'Oppenheimer' Is a Huge Film But Remains Small for Women

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'Oppenheimer' Is a Huge Film But Remains Small for Women
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Christopher Nolan's greatest weakness strikes again.

Despite being among the most celebrated and recognizable filmmakers of the past twenty years, it's no secret that Christopher Nolan's successful legacy fails to extend to female characters. His films always center on the male point of view, which isn't an automatic misstep. Most creators draw upon their fundamental experiences to make transformative art.

To be fair, Nolan tackled an intimidating project with Oppenheimer and did an equally impressive job condensing a wealth of material. Nolan streamlines J. Robert Oppenheimer's life into a three-hour extravaganza with few distractions or deviations, bringing his considerable experience and awe-inspiring ambition to bear and channeling both into a haunting, riveting behemoth of a feature.

Kitty in particular is a rich tapestry of potential and a vast improvement on Nolan's past works. Kitty doesn't exist merely to be Oppenheimer's wife, and although she stands beside him as an emotional lifeline, the pair's marriage is turbulent and complicated. Blunt and Cillian Murphy's easily combustible chemistry speaks to that fact, and Kitty's introductory scenes establish her as a force to be reckoned with.

Nevertheless, Kitty exists only in these scattered fragments. Nolan paints a vibrant outline the audience must fill with color. Such subtlety might be commendable, except those prone to believing stereotypes might misread Kitty's actions as heartless, inconsistent, or histrionic rather than representing a living woman who contained as many multitudes as her husband. Emily Blunt spoke highly of the script, and I respect her perspective while still longing for more.

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