atomic bomb - building up with all its potential to the possibility a powerful and exciting climax, and detonating only to confront a lifetime of destruction, chaos and unwavering consequence. 

Indeed, such is the story of Oppenheimer, whose motivations and desires as the theoretical physicist of his time lead him to a haunting reality. 

There haven’t been too many times in the last few years that a film has been able to evoke a deeply intellectual and intelligent yet simultaneously captivating response from its audience. 

In a world entranced by the glitz and glamour of Barbie and pink-themed outfits to the cinema, Oppenheimer delves deeply into the three-dimensionality of man during the height of fame, passion, self-interest and moral struggle. 

Nolan's decision to represent the story of Oppenheimer through a fragmented, non-linear storyline that runs multiple alternating perspectives, side by side, is arguably, what allows the skilfull presentation of a historically comprehensive, biography. Indeed, what sets the film apart is ultimately its ability represent a personal story accurately within the historical zeitgeist of its time.  

Oppenheimer is first introduced to the audience, pale-faced with his otherworldly blue-eyes, at the US Government's 1954 security hearing, which was investigating his alleged communist sympathies following the Second World War and at the height of the Red Scare. The investigation was led by Lewis Strauss, a member of the US Atomic Energy Commission, whom among others had deep political and professional rivalry with the Father of the Atomic Bomb.

The mystery behind the investigation: who was to blame for the information leak during the Manhattan Project? 

Simultaneously, Nolan embeds a series of intervening yet ambiguous flashbacks that seem rather random and disconnected at first, but serve to complete the final pieces of the puzzle at the end. From his early career as an insecure Cambridge student, we see Oppenheimer's first struggle with his ego and morality; the poison apple scene is far more symbolic than first expected, and appears to foreshadow a far greater moral battle that he faces as the key developer of the bomb. What it does signify in the opening scene, is that Oppenheimer, much like the rest of humankind, is capable of unthinkable immorality but is equally, aware of the potential consequences of evil actions. While he was lucky enough to escape the consequences of the 'forbidden fruit', unfortunately the same cannot be said for his future sins. 

The many flashbacks throughout the film are expertly contrasted, coloured flashbacks to represent Oppenheimer's perspective and black-and-white flashbacks to represent Strauss's point of view. Nolan is therefore able to seperate subjective and objective points of view, to combat what could be argued as a potentially convoluted plotline.  

In saying so, each flashback serve as a vital stepping stone that works to complete the man that we known as Oppenheimer. From his first meeting with Strauss and his mysterious encounter with Albert Einstein, to his career as a self-assured, egocentric yet charismatic Berkley academic, Nolan explores Oppenheimer's personality across a series of environmental changes. 

From these changing dynamics, come a series of notable figures that embark on the journey of the bomb and contribute to the audience's understanding of Oppenheimer. Notably, Katherine Oppenheimer (Kitty), a young physician and ex-communist supporter whom he later goes onto marry, plays a large role in the gradual revelation of Oppenheimer's character. Kitty's supportive yet firm and assertive character is exemplified upon her discovery of her husband's affair with Jean Tatlock, in which she powerfully exclaims, 

"You don't get to commit sin, and then ask all of us to feel sorry for you when there are consequences." 

Yet amidst the emotional and betrayal is another example which emphasises Oppenheimer's fatal flaw as that of his inability to cope with the consequences of his immoral actions.

With the advantage of hindsight and reflection, it is interesting to see how Oppenheimer's character progression is both impacted and informed by the journey of the bomb up until and just after it's detonation. In the years leading to the first attempt, Oppenheimer leads the Manhattan Project, bearing the weight of what seems like the bomb itself, on his shoulders. He is constantly engrossed in the never-ending eventualities of the mission (from a scientific perspective that is) and follows scientific protocol very seriously, yet is never too fixated on the moral fibre of his pursuit. He is actively involved, and wholly committed to the effort involved in the process. As the final months of the bomb progress however, and political discussions become increasingly difficult to sweep under the rug, the audience see Oppenheimer begin to engage with his conscience. In the excitement of the lead up however, this is quickly forgone and we see Oppenheimer delude himself of the truth of the bomb. 

The bomb explodes. 

Oppenheimer emerges as the man of the era. 

Cheers, claps, strong handshakes, the cover of the Time Magazine, the medals and awards in his honour. Years of theory, academia and hard work had amounted to that very moment. Nolans thus reveals how everything that built Oppenheimer to the man he was served a purpose to this climatic moment of the film. 

But the debris was not too far from the site, and his victory was short lived.

In 1945 the atomic bomb was dropped on Hiroshima and Nagasaki. 

Oppenheimer is forced to confront his reality.

And just like that, his damage control, driven by his intrusive conscience, begins to take effect. His luck wears short this time however as Nolan depicts Oppenheimer, perhaps for the first time in his life, truly confront the consequences of actions. 

From the meeting with the president to the series of trials that lead to the 1954 investigation, he must honour his prestige yet bear the responsibility of his fame.

Indeed, Nolan hones in on the crux of the film's message at multiple points of the film's falling resolution. Man must reap the consequences of reality, in which his motivations and desires manifest.  

As the final scenes roll in, Einstein, who plays the omniscient and all-wise, guiding figure during the film, reminds him once again, that it is his turn to deal with the consequences of his achievements. That is perhaps Oppenheimer's greatest punishment. 

Here Nolan reveals the greatest tragedy of Oppenheimer's story. Despite his attempts to convince himself of The Manhattan Project as a mere scientific collaboration and an outlet for his passion, he was unable to escape the reality that he was the Father of the Atomic Bomb but equally the culprit of millions. As the motivation and desire of fame, professional prestige and leadership wear off with the detonation of the bomb, Oppenheimer comes to terms with the reality of his existence and that of many others... 

 "Now I am become Death, the destroyer of worlds"