![]() Anyway, within his chosen framework, he does manage to austerely cull episodes from his protagonist’s life that contribute to his tragic unmaking. Nolan in a recent interview refused to ever direct a TV show but one wonders if this world-building would flow and cause a more powerful catharsis, if Oppenheimer were to be made as a four- or six-part series. It is composed, as those more familiar with American Prometheus: The Triumph and Tragedy of J Robert Oppenheimer might realise, of his upbringing in a well-to-do Jewish American family, his early scientific inclinations and later-day inescapable political affiliations through friends and acquaintances. In the first half, the story partly laboriously and partly with flair (thanks to cinematographer Hoyte van Hoytema and composer Ludwig Göransson) embarks upon building the titular protagonist’s world. Oppenheimer, a staggering saga of a chequered life, doesn’t quite set out intending to change that either. The biopic is a tough genre, prone to quickly becoming episodic and self-important, crawling with banal-seeming historical detail and other superficial (but indispensable) storytelling aids. Cillian Murphy plays the porkpie hat- and cigar-loving physicist J Robert Oppenheimer But contrary to claims that it is an irresponsible romanticisation of a tormented white genius, Oppenheimer is actually a brave documentation of post-WWII tensions and the West’s obsession with left-wing politics, both of which hounded a man they would have held as the highest patriot had he not been, well, himself. Christopher Nolan’s Oppenheimer is a staggering reckoning with historyĮarly impressions and reviews on social media have complained that Nolan’s 12th is misinformed and a whitewashing of the life of a man held directly responsible for the most catastrophic act of war modern humanity has seen. “Hiroshima and Nagasaki are not about you,” a surly Truman tells him before shutting the door on him. The shock of his promethean act takes away the light in his eyes, and when it comes back, it betrays the horror of a man who knows he might have just irreversibly destroyed the world. J Robert Oppenheimer’s invention is a raging success, as the then-US president Harry S Truman informs him. A little after halfway through Oppenheimer, fresh off the success of the Trinity atomic bomb testing near his beloved Los Alamos in the US state of New Mexico, the film’s titular protagonist learns that Little Boy, the atomic bomb he helped develop, has been dropped on Hiroshima.
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