Christopher Nolan's 'Oppenheimer' is a kinetic thing of dark, imposing beauty that quakes with the disquieting tremors of a forever rupture in the course of human history, AP Film Writer Jake Coyle writes his review.
The grubby, political machinations of these hearings — the Strauss section is captured in black and white — act like a stark X-ray of Oppenheimer’s life. It’s an often brutal, unfair interrogation that weighs Oppenheimer’s decisions and accomplishment, inevitably, in moral terms. “Who’d want to justify their whole life?” someone wonders. For the maker of the world’s most lethal weapon, it’s an especially complicated question.
For a filmmaker synonymous with grand architectures — psychologies mapped onto subconscious worlds and cosmic reaches — “Oppenheimer” resides more simply in its subject’s fertile imagination and anguished psyche. Nolan and cinematographer Hoyte van Hoytema render Oppenheimer’s interiority with flashes of images that stretch across the heavens. His brilliance comes from his limitlessness of thought.
But the responsibility of power has long been one of Nolan’s chief subjects . And “Oppenheimer” is consumed with not just the ethical quandary of the Manhattan Project but every ethical quandary that Oppenheimer encounters. Big or small, they could all lead to valor or damnation. What makes “Oppenheimer” so unnerving is how indistinguishable one is from the other.
Dread hangs over him, and over the film, with the inevitable. The future, post-Hiroshima, is sounded most by the wail of children who will grow up in that world; the Oppenheimers’ babies do nothing but cry.
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