A scene from 'Oppenheimer'

With a running time that comes close to three hours, Christopher Nolan’s Oppenheimer has the ‘legs’ to turn this marathon of a biopic into the epic biographical film of this era. Films such as Jackie, Spencer, First Man, and Blonde may have aspired for that status, but came short in gaining recognition for being that universally lauded film. What would be ironic is that instead of a Jackie K. Onassis, Princess Diana, Neil Armstrong, or Marilyn Monroe, it would be a film treatment on the life of J. Robert Oppenheimer that takes home the coveted prize; because let’s be honest, without this film, not many would even know of Oppenheimer, the Manhattan Project, and his connection to the atomic bomb. But leave it to Nolan to direct, produce and write this film adaptation of the 2005 book American Prometheus, written by Kai Bird and Martin Sherwin; and turn it into a cinematic event. It’s a deep dive into a character, coupled with the visual mastery and story-telling tricks that Nolan is famous for. That he turned to regular confederate Cillian Murphy, but now asking him to take on the lead role, was a master stroke on the part of Nolan; as it’s a performance that truly now can acts as Murphy’s gilt-edged calling card. On the technical side, it’s shot primarily with IMAX 65 mm.; but it’s also the first film where sections of the film are shot in IMAX black and white photographic film. Taken from a first person perspective, that of Oppenheimer, Nolan uses the shifts to help us appreciate what is objective, and what is subjective and personal. The important thing is how it all works in creating a more vivid recording of Oppenheimer’s life, and how coupled with the narrative, helps make him flesh and blood - and human, with strengths and weaknesses.
The cast is a gallery of who’s who in acting. Kitty Oppenheimer is played by Emily Blunt, Lewis Strauss portrayed by Robert Downey Jr., Leslie Groves by Matt Damon, Jean Tatlock, who Oppenheimer had an affair with is portrayed by Florence Pugh, David Hill by Rami Malek, Edward Teller by Benny Safdie, and Albert Einstein is played by Tom Conti. Historical figures all given their chance to interact and/or be an influence on our title character. The film is marked by inventive storytelling, and we’re grateful for the shafts of humor that permeate the narrative. Thematically, it becomes a film about the role of the scientist in society, whether they carry weight when they talk out on public issues, and it re-evaluates the meaning of the word ‘patriot’, and how conscience still has to play its role. Without giving away any spoilers, it’s safe to say that Nolan takes us on an informative and enlightening cinematic ride, building up to the film’s climax, and is more than ready to drop a hammer at the film’s end, to derail our expectations. We are grateful for being taken on this Nolan journey. My middle boy, Matteo, declares this his new favorite Nolan film, and that’s some praise when you consider Nolan’s filmography.