Oppenheimer movie review: Nolan returns to form with spellbinding masterpiece; give Cillian Murphy his Oscar already

Director: Christopher Nolan

Cast: Cillian Murphy, Emily Blunt, Robert Downey Jr, Matt Damon, Florence Pugh, Josh Hartnett, Casey Affleck, Rami Malek, Gary Oldman, and Kenneth Branagh

Where to watch: Theatres

Rating: 4 stars

There are moments in Oppenheimer where you forget that the film you are watching is essentially a biopic, a personal tale of a man’s duty and guilt. So finely and masterfully has Christopher Nolan transformed this personal tale into an epic thriller that it becomes much more, and much grander. But never does it leave its emotional core, marrying grandeur with intimacy so beautifully and almost flawlessly. Oppenheimer is a triumphant return to form for Nolan after the confusing mess that was Tenet. It is also a much belated reminder of Cillian Murphy’s immense talent, which has finally been given the platform it has yearned for.

Oppenheimer tells the story of American physicist J Robert Oppenheimer, often called the father of the atomic bomb, the man who spearheaded America’s Manhattan Project. But his invention also made him guilty after US dropped the bombs on Japan, following which he advocated against proliferation of nuclear weapons. Nolan’s film chronicles Oppenheimer’s journey from student to national hero and then villain over a 3-hour runtime, which never feels excessive or bloated.

Oppenheimer’s biggest victory is its narrative. The film opens with multiple timelines with the story taking place n flashbacks and often flashbacks within flashbacks. And despite all this, it is never hard to track. You never feel lost about where the plot is headed or which Oppenheimer you are watching right now. Props to Nolan’s direction and Jennifer Lame’s skilful editing for that. The duo’s work together has also made sure that despite being Nolan’s longest film till date, Oppenheimer does not feel too long. It always remains an engaging watch.

As is the case in every Nolan movie, the camera work and the background score are the true heroes. Hoyte van Hoytema’s splendid cinematography and play with monochrome is so well complemented by Ludwig Göransson’s haunting score. The two go a long way in establishing the genre of the film, making sure this biopic is more Nolan than anything we have seen before. There are flaws too. For instance, the heavy music seems overbearing at the beginning of the film. It drives up tension, setting up the big moments but it all does seem too heavy, too soon when the film begins.

After close to 15 years, a Nolan film has something or someone that threatens to take the limelight away from the man. Over the course of his career, Nolan has come to be the star of his films. But Oppenheimer belongs to Cillian Murphy just as much. The Irish actor transforms into the ambitious, dreamy, and later tormented Oppenheimer so easily that you wonder why more filmmakers didn’t give him lead roles earlier. Murphy owns every scene he is in, even the ones where he is just sitting in the background, reacting to what is happening in the foreground. Oscar talk is inevitable after this.

Supporting Murphy is a large ensemble cast. Barring Emily Blunt, Robert Downey Jr, and Matt Damon, almost every actor has either a cameo or an extended cameo. But Nolan has utilised each artiste very well. Nobody seems wasted and everyone gets a chance to shine. My personal favourites were Gary Oldman as the acidic US President Harry Truman and Casey Affleck as a rather sadistic US Army colonel. But Robert Downey Jr also delivered what is arguably his best performance till date. The transformation from Iron Man to armed forces veteran-turned-politician is commendable in itself. And then doing it so well deserves an applause.

In many ways, Oppenheimer is the most challenging thing Nolan has made till date. Up until now, he has made thrillers or adventures, more often than not set in fictional universes. Barring Dunkirk, he has veered away from reality and has almost always written original stories. Oppenheimer does not tick any of those boxes. It drew Nolan out of his comfort zone and forced him to try something different, for the first time in 18 years, I feel. And the end result is arguably his second-best film ever (Memento will always take the cake in my book).

Oppenheimer is more than just a good film. It is great cinema, made in the way purists believe films should be watched, with 300 people on the biggest screen possible. It is an experience that can only be understood after being had. And we need to thank Nolan for giving it to us.