Christopher Nolan is a master of narrative structure. His stories are precise, balanced, and surprising. Case in point is the breathtaking test sequence of the world’s first atomic bomb in Oppenheimer.
The test comes about two hours into the film. It’s a tense passage filled with fiery, brilliant, and symbolic imagery. But it’s not the beautiful pictures or the delayed sonic bang Nolan wants the audience to concentrate on, it’s the aftermath.
The sequence is a narrative detonation. The emotional tension of the story explodes. Then, like a mushroom cloud, it slowly billows out and settles in for its final, breathtaking stretch.
The film is told from two narrative points of view. Subjective sequences are in color and objective ones in black and white. Nolan blends them in the last hour for maximum import.
The movie’s final hour concerns an informal bureaucratic hearing on revoking Oppenheimer’s security clearance and the Senate confirmation hearing of Lewis Strauss to become Secretary of Commerce. Basically, old white guys talking in rooms. Fun, right!
Absolutely. For as breathtaking as the explosion is, the film hits its cinematic peak a few minutes later.
Oppenheimer has to give a speech to a triumphant crowd at Los Alamos. In a closeup shot with a long lens, the weight of the moment hits Oppenheimer emotionally. The background of the image shakes, sound effects represent thoughts, disorienting then quiet. The tortured face of Oppenheimer is a man lost. Quiet, then…BANG! The blast again.
The point is the man and the rest of the world will never be the same because of the man. All of this is done with sound design, in-camera effects, and human performance. No CGI or digital backgrounds are necessary here.
As is usual in a Nolan movie, there’s very little wasted motion. Even with a three hour run time the narrative is tight and compact.
The film is loaded with solid performances anchored by Cillian Murphy as Oppenheimer. Murphy’s long, lean physique combined with his large expressive eyes do a lot of the work. He gives a full-bodied portrayal where the internal pain is expressed with demeanor. It’s a deeply soulful performance.
Another standout is Robert Downey Jr. as Strauss. As an antagonist, Strauss is a ruthless bureaucrat driven by political ambition. Downey Jr. portrays acidic and controlled malevolence. But in subtle ways, he makes clear the weakness motivating the man.
Emily Blunt as Oppenheimer’s wife, Kitty, seethes in the background for most of the film. Her moment comes late in the movie. Blunt owns a standout scene in the hearing room.
Not all of it is perfect. Florence Pugh isn’t given much to do as Jean Tatlock, who had an affair with Oppenheimer. I’m not sure a visual bit of business works where Nolan overlaps a sex scene with Oppenheimer’s hearing. The point is made but it’s clunky.
The supporting cast, lead by a reliably excellent Matt Damon, do top-tier work. Standouts include a fucking annoying Jason Clarke, Josh Hartnett in a hot vest, Alden Ehrenreich taking over scenes, and Tom Conti quietly speaking for humanity’s conscience.
The score by Ludwig Goransson runs nearly the entire length of the film. Music is propulsive in a Nolan movie. Goransson pulls off the magic trick of scoring underneath the scene and driving the narrative forward.
Film directors often put the theme of the movie in the first shot. In Oppenheimer, Nolan does this with a simple and layered opening image. Though not obvious right away, the meaning becomes clearer as the movie goes on. Then, in its final moments, the denouement takes full form and it’s devastating. Just like an atomic bomb.
Oppenheimer is exceptional.
Movie of the decade.
