The film neither heroicizes nor sanctifies the man. Oppenheimer OppenheimerReview OppenheimerFilm OppenheimerMovie
Benny Safdie as Edward Teller, left, and Cillian Murphy as J. Robert Oppenheimer.
Given Nolan’s persistent interest in the manipulation of time and space — it’s a central feature of several of his films — the director seemed almost fated to chronicle Oppenheimer’s insights into theoretical physics and their eventual practical application in the A-bomb.
— among an array of superlative achievements — is its refusal to simplify, its trust in the audience’s intelligence. That faith may ultimately prove misplaced — recent events amply demonstrate that the American public’s historical and scientific ignorance shouldn’t be underestimated — but I can’t help but admire the film’s bracing assumption of our collective knowledge of physics , events in the Spanish Civil War and World War II, the Red Scare hysteria, and Cold War nuclear politics.
Nolan takes a similarly sophisticated approach to the many other players in his drama: In a postwar Oval Office meeting, Oppenheimer confesses to President Harry Truman that he feels as though he has “blood on my hands,” but no one in Oppenheimer emerges entirely clean or sullied. For example, the two principal women in the film — wife Kitty Oppenheimer and lover Jean Tatlock —- sometimes act erratically or irresponsibly, but they’re both accorded moments of grace and resolve .
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