Oppenheimer (2023)    Universal/Drama-Thriller    RT: 180 minutes    Rated R (some sexuality, nudity, language)    Director: Christopher Nolan    Screenplay: Christopher Nolan    Music: Ludwig Goransson    Cinematography: Hoyte van Hoytema    Release date: July 21, 2023 (US)    Cast: Cillian Murphy, Emily Blunt, Matt Damon, Robert Downey Jr., Florence Pugh, Josh Hartnett, Casey Affleck, Rami Malek, Kenneth Branagh, Benny Safdie, Dylan Arnold, Gustaf Skarsgard, David Krumholtz, Matthew Modine, David Dastmalchian, Tom Conti, Michael Angarano, Jack Quaid, Josh Peck, Olivia Thirlby, Dane DeHaan, Danny Deferrari, Alden Ehrenreich, Jefferson Hall, Jason Clarke, James D’Arcy, Tony Goldwyn, Devon Bostick, Alex Wolff, Scott Grimes, Josh Zuckerman, Matthias Schweighofer, Christopher Denham, David Rysdahl, Guy Burnet, Louise Lombard, Harrison Gilbertson, Emma Dumont, Trond Fausa Aurvag, Olli Haaskivi, Gary Oldman, John Gowans, Kurt Koehler, Macon Blair, Harry Groener, Jack Cutmore-Scott, James Remar, Gregory Jbara, Tim DeKay, James Urbaniak.    Box Office: $329.9M (US)/$977M (World)

Rating: ***

 One of the most anticipated films of the year, Christopher Nolan’s Oppenheimer is more than a mere biopic of the “father of the atomic bomb”. It’s a panoramic puzzle of a drama that not only chronicles the creation of the world’s first WMD (Weapon of Mass Destruction), but also affords us an inside look at the life of the complicated, flawed genius who grappled with tremendous guilt after realizing what he unleashed on the world. Like Prometheus who stole fire from the gods and gave it to mortal man, Dr. J. Robert Oppenheimer gave man the power to destroy humanity.

 Cillian Murphy, in a performance that practically guarantees him at least an Oscar nod (if not the win), plays Dr. Oppenheimer, the theoretical physicist selected to lead “The Manhattan Project”, a top secret project to develop the atomic bomb during WWII. He was appointed by General Leslie Groves (Damon, Air) who recruited him despite some concerns about possible Communist sympathies. That’s the main plot of Oppenheimer, but it’s only part of the story. Nolan takes us through Oppenheimer’s early years as a grad student in Europe and first professor of quantum physics in America before getting to his involvement with the Manhattan Project. Horrified at and haunted by how he changed the face of modern warfare, he begins to speak out against further development of WMDs which leads him to be discredited and disgraced by the government on the word of a vindictive former colleague, U.S. Atomic Energy Commission member Lewis Strauss (Downey, Iron Man).

 Oppenheimer’s story is told within the framework of two separate government proceedings, the hearing to revoke Oppenheimer’s security clearance and the Senate committee hearing to appoint Strauss as Secretary of Commerce to President Eisenhower. The latter is rendered in gorgeous black-and-white cinematography. It’s a stylistic gambit that works beautifully, but I’d expect nothing less from Nolan. He may struggle with narrative, but he’s a master of presentation. Oppenheimer is filmed entirely in large-format IMAX and it looks stunning. Nolan, in conjunction with go-to cinematographer Hoyte van Hoytema, uses it to great effect in capturing both the big (e.g. the wide New Mexico deserts surrounding Los Alamos where the “gadget” was built) and the small (e.g. Oppenheimer’s pained look as he’s betrayed by colleagues). He also makes great use of sound, especially in the scene where they test the “gadget” for the first time. The viewers experience it in much the same way as the on-site observers. First, it’s silence as it goes off in a huge burst of flame. Next, they hear the big boom. Finally, they feel it physically. It’s a big “WHOA!” moment.

 Murphy does tremendous work as Oppenheimer. Aided in large part by the many close-ups of his face, he perfectly conveys his inner turmoil as he struggles with the gravity of his creation and his own personal demons. He was a flawed man who often gave in to his emotions and urges which caused him problems in his relationships, his wife Kitty (Blunt, A Quiet Place) in particular. There is love there, but also anger and resentment, the latter mainly due to his extramarital affair with ex-girlfriend Jean Tatlock (Pugh, Don’t Worry Darling). Damon is quite good as Groves, a patriotic military man only interested in results. Downey also does exceptional work as petty, vengeful Strauss who believes Oppenheimer badmouthed him to Albert Einstein (Conti, Reuben, Reuben) several years earlier. That brief conversation serves as the film’s Rosebud.

 Oppenheimer runs three hours, but it’s never actually boring, not even with the many scenes of people talking about scientific principles and Cold War-era politics. It sometimes gets confusing with all the cutting back and forth between time periods. It’s also crowded with all the characters. Some, like feminist scientist Lilli Hornig (Thirlby, Juno), are barely developed. Also, the score (by Ludwig Goransson) tends to be overbearing. It’s supposed to emphasize the drama, but often drowns it out instead.

 I’ll be honest, I found Oppenheimer exhausting. I like it very much, but I felt like I’d been through the wringer when it was over. Still, it’s a fascinating and compelling film that illustrates what going to the movies is all about. It’s a visual wonder that doesn’t rely solely on CGI. Nolan favors practical effects, good on him! It’s a deft blend of intelligence and entertainment aimed at actual adults. We need more films like this.