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Director Christopher Nolan he never told the true story. His 2017 war film. Dunkirk, was inspired by real-life events, but Nolan’s work focuses more on the spectacle that surrounds them than on the people and the amazement and horror they feel as reality crumbles and new awareness blossoms. (He also directed the Batman trilogy.) And that arguably makes him J. Robert Oppenheimer, father of the atomic bombthe perfect subject for Nolan’s first foray into based-on-a-true-story drama (comes out in Italy on August 23rd, ed.).
Oppenheimer as portrayed in the film (which Nolan adapted from the biography American PrometheusPulitzer winner), suffered visions another world. It was pioneer in a new area the quantum physicsIn fact, he actually imagined another plane of existence: the complex molecular weave of which all matter is composed, governed by rules and properties that we still do not fully understand. Oppenheimer and his collaborators paved the way for man’s understanding of the universe, an extraordinary expansion of thought that was inevitably almost immediately exploited for destruction.
This tragic horror that accompanies the story of Oppenheimer: his extraordinary genius, his avid and productive curiosity about the nature of life and what surrounds it, can be turned into weapon. Obviously the circumstances at that time were terrible: I Nazis they were working on their atomic project, and the Allied forces were rightly fearful of what Hitler and his gang might do if they succeeded in getting it done before the Americans. Therefore, there is a moral justification for science, which, however, does not extend to the practical use of its discoveries.
Nolan works hard to convey the atmosphere of breakneck progress and impending doom. Oppenheimer removed and mounted on fast pacewith scenes that quickly follow each other as we are introduced to the main character, first a brilliant but troubled student, then a respected scientist and finally the main architect of what is arguably worst invention of all time. Nolan leads (and then drags) the audience through university classrooms and conference rooms, introducing us to figures of the caliber of Niels Bohr (Kenneth Branagh), Werner Heisenberg (Matthias Schweighöfer) and other great minds of the time who were, to one degree or another and in different ways, involved in the most intense arms race.
This relentless pace it’s at the same time breathtaking AND tedious. This direction best reflects the momentum of these people and their ideas, creating a heady sense of the world suddenly spinning at a new speed. Yes, we’re still disoriented, but Oppenheimer asks us to trust a large mural, painted by Nolan in rage and dark tones, that we can understand in all its complexity when we catch our breath and step back to see its splendor. To a certain extent this is true. At its best moments, the film strikes a fine balance between dense conversations and tense suspense. Interpreted Cillian MurphyOppenheimer – figure imposing AND alarming, change AND melancholy, exhausted and filled with doubts. His political conflicts are communist and avowedly progressiveOppenheimer was often viewed with suspicion by military and government leaders – these are convincingly intertwined with his personal travails.
matters of the heart V Oppenheimer involve Jean Tatlock (Florence Pugh), one communist psychiatrist with whom Oppenheimer had a torturous affair, and Kitty (Emily Blunt), Oppenheimer’s wife, gifted with great intelligence, is lonely and alcoholic, but determined to protect her husband’s legacy. Interpersonal relationships involving women aren’t really Nolan’s strong suit, but Pugh and Blunt give depth and dimension to characters that might otherwise feel flat. Together, they help us maintain an awareness of Oppenheimer as fallible and annoying: without them, the film risks slipping into cerebral abstraction.