The Oppenheimer Movie

Picture a man: a man who casts the haunting shadow of Prometheus – the titan who bequeathed humankind the gift of fire; the man who harnessed the power of the Sun; the man who shook the Earth.

In the hushed corridors of history, where science and morality collide, emerges a story that shook the very foundation of our world. Prepare to delve into the enigmatic life of the man, whose creation transformed the course of history. Step into the riveting world of the Oppenheimer movie, where savant brilliance meets twilight, and the line between progress and destruction blurs into an unforgettable tale.

Amidst the tumultuous theatre of World War II, a lone figure stands as a harbinger of hope and despair – J. Robert Oppenheimer: a maverick physicist, a tormented soul, an elliptical paramour. From the hallowed halls of academia to the secretive laboratories of Los Alamos, he navigates a tightrope of espionage, personal sacrifice and turmoil.

The Story of the Atomic Father

The film introduces us to a young and aspiring Oppenheimer (played by Cillian Murphy) as he attends Cambridge University; an institution heavily reliant on its hands-on approach to its studies. It was 1925, and the 21-year-old savant was immersed in the new field of quantum mechanics; one filled with theory, endless trains of thought and unanswered questions that regaled said mind. Oppenheimer was then transferred to the University of Göttingen in Germany, where he earned his PhD in quantum physics.

After returning to America, Oppenheimer accepted a role as an assistant professor at the University of California, Berkeley, in a special arrangement that also saw him teaching at the California Institute of Technology. The film depicts the program’s growth by having just one student show up to his first class, then showing the classroom bursting at the seams within a short time as word of his class spreads among students.

Later, he shared sympathies with the Communist Party of America. He entered a turbulent affair with Stanford biologist and Communist Party member Jean Tatlock (played by Florence Pugh). Eventually, he bore an interest in left-wing political causes, from supporting anti-fascists during the Spanish Civil War to unionising academics.

In an intimate scene with Tatlock, Oppenheimer mootly insinuated the famous quote from the ancient Hindu scripture Bhagavad Gita, “I have become death, destroyer of worlds.” It echoed an image, one of grief and the architect of annihilation in a moment of clarity.

This is how the film views Oppenheimer: a disarranged mastermind, one who processes probabilities rather than certainties. But in a militaristic and political world, when people demand concrete answers, Oppenheimer embodies ambiguity. Like many scientists, Oppenheimer believes it is crucial to create the bomb, but then has profound moral concerns about using it on individuals. Still, in his personal life, he’s a messy womanizer.


In early 1942, Oppenheimer was recruited for the Manhattan Project, the United States government’s secret World War II undertaking to build an atomic bomb. Later that year, General Leslie Groves (played by Matt Damon) appointed Oppenheimer as the scientific director of the program and, in early 1943, construction began on Los Alamos Laboratory in New Mexico—one of many laboratories in secret locations across the country, including Chicago and Oak Ridge Tennessee, involved in the operation.

The U.S. government was aware and skeptical of Oppenheimer’s communist affiliations early on, but chose to overlook them during the Manhattan Project when it became clear he was the right man for the job. However, these associations would later return to torment him and lead to the destruction of his career at the height of American anti-Communist hysteria in the 1950s under President McCarthy’s administration. The film then fast-forwards into a private room, nine years after WWII. A committee interrogates Oppenheimer, one occupied by top-brass and power-hungry officials attempting to deny him access to the nuclear programme. Its committee’s lawyer asks tight, hard-edged questions, particularly about his political affiliations.
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Visuals that Blew Up the Cinema

Nolan once again re-teams with cinematographer Hoyte van Hoytema, to create a sense of cinematic scope but also providing the audience with a detailed experience of Oppenheimer’s personal life.

The immersion and magnitude of this world-defining narrative are not only on show through wide vistas and captivating and establishing shots, but also through close-ups of the characters’ faces. It transforms into a mirror for the atrocities soon to be let loose.

At the very beginning of the film, Oppenheimer stares emptily at raindrops in puddles of water, shattering glasses in the corner of his room and visualising internally the impact that molecules and wavelengths can have. We get hours of content summarised into a few minutes, involving only the appropriate shots crammed with drama and anticipation.

Employing 65mm film and newly created black and white IMAX cameras, Hoyte van Hoytema adroitly utilises large-scale canvas to capture the breathtaking imagery, put us inside the man's mind, and expose the conversations and moments in history that only elevate the narrative components more. It was made in the amplest ways a feature shot on an actual film could be and it was meant for the largest screens.

While the three hours are long and well-felt, the pace of the editing preserves you in the film and it forbids you to let go. And while the editing and the cinematography do stand out, what I think shines the most on the technical side of things is the score by Ludwig Gorranson. Its symphony packed full of fierce violin notes and recurring motifs tolls characters' emotions and the gravitas of this story. "Can You Hear The Music”, “Kitty Comes to Testify”, and “Trinity" are only a few tracks that stood out to me.

Some have indicated that this is a movie with heavy amounts of discussion or talking. And while that is the case, what Nolan has managed to pull off is making that cinematically and thematically compelling in ways I didn't think were possible. Nolan is renowned for his respect for the intelligence of his audience; his approach to dialogue ensures that the story unfolds seamlessly, engaging the audience without unnecessary exposition. His character building creates a deeply human connection, permitting the audience to empathise with even the most complex characters. Therefore, such a quantity of storytelling is vital for the plot to flow unctuously.
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Wonders of Colour

The movie Oppenheimer is full of these brief scenes and shifts in time, alternating between black, white, sepia-tinged colour and the gaudy Technicolor of the 1940s and ‘50s. Nolan's colour palette embraces a distinct blend of warm and cool tones, imbuing each frame with a sense of historical gravitas and emotional depth.

The calculated use of dyes not only transports the audience to the era depicted but also encapsulates the complex themes of the film. The interplay of colours serves as a metaphor for the duality of his work – the juxtaposition of scientific innovation and the moral implications of such groundbreaking discoveries.

The warm tones, reminiscent of sepia and gold, stimulates a sense of nostalgia and the passage of time. It transports the audience to the past and assembles a visual connection to history. These hues are particularly prominent in scenes depicting the human side of Oppenheimer – his relationships, doubts, and introspection. They underscore the emotional intimacy and complexity of his character, highlighting the moral dilemmas he faced in his pursuit of scientific advancement.

On the other hand, the cool tones, distinguished by deep blues and greys, fortifies the film's exploration of the implications of Oppenheimer's work. Shades of cerulean and fossil casts a sombre gloom over scenes that delve into the ethical reflections encompassing the creation and usage of the atomic bomb. This furnishes a visual representation of the ponderousness of Oppenheimer's choices and the far-reaching consequences of his actions.

Christopher Nolan's choice of this specific colour palette not only serves the purpose of historical accuracy but also enhances the storytelling in "Oppenheimer." The deliberate interplay between warm and cool tones reflects the intricate balance between the brilliance of scientific achievement and the sobering realities of its implications on humanity.

Add on the sharpness of editing by Jennifer Lame and it feels like the gap between an arthouse film and a large-scale film is merged seamlessly. For instance, in that Trinity test scene, both the mix of close-up cinematography and the organisation of the cuts help to keep the pulse-pounding suspense.

In the end, the colour grading choices in "Oppenheimer" reveal a directorial vision that extends beyond the surface, elevating the film's narrative and themes. Christopher Nolan's mastery in choosing a colour palette that mirrors the complexity of its subject showcases his dedication to pushing the boundaries of storytelling through the art of filmmaking.

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From a filmmaker who has tackled so many genres of film, and taken us to so many distinct landmarks and even fictional places, Oppenheimer carries us into the shoes of a man at the very centre of a changing world. That changing world is profoundly connected to the world we still live in today and through Nolan's direction and all the excellent components of his latest work, this may be his most impressive film to date.

Across the board, I exited the cinema with abounding questions and sentiments regarding the world we live in; it embodies the importance of telling this story today. A needful reminder that we should have a renewed sense of responsible innovation, one that intently respects the visceral and haunting potential of destruction unleashed by human ingenuity.