From Jake Coyle @ AP News……
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.
“Oppenheimer,” a feverish three-hour immersion in the life of Manhattan Project mastermind J. Robert Oppenheimer (Cillian Murphy), is poised between the shock and aftershock of the terrible revelation, as one character calls it, of a divine power.
There are times in Nolan’s latest opus that flames fill the frame and visions of subatomic particles flitter across the screen — montages of Oppenheimer’s own churning visions. But for all the immensity of “Oppenheimer,” this is Nolan’s most human-scaled film — and one of his greatest achievements.
It’s told principally in close-ups, which, even in the towering detail of IMAX 70mm, can’t resolve the vast paradoxes of Oppenheimer. He was said to be a magnetic man with piercing blue eyes (Murphy has those in spades) who became the father of the atomic bomb but, in speaking against nuclear proliferation and the hydrogen bomb, emerged as America’s postwar conscience.
Nolan, writing his own adaptation of Martin J. Sherwin and Kai Bird’s Pulitzer Prize-winning 2005 book “American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer,” layers the build-up to the Manhattan Project with two moments from years later.
In 1954, a probing inquiry into Oppenheimer’s leftist politics by a McCarthy-era Atomic Energy Commission stripped him of his security clearance. This provides the frame of “Oppenheimer,” along with a Senate confirmation hearing for Lewis Strauss (Robert Downey Jr.), who chaired the Atomic Energy Commission and was a stealthy nemesis to Oppenheimer.
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.
These separate timelines give “Oppenheimer” — dimly lit and shadowy even in the desert — a noirish quality (Nolan has said all his films are ultimately noirs) in reckoning with a physicist who spent the first half of his life in headlong pursuit of a new science and the second half wrestling with the consequences of his colossal, world-altering invention….