OPPENHEIMER
A Politically Horror Film
"The True power to destroy the world lies in the horror we cannot see,
but only predict."
Introduction to the story
In a movie exploring the profound implications of the atomic bomb's invention on both the soul of one man and humanity's eternity, Sir Christopher Nolan uses a surprising technique. He frames the character's journey as a courtroom hearing. From the very first scene in the fission timeline, the protagonist breaks the fourth wall, looking directly at us. By addressing the board, he also speaks to us, as we indirectly become victims of his apocalyptic nightmare, facing the consequences of his monumental invention.
The Timelines
Christopher Nolan embraces the style he used in his second Feature film called "Memento", by using the same in this Film. The fission timeline showcases the subjective point of view, from the eyes of Oppenheimer. We experience what Oppenheimer experience in the film. The fission timeline majorly covers the event from to 1945, everything happened before the war. where everything was compartmentalized. The camera is positioned just inches away from Dr. Oppenheimer to emphasize the focus on his personal journey, thoughts, motivations, and insecurities. By placing the camera centrally, the visual storytelling highlights the centrality of his character in this timeline. At face value, this scene depicts Kitty Oppenheimer, portrayed by Emily Blunt, seated behind her husband, emphasizing her role as a supportive presence in his life. Additionally, the smoke from his cigarette reinforces the established fact that he is a chain smoker, a detail introduced in the very first scene. Examining the technical aspects of the shot, it's clear that it was filmed with an IMAX camera, evident from both the aspect ratio and the exceptional quality of the image. This approach is consistent throughout his films, with at least the first two scenes shot in IMAX. From an artistic perspective, this choice enhances audience engagement by leveraging IMAX’s immersive quality, which effectively draws viewers into the film's reality.
After the first scene of the fission timeline, which is in color, the film transitions to the black-and-white timeline. This timeline offers an objective point of view on Oppenheimer, particularly from the perspective of Lewis Strauss, played by Robert Downey Jr., with IMAX cameras capturing every detail up close. This film marks a historic moment as it is the first time Kodak produced celluloids for IMAX, introducing the world to black-and-white IMAX negatives. The character of Lewis Strauss is centrally positioned, emphasizing his significance in this timeline. Additionally, most shots were composed with the character at the center because IMAX screens are curved.
This curvature provides the flexibility to design shots three-dimensionally, enhancing the depth and immersion of the visuals with this technology. This scene parallels the fission timeline, covering events post-World War II, specifically after 1945. It features a hearing similar to the fission timeline, focusing on Strauss's approval for the position of Secretary of Commerce. This hearing is crucial to the film as it highlights the personal and professional tensions between Strauss and Dr. Oppenheimer.
Fission VS Fusion
This shot captures Dr. Oppenheimer's palpable fear and horror upon learning that humanity intends to continue on a path that could replicate the devastation wrought upon two major cities. Although the reason for his fear of the hydrogen bomb (which operates on fusion principles) isn't explicitly revealed until the end, it becomes clear to the audience that the film's focus extends beyond just fission and fusion timelines. It explores the deeper conflict between these two pathways. The principles of fission and fusion also reflect the structure of the timeline. Fission, defined as the splitting or breaking up into parts, mirrors the protagonist's experience as he is torn away from his position, loved ones, friends, and family. He becomes a victim of these separations, including the political and power struggles. Conversely, fusion involves combining two or more atomic nuclei to form new nuclei and particles. This concept is illustrated by the protagonist’s opponents in this timeline, who unite with influential figures in politics and science to overpower and undermine him. On a fundamental level, the fission timeline centers on the development of the atomic bomb during World War II, while the fusion timeline focuses on the development of the hydrogen bomb. This division highlights the different scenarios and geopolitical relationships with the world and Russia. From Strauss's perspective, his viewpoint seems justified because, until we see the corresponding scene in the fission timeline, it appears that Robert Oppenheimer is driven solely by a desire to control the atomic bomb and become the central figure in its development. However, when the same scene is viewed through the fission timeline, it becomes clear that Oppenheimer's concerns extend beyond personal ambition. He is deeply worried about the future of the world and the potential for global destruction. He fears that the chain reaction he set in motion could lead to catastrophic consequences, and humanity might ultimately blame him for this impending nightmare.
Anatomy of the Shots
AEC Meeting
This striking AEC setting in the fusion timeline illustrates our limited understanding of Oppenheimer's transformation after World War II. From Strauss's perspective, Oppenheimer appears almost messianic, elusive, and difficult to reach. The camera's distant placement further underscores our remoteness from fully comprehending his character at this point in the film.
Poisoned Apple
The poisoned apple symbolizes the dual nature of Oppenheimer's creation: while it represents the groundbreaking and transformative potential of his work, it also signifies the inherent danger and destruction it brings to humanity.
The Father and The Son
The contrasting color of the background visually signifies that Oppenheimer and his knowledge—leading to the invention of the atomic bomb—exist on a different plane of reality. It underscores his preoccupation with his scientific pursuits over the people, emotions, and trends of his time.
The Nuclear Age
If I had to choose one shot as the most aesthetically pleasing in the entire black-and-white filmography, this would be the most beautiful black-and-white shot in the world.
The Fate of the World
This shot was my favorite from the entire film: it shows two of the most brilliant scientists in nuclear and quantum physics coming together to exchange their thoughts while observing the most dangerous weapon being transported in a truck for the war.
Ending of the Film
"I BELIEVE WE DID"
When taken at face value, the ending of Oppenheimer offers a final glimpse into the troubled mind of the Father of the Atomic Bomb. It reveals a chilling vision of humanity having opened a Pandora's Box that can never be closed, setting in motion, as he tells Einstein, a chain reaction that threatens to annihilate the entire world. It all began when Oppenheimer lost control of his ambition. I believe this has become a recurring theme in Nolan's characters: the inevitable reckoning between grandiosity and reality. They come to realize that the forces they thought they understood and could control are, in fact, controlling them, leaving them trapped in their own creations. The same holds true for Oppenheimer.
By the end, Oppenheimer grasps the full impact of his actions—he has unleashed the most dangerous weapon on humanity. His soul is condemned to suffer the weight of the regrets and guilt from creating the atomic bomb. Similarly, the audience understands that they are living in the apocalyptic reality envisioned by 20th-century scientists who believed there was a world beyond Newton's laws of physics.
Thus, there is no post-credit scene, but if someone were to ask you, as an audience member, you could simply say that we are living in it.
Promethean Horror
After the war, Oppenheimer found himself increasingly alienated from his own work, struggling to understand the suddenly unfamiliar world around him as well as the turmoil within. Where once everything was neatly compartmentalized—work, family matters—now, all boundaries were dissolving, engulfing everything in an uncontrollable blaze. Instead of mastering the quantum realm, Oppenheimer seemed to have unleashed it, both upon the world and upon himself, dooming both in the process.
​Oppenheimer is acutely aware that he is trapped in an unending cycle. He can see clearly the chain reaction he set in motion and the inescapable prison he has constructed around himself, one that he is condemned to experience repeatedly. Each time, he will reconstruct his world, relive his youth, passion, and hope, only to watch it all crumble and despair in the ruins once more.
Bilge Ebiri points out the wondrous visions of secret worlds hidden in the raindrops have been completely replaced by apocalyptic nightmares of horror and devastation. Instead of envisioning the astonishing connection between all matter and even all human relations, now sees total Annihilation.
"In his mind at least, he has destroyed the world; He has destroyed his world, his very conception of reality"
Prometheus Chained to a rock and tortured for eternity...
Few People Laughed, Few People Cried. Most people were silent
The scene that left most of the audience in stunned silence was a particular horror scene, which, in my opinion, best captures the impact of Oppenheimer’s reflections on the Hiroshima and Nagasaki bombings. When asked about the public’s reaction, he quoted, "Few people laughed, few people cried, most people were silent." If I were to describe the movie in a similar way, that would be it. I was particularly struck by the revelation that Nolan cast his own daughter in the film as a character who was a victim of the nuclear blast. This choice underscored the personal loss experienced in such bombings, highlighting that we always lose someone close and dear to us.
The Director
The Film was more about its creator. Sir Christopher Nolan and the Significance of films like Oppenheimer, I believe it becomes clear that there are striking parallels between Oppenheimer and Nolan, underscoring the importance of such projects and I think Films like Oppenheimer serve as a catalyst for studios to invest in more diverse and ambitious projects, thereby fostering creativity in the Industry.
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In today's cinematic landscape, I think the abundance of comic book adaptations raises concerns about audience fatigue and diminishing their attention spans. The overwhelming dominance of these films at the Box Office can easily destroy the smaller, independent productions, resulting in a less varied film scene overall. That is why the success of a lengthy biopic like "Oppenheimer", both critically and financially, is crucial in supporting independent filmmakers who strive to experiment with storytelling through this medium and introduce fresh narrative approaches.