Every action has a reaction. So said Issac Newton and a host of scientists, mathematicians, and just about everyone else under the sun who came after him. I’d prefer to call reactions consequences. We’d like to think we can avoid consequences because the word conjures up a more dire consequence than just having a reaction. But we know we can’t. To hear Christopher Nolan talk about his terrific film, Oppenheimer, that’s what his film is about. Consequences. After an early morning viewing yesterday I’d agree. I’d say all the focus on Oppenheimer’s creating the first atomic bomb, undeniably consequential as it was, and filmed as well as it is, is the least consequential aspect of this film.
No, you can’t escape the story at the center of the plot. It’s a thriller, a mystery with some romance and political intrigue mixed in. It’s well told and well paced. If you’re a fan of Nolan’s almost frenetic editing pace it will engage and enthrall. If you’re not, it might be tough to get your footing early, but hang in there. Some of Nolan’s previous work has left me cold and often confused. Not here. I’d argue the plot at the center of this flick, even the lesser known political one, takes second fiddle to the character study of those who drive this story.
First, it’s a terrific cast of some of our most amazing actors working today. And every one one of them delivers. You get the sense that each of them, large role or small, was chomping at the bit to film each scene. Robert Downey is absolutely amazing. The quality of his work reminds me of his star turn in Chaplin. Just brilliant. Cillian Murphy tackles the central character with consumate skill and he deserves the accolades already bestowed and sure to come. But his central performance is almost eclipsed by the rest of the stellar ensemble cast when viewed as a whole. What each actor brings to whatever moments they are on the screen is so chocked full of truth, and yes consequences, that I found following them more explosive than the inevitable explosion. Notably, that comes with a huge chunk of the movie remaining.
And that’s the thing about this film that might just catapult it into classic status. Each moment tells us a powerful human story about choices and the consequences that flow from them, regardless of the scale of the choice at hand. It’s no accident that the closeups seem to outnumber the larger set pieces. We’re watching characters understand, in the moment, the implications of the things they’re thinking far into the future, whether it’s their personal future or the planet’s. Follow Emily Blunt’s incredible moments in the hearing to decide on Oppenheimer’s security clearance and you’ll see the second by second comprehension of every single thing that’s at stake for her personally, for her husband, and beyond.
So I applaud Nolan, the cast and the rest of the filmmakers for taking such a consequential turning point in our history and focusing it so personally and intimately on those involved. And in so doing, hopefully making us take a breath and look at what might seem, in comparison, the inconsequential moments in our own lives, as well as some of the larger decsions moments we’re currently facing as a people. Before we turn them over to the robots.
As to the filmmaking it’s top notch. There’s one consequential decision that Nolan made in his story telling that I understand fully, but wish he’s strayed away from. Throughout the story, told through Oppenheimer’s eyes, we see him dreaming and visualizing the science he’s exploring as he tries to discover how to split the atom. Swirling waves and exploding particles dance through his head and across the screen via special effects. Nolan says it’s not CGI. Whatever it is, it’s done well, and like I said it makes sense. But in the final sequence of the movie I think Nolan went one special effect sequence too far. The movie was more powerfully over with the last words of the title character and doesn’t need that sequence. We all more than got the message, whether it’s the more personal one Nolan’s main character is reeling from, or the larger one he’s unleashed.
And as a last thought, there was a part of me that was not looking forward to seeing this film because I had heard and read many complaints about the sound mix and not being able to hear the dialogue. I saw this film in a smaller, older theater not equipped with the latest and greatest projection and sound equipment. I had zero issues with the audio. I’m a big critic of lousy audio and visual magic doled out by creators playing with all sorts of new toys and tools. I know all the hype says to see it on the largest screen possible. Technology rules! Maybe so. But I was able to hear almost every word. Given the character study Nolan is essaying here, it made this gigantic and consequential film feel much more personal and thus more powerful and revelatory. Consequences.
Life on the Wicked Stage: Act 3 