Richard Brody on Christopher Nolan’s film “Oppenheimer,” starring Cillian Murphy as the physicist who led the Manhattan Project and helped create the atomic bomb.
Nolan’s bio-pic, three hours long and based on Kai Bird and Martin J. Sherwin’s Pulitzer-winning biography “American Prometheus,” charts the two main strands of Oppenheimer’s life: the scientific work that made his career and the leftist sympathies that, thanks to the country’s postwar anti-Communist crusade, were to prove his undoing.
Perhaps, in a movie that told its story while ranging further into the realm of visual imagination, the decision would come off as an aesthetic commitment. But, given the plethora of dialogue in “Oppenheimer,” Nolan’s choice to convey Oppenheimer’s inner life solely in images comes off as merely a cinematic prejudice.
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