oppenheimer movie review tamil

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Last Updated : 21 Jul, 2023 11:23 AM

Published : 21 Jul 2023 11:23 AM Last Updated : 21 Jul 2023 11:23 AM

Oppenheimer Review: மனிதகுல தலைகுனிவின் வரலாற்று ஆவணம்... சரி, நோலன் ரசிகர்களுக்கு?

உலக வரலாற்றில் மனிதகுலத்துக்கு மனிதனே ஏற்படுத்திய பேரழிவுகளை வரிசைப்படுத்தினால் அதில் ஜப்பானின் ஹிரோஷிமா - நாகசாகி மீது அமெரிக்கா அணுகுண்டு வீசிய சம்பவம் முன்னிலை வகிக்கும். சுமார் 3 லட்சத்துக்கும் மேற்பட்ட மக்களின் உயிர்களைக் குடித்த அந்தக் கொடூரம் மனிதகுலத்துக்கு மாபெரும் தலைகுனிவை ஏற்படுத்திய துர்நிகழ்வுகளில் ஒன்று. உலக நாடுகளின் வரலாற்றையே மாற்றி எழுதிய இந்தச் சம்பவத்துக்கு காரணமாக இருந்த அணுகுண்டை உருவாக்கிய ராபர்ட் ஜே.ஒப்பன்ஹைய்மரின் வாழ்க்கைப் பின்னணியில் கிறிஸ்டோபர் நோலன் உருவாக்கியுள்ள வரலாற்று ஆவணம்தான் இந்த ‘ஓப்பன்ஹைய்மர்’ திரைப்படம்.

ஓப்பன்ஹைமர் (சிலியன் மர்ஃபி) ரஷ்ய கம்யூனிஸ்ட்களுக்கு உதவினாரா என்ற விசாரணையின் பின்னணியில்தான் முழுப் படமும் சொல்லப்படுகிறது. 1920-களில் இங்கிலாந்து மற்றும் ஜெர்மனியில் உள்ள புகழ்பெற்ற கல்வி நிறுவனங்களில் தனது மேற்படிப்பை தொடரும் இளம் வயது ஓப்பன்ஹைமர் நமக்கு காட்டப்படுகிறார். தொடர்ந்து கம்யூனிஸ்ட்களுடனான அவரது நட்பு, ஜீன் டேட்லாக் (ஃப்ளோரன்ஸ் பக்) உடனாக காதல், ஹிட்லரின் நாஜிப் படையினருக்கு எதிரான போரில் ஒப்பன்ஹைமரின் பங்கு என அடுத்தடுத்து காட்சிகள் நகர்கின்றன.

சொந்த நாடு திரும்பும் அவர், அமெரிக்க அரசின் ‘புராஜெக்ட் மன்ஹாட்டான்’ என்ற ஒரு திட்டத்துக்குள் கொண்டுவரப்படுகிறார். இந்தத் திட்டத்தின் நோக்கம் என்ன? அதன் முடிவு என்னவாக இருக்கும் என்பது குறித்த எந்த பிரக்ஞையும் அவருக்கு இல்லை. இந்த திட்டத்துக்காக அமெரிக்காவின் லாஸ் அலமாஸ் என்ற செவ்விந்தியர்களுக்கு சொந்தமான இடத்தில் ஒரு தனி நகரமே உருவாக்கப்படுகிறது. அங்குதான் உலகையே புரட்டிப் போடும் அந்தக் கண்டுபிடிப்பை தனது சகாக்களுடன் நிகழ்த்துகிறார். சுயநலம் கொண்ட ஒரு மனிதனின் ஈகோவால் பொய்க் குற்றச்சாட்டுக்கு ஆளாகி குற்றவாளிக் கூண்டில் ஏற்றப்படுகிறார். தன் மீதான புகார்களை ஒப்பன்ஹைமர் உதறித் தள்ளினாரா என்பதை ஒரு சிறிய ட்விஸ்ட் உடனும் நிறைய்ய்ய்ய வசனங்களுடன் சொல்லியிருக்கிறார் நோலன்.

படத்தின் இரண்டாம் பாதியின் பிற்பகுதியில் ஒரு காட்சி. ஹிரோஷிமா - நாகசாகி சம்பவத்துக்குப் பிறகு அமெரிக்காவின் அப்போதைய அதிபராக இருந்த ஹாரி ட்ரூமேன், ஒப்பன்ஹைமரை நேரில் பாராட்ட அழைக்கிறார். வெள்ளை மாளிகைக்குச் செல்லும் ஒப்பன்ஹைமர் அதிபரின் முகத்துக்கு நேரே, ‘மிஸ்டர் ப்ரெசிடென்ட், என் கைகளில் ரத்தக் கறை படிந்திருப்பதைப் போல உணர்கிறேன்’ என்று சொல்கிறார். இதுதான் ‘ஓப்பன்ஹைமர்’ படத்தின் அடிநாதம். இது வெறுமனே அணுகுண்டு வெடிப்பை 70MM திரையில் பிரம்மாண்டமாக காட்டும் ஒரு திரைப்படமல்ல. அரசியல் சுழலில் அலைகழிக்கப்பட்டு குற்ற உணர்ச்சியில் தவிக்கும் ஒரு சூழ்நிலைக் கைதியின் கதை. ஹீரோவாக கொண்டாடப்பட்ட ஒருவன், தனி மனிதனின் ஈகோவால் ஜீரோவாக கீழிறக்கப்படும் கதை.

ஓப்பன்ஹைமராக வாழ்ந்திருக்கும் சிலியன் மர்ஃபிக்கு இது வாழ்நாளுக்கான படம். இதுவரை வந்த நோலன் படங்களில் எந்தவொரு நடிகரும் (சிலியன் மர்ஃபி உட்பட) வழங்காத ஒரு அற்புதமான நடிப்பை இதில் வழங்கியுள்ளார். சிறந்த நடிகருக்கான ஆஸ்கர் கிடைத்தாலும் ஆச்சரியம் இல்லை. அடுத்தபடியாக லெவிஸ் ஸ்ட்ராஸ் ஆக நடித்திருக்கும் ராபர்ட் டவுனி ஜூனியர். அயர்ன்மேனாக உலகம் முழுவதும் ரசிகர்களை கவர்ந்தவர், அதன் பின் சொல்லிக் கொள்ளும்படியாக எதிலும் ஈர்க்கவில்லை. அந்த குறையை ‘ஓப்பன்ஹைமர்’ தீர்த்து வைத்திருக்கிறது. மேட் டேமன், ஃப்ளோரென்ஸ் பக், எமிலி ப்ளண்ட், ஜோஷ் ஹார்ட்நெட்ம் கேஸி அஃப்ளிக், கேரி ஓல்ட்மேன் என அனைவரும் சிறப்பான நடிப்பை வெளிப்படுத்தியுள்ளனர். சில காட்சிகளில் வந்தாலும் ரெமி மலெக் கதாபாத்திரம் மனதில் நிற்கிறது.

ஓப்பன்ஹைமரின் கற்பனையில் ஓடும் குவான்டம் இயற்பியலில் அதிர்வலைகள், ஒவ்வொரு முறை ஓப்பன்ஹைமர் குற்ற உணர்ச்சிக்கு ஆளாகும்போது பின்னணியில் ஏற்படும் அணுகுண்டின் கதிர்வீச்சு, அவர் தடுமாறும்போது சுற்றி இருப்பவை அதிர்வது, நான் லீனியர் முறை கதை சொல்லல் என ஆங்காங்கே நோலன் டச் தெரிந்தாலும், இது வழக்கமான நோலன் படங்களிலிருந்து முற்றிலும் மாறுபட்ட ஒரு படம். இன்னும் சொல்லவேண்டுமென்றால் இப்படம் நோலன் ரசிகர்களுக்கே பிடிக்குமா என்பது சந்தேகமே. நோலன் படங்களில் வழக்கமாக இடம்பெறும் மூளைக்கு வேலை கொடுக்கும் திரைக்கதையோ, ‘பகீர்’ ரக ட்விஸ்ட்களோ, புல்லரிக்கச் செய்யும் பின்னணி இசையோ இதில் இருக்காது. அப்படி வைப்பதற்கான இடமிருந்து, அவை வேண்டுமென்றே தவிர்க்கப்பட்டிருக்கின்றன. அறிவியலைத் தாண்டி அரசியலையும், மனித உணர்வுகளையும் இப்படம் அதிகம் பேசுகிறது. இதுவரை நோலன் இயக்கிய படங்கள் எதுவும் இந்த அளவுக்கு துணிச்சலுடன் அரசியலை பேசியதில்லை.

படத்தின் மிகப் பெரிய பிரச்சினை நீ....ண்ட நெடிய வசனங்கள் தான். பொழுதுபோக்கு அம்சங்களுக்காக படம் பார்க்க வரும் சராசரி ரசிகனை இப்படம் திருப்திபடுத்துவது கடினம். ராபர்ட் ஓப்பன்ஹைமரின் பின்னணி குறித்து கொஞ்சமேனும் தெரிந்துகொண்டு படம் பார்க்கச் செல்வது நலம். 3 மணி நேரங்களுக்கு மேலாக ஓடக் கூடிய படத்தில் ஏராளமான நெடிய காட்சிகள் கொஞ்சம் அல்ல, ரொம்பவே பொறுமையை பலருக்கும் சோதிக்கலாம். அதேபோல படத்தின் தொடக்கத்தில் வரும் ஆழமான அறிவியல் வசனங்களையும், ஏராளமான கதாபாத்திரங்களையும் புரிந்து கொள்வதில் சிரமம் ஏற்படுவதை தவிர்க்க இயலாது.

நோலனின் முந்தைய படங்களான ‘மெமென்டோ’, ‘இன்செப்ஷன்’, ‘இன்டெர்ஸ்டெல்லார்’ அனைத்திலும் கூட ஆழ்ந்த அறிவியல் தொடர்பான வசனங்கள் இடம்பெற்றிருந்தால் அவற்றை எளிய ரசிகர்களும் புரிந்துகொள்ள இயலும். கடைசியாக வெளிவந்த, சிக்கலான காட்சியமைப்புகளைக் கொண்ட ‘டெனெட்’ படம் கூட புரிந்துகொள்வதில் சிரமம் இருக்காது. அப்படியான எந்தவித சிக்கல்களும் இல்லாத திரைக்கதையைக் கொண்ட ‘ஓப்பன்ஹைமர்’ படத்தில் வசனங்களையும், கதாபாத்திரங்களையும் பின்தொடர்வதே சற்றே கடினமாக இருக்கிறது.

'இப்போது நான் உலகத்தை அழிக்கும் மரணமாக ஆகிவிட்டேன்’ என்ற கீதையின் மேற்கோள், ஐன்ஸ்டீனுக்கும் ஓப்பன்ஹைமருக்கும் இடையிலான நட்பு, அதனை படத்தில் காட்டிய விதம் சிறப்பு. லுட்விக் கோரன்ஸனின் பின்னணி இசை படத்துக்கும் பெரும் பலம். படப்பிடிப்பு தொடங்கியது முதலே பெரும் பில்டப் கொடுக்கப்பட்ட அந்த ஹிரோஷிமா அணுகுண்டு வெடிப்பு காட்சிக்கான முக்கியத்துவத்தை குறைத்தது ரசிகர்களுக்கு ஏமாற்றத்தை தரலாம். காரணம், படத்தின் ஆரம்பம் முதலே அதை நோக்கித்தான் காட்சிகள் நகர்கின்றன. அந்தக் காட்சியை எதிர்பார்த்து எதிர்பார்த்து கடைசியில் படமே முடிந்து விடுகிறது. எனினும், அணுகுண்டு சோதனையை காட்சியப்படுத்திய விதம் பிரம்மாண்டம்.

மனிதகுலத்தின் கரங்களில் இன்று வரை படிந்திருக்கும் ரத்தக் கறைக்கு காரணமான ஒரு பேரழிவின் சாட்சியாய் இப்படம் இன்னும் 100 ஆண்டுகளுக்கு ஒரு வரலாற்று ஆவணமாக நிலைத்திருக்கும். எனினும், உலக சினிமா ரசிகர்கள் மட்டுமின்றி சராசரி உள்ளூர் ரசிகனையும் கவரும் வகையில் கத்திரி போட்டு காட்சிகளை கூர்தீட்டியிருந்தாலும் அனைத்து தரப்பாலும் கொண்டாடப்படும் படமாக மாறியிருக்கும் இந்த ‘ஓப்பன்ஹைமர்’.

அன்பு வாசகர்களே....

இந்த ஊரடங்கு காலத்தில் வீட்டை விட்டு வெளியே வராமல் நமக்கு நாமே சமூக விலகல் ( Social Distancing) செய்து கொள்வோம். செய்தி ஊடகங்களின் வழியே உலகுடன் தொடர்பில் இருப்போம். பொதுவெளியில் இருந்து தனிமைப்படுத்திக் கொண்டு கரோனா பரவலைத் தடுப்பதில் நம் பங்கை முழுமையாக இந்த சமூகத்துக்கு அளிப்போம்.

CoVid-19 கரோனா தடுப்பு / விழிப்புணர்வு கையேடு - இலவசமாக டவுன்லோடு செய்து பயன்பெறுங்கள்!

- வாசகர்கள் நலனில் அக்கறையுடன் இந்து தமிழ் திசை

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அணு ஆயுதத்தை கண்டுபிடித்த ராபர்ட் ஜே ஓப்பன்ஹெய்மரின் வாழ்க்கையை மையமாக வைத்து கிறிஸ்டோஃபர் நோலன் இயக்கியிருக்கும் படம் ஒப்பன்ஹெய்மர் இன்று திரையரங்குகளில் வெளியாகி இருக்கிறது. உலகமே எதிர்பார்த்து காத்திருந்த ஓப்பன்ஹெய்மர் படம், வரலாற்றின் ஒரு மிக முக்கியமான தருணத்தையும் அதை நிகழ்த்திய தனிநபர் ஒருவரின் உணர்வெழுச்சிகளையும் மிகச்சிறந்த திரை அனுபவமாக நமக்கு கொடுக்கிறது .

ஓப்பன்ஹெய்மர் கதை

அணு ஆயுதத்தின் தந்தை என்று உலகமே கொண்டாடிய  ஓப்பன்ஹெய்மர் ஒரு கம்யூனிஸ ஆதரவாளர் என்கிற அவர்மீதான குற்ற விசாரணையில் இருந்து தொடங்குகிறது படம். தன் மீது சுமத்தப்படும் குற்றங்களுக்கு தன் சார்பில் விளக்கம் தரும் ஒப்பன்ஹெய்மரின் பார்வையில் பின்னுக்குச் செல்கிறது கதை.

உலகத்தை ஆளும் போட்டி

இரண்டாம் உலகப்போர் நடைபெற்றுக்கொண்டிருந்த காலம். ஹிட்லரின் நாஜிப்படை உலகையே கைபற்றும் நோக்கத்தோடு வளர்ந்து கொண்டிருக்கிறது. அமெரிக்கா மற்றும் ரஷ்யா இணைந்து ஹிட்லரை எதிர்த்து வருகிறார்கள். ஒவ்வொரு நாட்டின் விஞ்ஞானிகளும்  ரகசிய ஆய்வுக்கூடங்களில் அணு ஆயுதத்தை கண்டுப்பிடிக்கும் முயற்சிகளில் ஈடுபட்டிருக்கிறார்கள். இப்போது கேள்வி ஒன்றே ஒன்றுதான் யார் அதை முதலில் செய்து முடிக்க போகிறார்கள். இதனை முதலில் சாதிப்பவர்கள் உலகம் முழுவதையுமே  தனது கட்டுக்குள் வைக்கும் அதிகாரத்தைப் பெறுவார்கள். அமெரிக்க இயற்பியல் விஞ்ஞானியான ஓப்பன்ஹைமரிடம் இந்த  சவால் ஒப்படைக்கப்படுகிறது. ஜெர்மானியர்கள் அணு ஆயுதத்தைக் கண்டுபிடிப்பதற்கு முன்பாக அமெரிக்கா இந்த பரிசோதனையை வெற்றிகரமாக செய்து முடிக்க வேண்டும். உலகையே கைக்குள் வைக்கும் ஒரு ஆயுதத்தை கண்டுபிடிக்கும்  ஒருவர்  தான் உருவாக்கிய ஆயுதம் ஏற்படுத்தக்கூடிய மிகப்பெரும் பின்விளைவுகளை எதிர்கொள்ளும்  தருணங்களை ஓப்பன்ஹெய்மரின் பார்வையில் சொல்கிறது படம்.

 ராபர்ட். ஜே ஓப்பன்ஹெய்மரின் சுயசரிதையை மையப்படுத்தி எடுக்கப்பட்ட படம்  ஆனால்  வரலாற்றில் நிகழ்ந்த ஒரு நிகழ்வை  நம் கண்முன் நிகழ்ந்த ஒரு சம்பவத்தைப்போல் துல்லியமாக தனது எழுத்து மற்றும் இயக்கத்தில் கொண்டு வந்திருக்கிறார் நோலன். வரலாற்றைத் தீர்மானிக்கப் போகும் செயலை செய்யும் மனிதர்கள் அந்த தருணத்தில் எந்த மாதிரியான உணர்வுகளுக்கு உள்ளாகியிருபபார்கள் என்பதை பார்வையாளர்களுக்கு முதன்மையாக கடத்த நினைத்திருக்கிறார் இயக்குநர். உலக நாடுகளுக்கு நடுவிலான போட்டி. அரசியல் சூழ்ச்சிகள், சரி எது தவறு எது என்று தீர்மானிக்க போராடும்  ஓப்பன்ஹெய்மரின் மனசாட்சி அவரது தனிப்பட்ட வாழ்க்கை சார்ந்த காட்சிகள் என தனது படத்திற்கு எல்லா அம்சங்களிலும் முழுமையை சேர்த்திருக்கிறார் நோலன்.

மூன்று மணி நேரங்கள் வெறும் வசனங்களால் மட்டுமே நகர்கிறது கதை. ஆனால் படத்தில் இடம்பெறும் ஒவ்வொரு வசணமும் சுவாரஸ்யம் குறையாமல் நம்மை கவணிக்க வைக்கிறது. மேலும் படத்தை நோலன் ஐமேக்ஸில் எடுக்க விரும்பியதற்கான முக்கியமான காரணமும் அதுவே. ஓப்பன்ஹெய்மரின் இடத்தில் நம்மை  நிறுத்துவதற்காகவே ஒவ்வொரு காட்சியும் அந்த வகையில் எடுக்கப்பட்டிருக்கிறது. ஒவ்வொரு சின்ன அசைவும்,  ஒலியும் மிகத் துல்லியமாக  பதிவுசெய்யப்பட்டு நம்மை ஒரு காட்சியின் பதற்றத்தை உணரவைக்க முயன்றிருக்கிறார். வழக்கமாக நோலன் படங்களுக்கு இசையமைத்து வந்த ஹான்ஸ் ஜிம்மரின் குறை தெரியாத அளவிற்கு ஏன் அதைவிட தனித்துவமான ஒரு இசையை உருவாக்கியிருக்கிறார் லுட்விக் கோரான்ஸன்.

சிறந்த தருணங்கள்

ஒட்டுமொத்த படத்தையும் தாங்கிச் செல்லும் அம்சமான அணு குண்டு பரிசோதனை செய்யும் காட்சி  திரையில்  நிகழ்த்தப்பட்டிருக்கும் ஒரு சாதனை. இந்த காட்சியை நெருங்கும்போது பார்வையாளர்களாகிய நமது இமைகள் மூடாமல் பார்த்து ரசிக்கலாம்.

அதேமாதிரி படத்தின் இறுதிகாட்சியான ஒப்பன்ஹெய்மர் மற்றும் ஐன்ஸ்டைனுக்கு இடையில் நிகழும் உரையாடல் ஓப்பன்ஹெய்மர் எந்த மாதிரியான ஒரு மனச்சுமையை சுமந்து சென்றார் என்பதை நமக்கு உணர்த்தும்.

நடிப்பு எப்படி

இதுவரை நோலன் படங்களில் துணைக் கதாபாத்திரமாக நடித்த கிலியன் மர்ஃபி இந்தப் படத்தின் முக்கிய கதாபாத்திரம் ஓப்பன்ஹெய்மராக சுவாசித்திருக்கிறார். ஒவ்வொரு காட்சியிலும் கதாபாத்திரத்தின் மனதில் ஓடும் எண்ணங்கள் நடிப்பில் வெளிப்படுவதை காணலாம். வில்லன் கதாபாத்திரத்தில் நடித்திருக்கும் ராபர் டெளனியை சூப்பர் ஹீரோ படங்களைத் தவிர்த்து நடிப்பிற்கு முக்கியத்துவன் அளிக்கப்படும் படங்களில் இன்னும் அதிகமாகவே ரசிக்க முடிகிறது. ஃப்ளோரன்ஸ் பியூ, எமிலி ப்ளண்ட் மற்றும் மேட் டேமன் தங்களது கதாபாத்திரங்களை திறம்பட செய்திருக்கிறார்கள்.

கடைசியாக...

கிறிஸ்டோஃபர் நோலன் இயக்கியப் படங்களில் நிச்சயம் ஓப்பன்ஹெய்மர் ஒரு மிகப்பெரிய சாதனை என்பதில் எந்த  சந்தேகமும் இல்லை. அணு ஆயுதத்தின் கண்டுபிடிப்பு  ஒட்டுமொத்த மனித சமூதாயத்தின் இருப்பையே ஊசலாட்டத்தில் வைத்திருக்கும் அபாயத்தை ஓப்பன்ஹெய்மரின் குற்றவுணர்ச்சியால் உணர்த்துகிறார் நோலன்.

தலைப்பு செய்திகள்

ட்ரெண்டிங் செய்திகள்

ட்ரெண்டிங் ஒப்பீனியன்

பர்சனல் கார்னர்

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Oppenheimer

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Oppenheimer Movie Review : A tense & riveting portrait of human disillusionment

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Refrain from posting comments that are obscene, defamatory or inflammatory, and do not indulge in personal attacks, name calling or inciting hatred against any community. Help us delete comments that do not follow these guidelines by marking them offensive . Let's work together to keep the conversation civil.

Kaushik Manivezh 139 102 days ago

Best cinematography

Shockwave 44487 264 days ago

Binayak pradhan 285 days ago, sumi choudhary 752 302 days ago.

I am sure everything is commercialized including the movie reviews by so called critics. It was showing houseful in Bookmyshow and based on reviews I had made advance booking. Last night I went to watch this trash with 5 members of my family and 3 other viewers. Entire show was empty, and we spent torturous 3 hours. It can be a story about someone but certainly not worth making a movie. Do we spend so much just to watch how a scientist was treated by a government . In so many years never watched such a pathetic movie. Want my money back along with compensation.

Dilip Kumar 2031 306 days ago

One of the greatest film of Nolan

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Oppenheimer

The story of American scientist J. Robert Oppenheimer and his role in the development of the atomic bomb. The story of American scientist J. Robert Oppenheimer and his role in the development of the atomic bomb. The story of American scientist J. Robert Oppenheimer and his role in the development of the atomic bomb.

• Christopher Nolan
• Martin Sherwin
• Cillian Murphy
• Emily Blunt
• 4.1K User reviews
• 481 Critic reviews
• 90 Metascore
• 346 wins & 357 nominations total

• J. Robert Oppenheimer

• Kitty Oppenheimer

• Leslie Groves

• Lewis Strauss

• Senate Aide

• Thomas Morgan

• Gordon Gray

• Lloyd Garrison

• Patrick Blackett

• Senator McGee

• Chairman Magnuson

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• Trivia In order for the black and white sections of the movie to be shot in the same quality as the rest of the film, Kodak produced a limited supply of its Double-X black and white film stock in 70mm. This film stock was chosen specifically for its heritage - it was originally sold to photographers as Super-XX during World War II and was very popular with photojournalists of the era.
• Goofs The stop signs are yellow in the film, which is accurate. The United States used yellow stop signs until 1954.

J. Robert Oppenheimer : Albert? When I came to you with those calculations, we thought we might start a chain reaction that would destroy the entire world...

Albert Einstein : I remember it well. What of it?

J. Robert Oppenheimer : I believe we did.

• Alternate versions To get a U/A rating certification in India, the movie was edited to remove or censor all nudity using CGI. For example, the scene where Tatlock and Oppenheimer have a conversation and the former character was topless, the nudity was censored with a CGI black dress. Many Middle Eastern countries use this exact same censored version for release.
• Connections Featured in Louder with Crowder: Going Out with a Bang! (2022)

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• July 21, 2023 (United States)
• United States
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• Los Alamos, New Mexico, USA (only interiors, Los Alamos facilities interiors, including Oppenheimer's house, Fuller Lodge Interior and Exterior)
• Universal Pictures
• Atlas Entertainment
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• $100,000,000 (estimated)
• $329,862,540
• $82,455,420
• Jul 23, 2023
• $974,954,311

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• Runtime 3 hours
• Black and White
• IMAX 6-Track
• Dolby Digital

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Where to watch Oppenheimer on OTT in India

Published date : 11/mar/2024.

Christopher Nolan directed 2023 drama Oppenheimer is all the buzz right now, for the movie has recorded a 7 Oscar-sweep at the 96th Academy Awards aka the Oscars 2024. Hollywood's biggest film awards ceremony held on March 10 [March 11 4 AM IST] ensured Best Picture, Best Direction, Best Cinematography (Hoyte Van Hyotema), Best Original Score (Ludwig Göransson),  Best Editing (Jennifer Lame), Best Actor in Leading (Cillian Murphy) and Supporting (Robert Downey Jr.) roles for Oppenheimer movie. 

Oppenheimer's  OTT release date is March 21, 2024 [Thursday] on the Jio Cinema streaming platform in India. The 180-minute movie can also be currently rented on Amazon Prime Video for Rs. 119, Zee5 for Rs. 129, Apple TV for Rs. 150, YouTube for Rs. 180 and on Google Play Movies and TV for Rs. 180. 

A biographical drama based on a book titled ' American Prometheus ', Oppenheimer traces the life of famed American physicist Robert J Oppenheimer, who is  credited as the father of the atomic nuclear bomb. The film focuses on Oppenheimer's genius, his ability to read the Bhagavat Gita in original Sanskrit transcript, his eccentric work/life, his dynamic with Albert Einstein, how he developed the first set of nuclear weapons for America during World War II and the infamous 1954 security hearing that lead to his fall from grace, and eventual redemption . 

The countdown has begun! 10 days to go to witness Christopher Nolan and Cillian Murphy's cinematic epic! Oppenheimer streaming on #JioCinema March 21 onwards. Available in English & Hindi #OppenheimerOnJioCinema #PeacockHubOnJioCinema pic.twitter.com/MCrYK8l3gR — JioCinema (@JioCinema) March 10, 2024

Also starring Emily Blunt, Matt Damon, Florence Pugh, Josh Hartnett, Casey Affleck, Rami Malek, Kenneth Branagh among others, Oppenheimer released alongside Barbie movie on July 21, 2023 leading to the a global social media phenomenon known as 'Barbenheimer'. 

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Movie Reviews

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For all the pre-release speculation about how analog epic-maker Christopher Nolan's "Oppenheimer" would re-create the explosion of the first atomic bomb, the film's most spectacular attraction turns out to be something else: the human face. 

This three-plus hour biography of J. Robert Oppenheimer ( Cillian Murphy ) is a film about faces. They talk, a lot. They listen. They react to good and bad news. And sometimes they get lost in their own heads—none more so than the title character, the supervisor of the nuclear weapons team at Los Alamos whose apocalyptic contribution to science earned him the nickname The American Prometheus (as per the title of Nolan's primary source, the biography by Kai Bird and Martin J. Sherman). Nolan and cinematographer Hoyte van Hoytema use the large-format IMAX film system not merely to capture the splendor of New Mexico's desert panoramas but contrast the external coolness and internal turmoil of Oppenheimer, a brilliant mathematician and low-key showman and leader whose impulsive nature and insatiable sexual appetites made his private life a disaster, and whose greatest contribution to civilization was a weapon that could destroy it. Close-up after close-up shows star Cillian Murphy's face staring into the middle distance, off-screen, and sometimes directly into the lens, while Oppenheimer dissociates from unpleasant interactions, or gets lost inside memories, fantasies, and waking nightmares. "Oppenheimer" rediscovers the power of huge closeups of people's faces as they grapple with who they are, and who other people have decided that they are, and what they've done to themselves and others. 

Sometimes the close-ups of people's faces are interrupted by flash-cuts of events that haven't happened, or already happened. There are recurring images of flame, debris, and smaller chain-reaction explosions that resemble strings of firecrackers, as well as non-incendiary images that evoke other awful, personal disasters. (There are a lot of gradually expanding flashbacks in this film, where you see a glimpse of something first, then a bit more of it, and then finally the entire thing.) But these don't just relate to the big bomb that Oppenheimer's team hopes to detonate in the desert, or the little ones that are constantly detonating in Oppenheimer's life, sometimes because he personally pushed the big red button in a moment of anger, pride or lust, and other times because he made a naive or thoughtless mistake that pissed somebody off long ago, and the wronged person retaliated with the equivalent of a time-delayed bomb. The "fissile" cutting, to borrow a physics word, is also a metaphor for the domino effect caused by individual decisions, and the chain reaction that makes other things happen as a result. This principle is also visualized by repeated images of ripples in water, starting with the opening closeup of raindrops setting off expanding circles on the surface that foreshadow both the ending of Oppenheimer's career as a government advisor and public figure and the explosion of the first nuke at Los Alamos (which observers see, then hear, then finally feel, in all its awful impact). 

The weight of the film's interests and meanings are carried by faces—not just Oppenheimer's, but those of other significant characters, including General Leslie Groves ( Matt Damon ), Los Alamos' military supervisor; Robert's suffering wife Kitty Oppenheimer ( Emily Blunt ), whose tactical mind could have averted a lot of disasters if her husband would have only listened; and Lewis Strauss ( Robert Downey , Jr.), the Atomic Energy Commission chair who despised Oppenheimer for a lot of reasons, including his decision to distance himself from his Jewish roots, and who spent several years trying to derail Oppenheimer's post-Los Alamos career. The latter constitutes its own adjacent full-length story about pettiness, mediocrity, and jealousy. Strauss is Salieri to Oppenheimer's Mozart, regularly and often pathetically reminding others that he studied physics, too, back in the day, and that he's a good person, unlike Oppenheimer the adulterer and communist sympathizer. (This film asserts that Strauss leaked the FBI file on his progressive and communist associations to a third party who then wrote to the bureau's director, J. Edgar Hoover.)

The film speaks quite often of one of the principles of quantum physics, which holds that observing quantum phenomena by a detector or an instrument can change the results of this experiment. The editing illustrates it by constantly re-framing our perception of an event to change its meaning, and the script does it by adding new information that undermines, contradicts, or expands our sense of why a character did something, or whether they even knew why they did it. 

That, I believe, is really what "Oppenheimer" is about, much more so than the atom bomb itself, or even its impact on the war and the Japanese civilian population, which is talked about but never shown. The film does show what the atom bomb does to human flesh, but it's not recreations of the actual attacks on Japan: the agonized Oppenheimer imagines Americans going through it. This filmmaking decision is likely to antagonize both viewers who wanted a more direct reckoning with the destruction of Hiroshima and Nagasaki, and those who have bought into the arguments advanced by Strauss and others that the bombs had to be dropped because Japan never would have surrendered otherwise. The movie doesn't indicate whether it thinks that interpretation is true or if it sides more with Oppenheimer and others who insisted that Japan was on its knees by that point in World War II and would have eventually given up without atomic attacks that killed hundreds of thousands of civilians. No, this is a film that permits itself the freedoms and indulgences of novelists, poets, and opera composers. It does what we expect it to do: Dramatize the life of Oppenheimer and other historically significant people in his orbit in an aesthetically daring way while also letting all of the characters and all of the events be used metaphorically and symbolically as well, so that they become pointillistic elements in a much larger canvas that's about the mysteries of the human personality and the unforeseen impact of decisions made by individuals and societies.

This is another striking thing about "Oppenheimer." It's not entirely about Oppenheimer even though Murphy's baleful face and haunting yet opaque eyes dominate the movie. It's also about the effect of Oppenheimer's personality and decisions on other people, from the other strong-willed members of his atom bomb development team (including Benny Safdie's Edwin Teller, who wanted to skip ahead to create the much more powerful hydrogen bomb, and eventually did) to the beleaguered Kitty; Oppenheimer's mistress Jean Tatlock ( Florence Pugh , who has some of Gloria Grahame's self-immolating smolder); General Groves, who likes Oppenheimer in spite of his arrogance but isn't going to side with him over the United States government; and even Harry Truman, the US president who ordered the atom bomb dropped on Hiroshima and Nagasaki (played in a marvelous cameo by Gary Oldman ) and who derides Oppenheimer as a naive and narcissistic "crybaby" who sees history mainly in terms of his own feelings.

Jennifer Lame's editing is prismatic and relentless, often in a faintly Terrence Malick -y way, skipping between three or more time periods within seconds. It's wedded to virtually nonstop music by  Ludwig Göransson  that fuses with the equally relentless dialogue and monologues to create an odd but distinctive sort of scientifically expository aria that's probably what it would feel like to read American Prometheus  while listening to a playlist of  Philip Glass film scores. Non-linear movies like this one do a better job of capturing the pinball-machine motions of human consciousness than linear movies do, and they also capture what it's like to read a third-person omniscient book (or a biography that permits itself to imagine what its subjects might have been thinking or feeling). It also paradoxically captures the mental process of reading a text and responding to it emotionally and viscerally as well as intellectually. The mind stays anchored to the text. But it also jumps outside of it, connecting the text to other texts, to external knowledge, and to one's own experience and imaginings.

This review hasn't delved into the plot of the film or the real-world history that inspired it, not because it isn't important (of course it is) but because—as is always the case with Nolan—the main attraction is not the tale but the telling. Nolan has been derided as less a dramatist than half showman, half mathematician, making bombastic, overcomplicated blockbusters that are as much puzzles as stories. But whether that characterization was true (and I'm increasingly convinced it never entirely was) it seems beside the point when you see how thoughtfully and rewardingly it's been applied to a biography of a real person. "Oppenheimer" could retrospectively seem like a turning point in the director's filmography, when he takes all of the stylistic and technical practices that he'd been honing for the previous twenty years in intellectualized pulp blockbusters and turns them inward.

The movie is an academic-psychedelic biography in the vein of those 1990s Oliver Stone films that were edited within an inch of their lives (at times it's as if the park bench scene in " JFK " had been expanded to three hours). There's also a strain of pitch-black humor, in a Stanley Kubrick  mode, as when top government officials meet to go over a list of possible Japanese cities to bomb, and the man reading the list says that he just made an executive decision to delete Kyoto from it because he and his wife honeymooned there. (The Kubrick connection is cemented further by the presence of "Full Metal Jacket" star  Matthew Modine , who co-stars as American engineer and inventor Vannevar Bush.) It’s an example of top-of-the-line, studio-produced popular art with a dash of swagger, variously evoking Michael Mann's " The Insider ," late-period Terrence Malick, nonlinearly-edited art cinema touchstones like "Hiroshima Mon Amour," "The Pawnbroker," "All That Jazz" and " Picnic at Hanging Rock "; and, inevitably, " Citizen Kane " (there's even a Rosebud-like mystery surrounding what Oppenheimer and his hero Albert Einstein, played by Tom Conti , talked about on the banks of a Princeton pond). 

Most of the performances have a bit of an "old movie" feeling, with the actors snapping off their lines and not moving their faces as much as they would in a more modern story. A lot of the dialogue is delivered quickly, producing a screwball comedy energy. This comes through most strongly in the arguments between Robert and Kitty about his sexual indiscretions and refusal to listen to her mostly superb advice; the more abstract debates about power and responsibility between Robert and General Groves, and the scenes between Strauss and a Senate aide (Alden Ehrenreich) who is advising him as he testifies before a committee that he hopes will approve him to serve in President Dwight Eisenhower's cabinet.

But as a physical experience, "Oppenheimer" is something else entirely—it's hard to say exactly what, and that's what's so fascinating about it. I've already heard complaints that the movie is "too long," that it could've ended with the first bomb detonating, and could've done without the bits about Oppenheimer's sex life and the enmity of Strauss, and that it's perversely self-defeating to devote so much of the running time, including the most of the third hour, to a pair of governmental hearings: the one where Oppenheimer tries to get his security clearance renewed, and Strauss trying to get approved for Eisenhower's cabinet. But the film's furiously entropic tendencies complement the theoretical discussions of the how's and why's of the individual and collective personality. To greater and lesser degrees, all of the characters are appearing before a tribunal and bring called to account for their contradictions, hypocrisies, and sins. The tribunal is out there in the dark. We've been given the information but not told what to decide, which is as it should be.

Matt Zoller Seitz

Matt Zoller Seitz is the Editor at Large of RogerEbert.com, TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism.

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Oppenheimer (2023)

Rated R for some sexuality, nudity and language.

181 minutes

Cillian Murphy as J. Robert Oppenheimer

Emily Blunt as Katherine 'Kitty' Oppenheimer

Matt Damon as Gen. Leslie Groves Jr.

Robert Downey Jr. as Lewis Strauss

Florence Pugh as Jean Tatlock

Benny Safdie as Edward Teller

Michael Angarano as Robert Serber

Josh Hartnett as Ernest Lawrence

Rami Malek as David Hill

Kenneth Branagh as Niels Bohr

Dane DeHaan as Kenneth Nichols

Dylan Arnold as Frank Oppenheimer

David Krumholtz as Isidor Isaac Rabi

Alden Ehrenreich as Senate Aide

Matthew Modine as Vannevar Bush

Gary Oldman as Harry S. Truman

Alex Wolff as Luis Walter Alvarez

Casey Affleck as Boris Pash

Jack Quaid as Richard Feynman

Emma Dumont as Jackie Oppenheimer

Matthias Schweighöfer as Werner Heisenberg

David Dastmalchian as William L. Borden

Christopher Denham as Klaus Fuchs

Josh Peck as Kenneth Bainbridge

Tony Goldwyn as Gordon Gray

Olivia Thirlby as Lilli Hornig

James Remar as Henry Stimson

• Christopher Nolan

Writer (based on the book by)

• Martin Sherwin

Cinematographer

• Hoyte van Hoytema
• Jennifer Lame
• Ludwig Göransson

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‘Oppenheimer’ Review: A Man for Our Time

Christopher Nolan’s complex, vivid portrait of J. Robert Oppenheimer, the “father of the atomic bomb,” is a brilliant achievement in formal and conceptual terms.

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‘Oppenheimer’ | Anatomy of a Scene

The writer and director christopher nolan narrates the opening sequence from the film, starring cillian murphy..

Hi, I’m Christopher Nolan director, writer, and co-producer of “Oppenheimer.” Opening with the raindrops on the water came late to myself and Jen Lane in the edit suite. But ultimately, it became a motif that runs the whole way through the film. Became very important. These opening images of the detonation at Trinity are based on the real footage. Andrew Jackson, our visual effects supervisor, put them together using analog methods to try and reproduce the incredible frame rates that their technology allowed at the time, superior to what we have today. Adapting Kai Bird and Martin Sherwin’s book “American Prometheus,” I fully embraced the Prometheun theme, but ultimately chose to change the title to “Oppenheimer” to give a more direct idea of what the film was going to be about and whose point of view we’re seeing. And here we have Cillian Murphy with an IMAX camera inches from his nose. Hoyte van Hoytema was incredible. IMAX camera revealing everything. And I think, to some degree, applying the pressure to Cillian as Oppenheimer that this hearing was applying. “Yes, your honor.” “We’re not judges, Doctor.” “Oh.” And behind him, out of focus, the great Emily Blunt who’s going to become so important to the film as Kitty Oppenheimer, who gradually comes more into focus over the course of the first reel. We divided the two timelines into fission and fusion, the two different approaches to releasing nuclear energy in this devastating form to try and suggest to the audience the two different timelines. And then embraced black-and-white shooting here. Robert Downey Jr. as Lewis Strauss being shot on IMAX black-and-white film. The first time anyone’s ever shot that film. Made especially for us. And he’s here talking to Alden Ehrenreich who is absolutely indicative of the incredible ensemble that our casting director John Papsidera put together. Robert Downey Jr. utterly transformed, I think, not just in terms of appearance, but also in terms of approach to character, stripping away years of very well-developed charisma to just try and inhabit the skin of a somewhat awkward, sometimes venal, but also charismatic individual, and losing himself in this utterly. And then as we come up to this door, we go into the Senate hearing rooms. And we try to give that as much visibility, grandeur, and glamour to contrast with the security hearing that’s so claustrophobic. And takes Oppenheimer completely out of the limelight. [CROWD SHOUTING]

By Manohla Dargis

“Oppenheimer,” Christopher Nolan’s staggering film about J. Robert Oppenheimer, the man known as “the father of the atomic bomb,” condenses a titanic shift in consciousness into three haunted hours. A drama about genius, hubris and error, both individual and collective, it brilliantly charts the turbulent life of the American theoretical physicist who helped research and develop the two atomic bombs that were dropped on Hiroshima and Nagasaki during World War II — cataclysms that helped usher in our human-dominated age.

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The movie is based on “ American Prometheus : The Triumph and Tragedy of J. Robert Oppenheimer,” the authoritative 2005 biography by Kai Bird and Martin J. Sherwin. Written and directed by Nolan, the film borrows liberally from the book as it surveys Oppenheimer’s life, including his role in the Manhattan Engineer District, better known as the Manhattan Project. He served as director of a clandestine weapons lab built in a near-desolate stretch of Los Alamos, in New Mexico, where he and many other of the era’s most dazzling scientific minds puzzled through how to harness nuclear reactions for the weapons that killed tens of thousands instantly, ending the war in the Pacific.

The atomic bomb and what it wrought define Oppenheimer’s legacy and also shape this film. Nolan goes deep and long on the building of the bomb, a fascinating and appalling process, but he doesn’t restage the attacks; there are no documentary images of the dead or panoramas of cities in ashes, decisions that read as his ethical absolutes. The horror of the bombings, the magnitude of the suffering they caused and the arms race that followed suffuse the film. “Oppenheimer” is a great achievement in formal and conceptual terms, and fully absorbing, but Nolan’s filmmaking is, crucially, in service to the history that it relates.

The story tracks Oppenheimer — played with feverish intensity by Cillian Murphy — across decades, starting in the 1920s with him as a young adult and continuing until his hair grays. The film touches on personal and professional milestones, including his work on the bomb, the controversies that dogged him, the anti-Communist attacks that nearly ruined him, as well as the friendships and romances that helped sustain yet also troubled him. He has an affair with a political firebrand named Jean Tatlock (a vibrant Florence Pugh), and later weds a seductive boozer, Kitty Harrison (Emily Blunt, in a slow-building turn), who accompanies him to Los Alamos, where she gives birth to their second child.

It’s a dense, event-filled story that Nolan — who’s long embraced the plasticity of the film medium — has given a complex structure, which he parcels into revealing sections. Most are in lush color; others in high-contrast black and white. These sections are arranged in strands that wind together for a shape that brings to mind the double helix of DNA. To signal his conceit, he stamps the film with the words “fission” (a splitting into parts) and “fusion” (a merging of elements); Nolan being Nolan, he further complicates the film by recurrently kinking up the overarching chronology — it is a lot.

It also isn’t a story that builds gradually; rather, Nolan abruptly tosses you into the whirl of Oppenheimer’s life with vivid scenes of him during different periods. In rapid succession the watchful older Oppie (as his intimates call him) and his younger counterpart flicker onscreen before the story briefly lands in the 1920s, where he’s an anguished student tormented by fiery, apocalyptic visions. He suffers; he also reads T.S. Eliot’s “The Waste Land,” drops a needle on Stravinsky’s “The Rite of Spring” and stands before a Picasso painting, defining works of an age in which physics folded space and time into space-time .

This fast pace and narrative fragmentation continue as Nolan fills in this Cubistic portrait, crosses and recrosses continents and ushers in armies of characters, including Niels Bohr (Kenneth Branagh), a physicist who played a role in the Manhattan Project. Nolan has loaded the movie with familiar faces — Matt Damon, Robert Downey Jr., Gary Oldman — some distracting. It took me a while to accept the director Benny Safdie as Edward Teller, the theoretical physicist known as the “father of the hydrogen bomb,” and I still don’t know why Rami Malek shows up in a minor part other than he’s yet another known commodity.

As Oppenheimer comes into focus so does the world. In 1920s Germany, he learns quantum physics; the next decade he’s at Berkeley teaching, bouncing off other young geniuses and building a center for the study of quantum physics. Nolan makes the era’s intellectual excitement palpable — Einstein published his theory of general relativity in 1915 — and, as you would expect, there’s a great deal of scientific debate and chalkboards filled with mystifying calculations, most of which Nolan translates fairly comprehensibly. One of the film’s pleasures is experiencing by proxy the kinetic excitement of intellectual discourse.

It’s at Berkeley that the trajectory of Oppenheimer’s life dramatically shifts, after news breaks that Germany has invaded Poland. By that point, he has become friends with Ernest Lawrence (Josh Hartnett), a physicist who invented a particle accelerator, the cyclotron , and who plays an instrumental role in the Manhattan Project. It’s also at Berkeley that Oppenheimer meets the project’s military head, Leslie Groves (a predictably good Damon), who makes him Los Alamos’s director, despite the leftist causes he supported — among them, the fight against fascism during the Spanish Civil War — and some of his associations, including with Communist Party members like his brother, Frank (Dylan Arnold).

Nolan is one of the few contemporary filmmakers operating at this ambitious scale, both thematically and technically. Working with his superb cinematographer Hoyte van Hoytema, Nolan has shot in 65-millimeter film (which is projected in 70-millimeter), a format that he’s used before to create a sense of cinematic monumentality. The results can be immersive, though at times clobbering, particularly when the wow of his spectacle has proved more substantial and coherent than his storytelling. In “Oppenheimer,” though, as in “ Dunkirk ” (2017), he uses the format to convey the magnitude of a world-defining event; here, it also closes the distance between you and Oppenheimer, whose face becomes both vista and mirror.

The film’s virtuosity is evident in every frame, but this is virtuosity without self-aggrandizement. Big subjects can turn even well-intended filmmakers into show-offs, to the point that they upstage the history they seek to do justice to. Nolan avoids that trap by insistently putting Oppenheimer into a larger context, notably with the black-and-white portions. One section turns on a politically motivated security clearance hearing in 1954, a witch hunt that damaged his reputation; the second follows the 1959 confirmation for Lewis Strauss (a mesmerizing, near-unrecognizable Downey), a former chairman of the United States Atomic Energy Commission who was nominated for a cabinet position.

Nolan integrates these black-and-white sections with the color ones, using scenes from the hearing and the confirmation — Strauss’s role in the hearing and his relationship with Oppenheimer directly affected the confirmation’s outcome — to create a dialectical synthesis. One of the most effective examples of this approach illuminates how Oppenheimer and other Jewish project scientists, some of whom were refugees from Nazi Germany, saw their work in stark, existential terms. Yet Oppenheimer’s genius, his credentials, international reputation and wartime service to the United States government cannot save him from political gamesmanship, the vanity of petty men and the naked antisemitism of the Red scare.

These black-and-white sequences define the last third of “Oppenheimer.” They can seem overlong, and at times in this part of the film it feels as if Nolan is becoming too swept up in the trials that America’s most famous physicist experienced. Instead, it is here that the film’s complexities and all its many fragments finally converge as Nolan puts the finishing touches on his portrait of a man who contributed to an age of transformational scientific discovery, who personified the intersection of science and politics, including in his role as a Communist boogeyman, who was transformed by his role in the creation of weapons of mass destruction and soon after raised the alarm about the dangers of nuclear war.

François Truffaut once wrote that “war films, even pacifist, even the best, willingly or not, glorify war and render it in some way attractive.” This, I think, gets at why Nolan refuses to show the bombing of Hiroshima and Nagasaki, world-defining events that eventually killed an estimated 100,000 to upward of 200,000 souls. You do, though, see Oppenheimer watch the first test bomb and, critically, you also hear the famous words that he said crossed his mind as the mushroom cloud rose: “Now I am become death, the destroyer of worlds.” As Nolan reminds you, the world quickly moved on from the horrors of the war to embrace the bomb. Now we, too, have become death, the destroyers of worlds.

Oppenheimer Rated R for disturbing images, and adult language and behavior. Running time: 3 hours. In theaters.

Audio produced by Kate Winslett .

An earlier version of this article misidentified J. Robert Oppenheimer as director of the Manhattan Project. He was director of its clandestine weapons laboratory, Los Alamos.

How we handle corrections

Manohla Dargis is the chief film critic of The Times, which she joined in 2004. She has an M.A. in cinema studies from New York University, and her work has been anthologized in several books. More about Manohla Dargis

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Oppenheimer Movie Review: Christopher Nolan On The Behalf Of Modern Cinema, Gives One Of The Greatest Gifts To Cinephiles & Cillian Murphy His First Ever Oscar Nomination!

Scattered timelines, different shoot styles, abstract montages to portray oppenheimer's psychological state, and an overtly detailed narrative, this has everything (and more) you'd expect from a christopher nolan film..

Star Cast: Cillian Murphy, Emily Blunt, Robert Downey Jr, Matt Damon, Florence Pugh, Alden Ehrenreich, Scott Grimes, Josh Hartnett, Kenneth Branagh, Benny Safdie, Olivia Thirlby, Rami Malek, Jack Quaid, Macon Blair, Casey Affleck and David Krumholtz

Director: Christopher Nolan

What’s Good: You won’t just watch what’s happening on screen, you’ll feel it! Be it the explosion outside or inside the characters’ minds, especially Murphy’s Oppie

What’s Bad: The ‘feel’ portion of the above compliment is only limited to the IMAX screens (because of their gargantuan sub-woofers) and those are either very expensive to get in or are full for the initial period

Loo Break: It’s a 3-hour film, you’ll have to despite this being a 5/5

Watch or Not?: Only if you hold the patience of digesting too many dialogues, but I assure you that would come with one of the greatest gifts Modern Cinema has ever given to cinephiles!

Available On: Theatrical Release

Runtime: 3 Hours

Divided into two parts Fission & Fusion, the first one splits the story of ‘the big daddy of Atomic Bomb’ J. Robert Oppenheimer’s (played by Cillian Murphy comfortably securing his debut Oscar nomination) secret 1954 hearing regarding renewing his security clearance post the Promethean torture he faces following the historic moment of dropping the atomic bomb in Japan & the latter one (Fusion), shot in the recently invented IMAX b&w Kodak cameras taking us through Lewis Strauss’ ( Robert Downey Jr ) involvement in the Oppenheimer business as he runs for Eisenhower’s Secretary of Commerce in the year 1959.

Fission is crammed with the incidents that made Oppenheimer sit in front of the United States Government and plead (without showing it loud) them to cleanse his soul by letting go of the accusations of his tying with Communists. All this while he was working on creating a history that the world will remember. Fusion brings in the conspiracy theory side of the story depicting a diplomatic war between scientists & politicians of the US revolving around the legacy J. Robert Oppenheimer would leave for the world to witness.

Oppenheimer Movie Review: Script Analysis

Kai Bird and Martin J. Sherwin’s meticulous 700-page long non-fictional book ‘American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer finally get the master who would not only translate the story for the biggest screen possible but also will make sure you feel each and every bang that comes with the most resonant story you’d find in the history of atomic physics.

When Christopher Nolan revealed that the viewers would be able to ‘feel’ the detonation, I dismissed it thinking it was the production house speaking but I forgot he’s someone who’d switch the production houses when it boils down to restricting his imagination. I was wrong and yes the ‘it’ scene, the explosion passed right through me. Yep, I know it’s an exaggeration to say that but Nolan has achieved a sui generis place in the history of World Cinema.

You won’t need a 4DX version to shake your seats if you’re watching this on an IMAX screen, thanks to Richard King’s in-sync transcending sound design with the music composer Ludwig Göransson (more on Music, a little later). Its sound is the soul of this Christopher Nolan film and you’re reminded of this in every single scene. The sound pushes everything, from the written print to the first-class performances by the first-class actors.

Also, can we sign a peace treaty regarding Nolan’s sound overpowering his dialogues? Because that’s the way he intends it to be, the lines which are audibly blurred aren’t something he wants you to focus on but the way they’re cut through with the score is what he’s trying to convey. Moving on from Wally Pfister, Nolan returns with the cinematographer Hoyte van Hoytema (for their 4th collab since Interstellar) and he continues to suck you into the narrator’s world with his sharply focused angles developing a connection sooner than you’d expect.

Oppenheimer Movie Review: Star Performance

Cillian Murphy is all set to get his debut Oscar nomination (and probably he’d win it too), but the more important thing is he’ll get this for a Christopher Nolan film. It almost looks like he’s achieved a character arc no other actor could’ve in Nolan’s filmography. From being the Scarecrow to the shivering soldier and getting a film which not only is perfect for him to lead but almost delivers the performance his lifetime (almost because I love Thomas Shelby too much), with this Cillian Murphy has achieved what only a handful of performers get to in their lifetime.

Robert Downey Jr as Strauss astounded me to the levels I didn’t expect. Put Cillian, and Matt Damon in Nolan films and you already know they’re going to outdo themselves but putting Robert Downey Jr, our beloved Iron Man in here l, Nolan challenged our hopes like he always does and won like he always does. Emily Blunt breaks the archetype of Nolan’s half-baked woman as she delivers a sensational performance despite the limited screen time.

Matt Damon is outstanding as Leslie Groves and holds his ground amidst the other towering performances. Florence Pugh’s mysterious Jean Tatlock leaves a brief impact with her solid presence, though the n*dity did come across as unnecessary but that might be because to cover her up with a fake CGI-created Black sheet done by the Indian censor board. Benny Safdie as Edward Teller, Kenneth Branagh as Oppenheimer’s Danish mentor Niels Bohr, and Josh Hartnett as Oppie’s close colleague Ernest Lawrence all come, achieve what they’re set to and leave delivering good acts.

Oppenheimer Movie Review: Direction, Music

Christopher Nolan attempts his style to portray a biopic on screen, despite being a story based on true events this remains to be a classic Nolan film. Scattered timelines, different shoot styles, abstract montages to portray Oppenheimer’s psychological state, and an overtly detailed narrative, this has everything (and more) you’d expect from a Christopher Nolan film. What’s new is the fact that you’re going through what has actually happened in history through Nolan’s lens, which means you’d be subjected to multiple BRAAAMs throughout. The extreme tonal shift from being a political documentary along with sci-fi elements and almost touching the horror genre is commendable.

Is Ludwig Göransson the new Hans Zimmer for Christopher Nolan? Post Tenet (which Hans rejected for Dune), many of us thought we’ll see Zimmer return but it’s not the case. Ludwig continues to case what Zimmer is best at, blending the music so well with the narration that, at times, they feel like the same thing. While we still hope to see Zimmer-Nolan’e comeback, I don’t really mind Ludwig filling the void.

Oppenheimer Movie Review: The Last Word

All said and done, in a scene while getting frustrated from the country’s Politics destroying his image, Cillian’s Oppenheimer says “Is anyone ever going to tell the truth about what’s going here?” and I exclaimed, “Yes Oppie, one day Christopher Nolan will!”

Five stars!

Oppenheimer Trailer

Oppenheimer releases on 20th July, 2023.

Share with us your experience of watching Oppenheimer.

For more recommendation, read our Extraction 2 Movie Review here.

Must Read:   Oppenheimer First Reviews Out! Christopher Nolan’s Magnum Opus Labelled Knockout That ‘Splits Brain Open’, Cillian Murphy & Robert Downey Jr’s Performance Leave Critics Stunned!

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Oppenheimer review: Christopher Nolan’s least accessible and bravest film to date

Oppenheimer movie review: at its core, the christopher nolan film is about the messy, deeply unnerving intersection between science and politics..

Who was J Robert Oppenheimer? A physicist famously referred to as the ‘father of the atomic bomb’, yes. But aside from him developing nuclear warfare, I have no idea. I stepped into Christopher Nolan ’s most dizzyingly challenging work yet with no prior knowledge of who Oppenheimer was, what his story was, or the specifics and significance of what he did. I was hoping the movie – which is based on Kai Bird and Martin J Sherwin’s book American Prometheus – would tell me. Also read: Christopher Nolan's Oppenheimer sells 90000 tickets for opening day, Barbie advance booking stands at 16000 in India

Film gives glimpse into Oppenheimer's mind

Nolan’s latest is about the man (played by a bravura Cillian Murphy ), who changed the course of human history, and his complicated relationship with his own legacy. It’s an effective ‘biopic’ to the extent that it refuses to blandly blaze through bullet points and rattle off a set of highlights from his life. Instead, it takes you inside his mind. Often quite literally.

Using Oppenheimer’s 1954 trial and cross-examination as a narrative device – which took place years after the horrific 1945 Hiroshima and Nagasaki bombings that cost over 200,000 lives – the film takes us through his early years. We’re introduced to young Robert studying his way through Europe’s most renowned institutions. He’s the kind of brilliant mind, who casually learns conversational German over a few months so he can deliver a lecture on quantum physics in Germany.

Cursed with knowledge and burdened by genius, he sees the matter and atoms that make up the world around him. Robert quite literally sees the vibrancy of life. One fellow academic compares it to “being able to hear the music”. To give us a glimpse into his singular mind, Jennifer Lame’s visceral editing intercuts Robert’s conversations with people, with visuals of hauntingly beautiful explosions, collapsing stars, and chemical reactions.

That is until years later, when he witnesses his work leading to the deaths of hundreds of thousands of people, leaving him forever changed. His life’s work - the theory and possibilities he’s held so dear becomes a horrific reality. In an instant, ideas and innovation become atrocity. From that moment on, he no longer sees glimpses of life, atoms, or matter. All he sees is death and destruction.

Oppenheimer vs Nolan's other films

The dense first hour of Oppenheimer is a task to follow, as we’re assaulted with information and thrown into a frenzy of names, places, and events in quick, furious succession. Robert’s teaching days of introducing quantum mechanics to the US, his proximity to the communist party, his turbulent relationship with Jean Tatlock (Florence Pugh), him getting involved with the war against the Nazis, and being brought on to the Manhattan Project. All together. All at once. A film that demands all of you, in order to keep up. Oppenheimer is not a movie that tells a story as much as one that expects you to know that story in order to entirely engage with it.

It’s why Oppenheimer is Nolan’s least accessible, and perhaps bravest, movie to date. Key to his glorious filmmaking style is that even if you don’t follow every beat of his movies, there are always concepts, ideas and worlds to relish and be taken by. They work on multiple levels. The broad strokes of his films work for wider audiences, whilst also offering further layers and artistry to engage with for those wanting to go deeper.

Put simply, even idiots love Inception . Heady psychological thrills aside, Memento has an excellent central gimmick to grasp onto. Tenet, for all its delirium, is an immensely engaging puzzle within a slick action movie. Even Dunkirk had booming scale as an immersive war movie that placed us on the front lines. But Oppenheimer has no such genre facade to hide behind. Instead, the film’s massive-ness comes from its overpowering, bone-shaking use of sound, and the implications of this story of how Robert Oppenheimer gave mankind the tools of our own destruction.

Instead, the film works best when it’s at its simplest, particularly in the stellar last hour, where the sprawling, ambitious narrative comes to its grand crescendo.

Walking out of the film, I didn’t know whether to be taken by how much Nolan wants to challenge his audience or be put off by his refusal to give us more digestible storytelling. To be dejected by how much detail there is to get lost in and be overwhelmed by, or be impressed by how much stays with you despite that. The thunderous craft, the rich artistry, the command over our heart rates, the tremendous cast full of unlikely, familiar faces.

Impressive cast

David Krumholtz as Isidor Isaac Rabi, Josh Hartnett as Ernest Lawrence, Alden Ehrenreich as Rich Feynman, an excellent Tom Conti as Albert Einstein - arguably responsible for the film's finest scenes. It was also magnificent to see Robert Downey Jr (RDJ) the actor again, here as “antagonist” Lewis Strauss. It’s a very curious casting move to have RDJ – a man who spent the last decade playing a superhero, who’s an egotistical genius – here playing a man, who has all of the ego and none of the genius, but is cursed to be surrounded by them. Not to mention a commanding Emily Blunt as Robert’s wife Kitty Oppenheimer. While I remain unimpressed by Nolan’s female characters, Kitty gets one of the film’s most rousing, crowd-pleasing scenes which is an absolute joy to watch.

At its core, Oppenheimer is about the messy, deeply unnerving intersection between science and politics. How selfish, self-serving leaders are awarded unbridled power. How wars and governments corrupt, contaminate, and bastardize science. Would you truly want peace if your life’s pathbreaking work has been to build a bomb? Is it all in service of your country, or is a world on the brink of war merely the ideal circumstance to enable your work? To answer these questions, Nolan examines one pathetic US government tragedy after the other. The atomic bomb was built to fight the Nazis. But with Hitler defeated, it’s almost as if America’s leaders had a shiny new toy with no use for it. So they imagined one. “It's no longer Hitler that's the greatest threat to the world. It's our work” someone says to Robert.

Memorable moment of the film

In one scene, a group of leading US officials casually discuss which Japanese city to eradicate off the face of the Earth. One of them gently offers that it shouldn’t be Kyoto because “it’s a beautiful city. My wife and I honeymoon there”. To see such soul-shattering loss of life approached with such heartless indifference is heartbreaking.

Arguably the most memorable moment of the film comes just after The Trinity Test – the first successful test of the atomic bomb. After much bated breath, as soon as it goes off, we don’t see the explosion itself, but merely the reaction on Oppenheimer’s face. It’s a moment of relief. Of seeing his genius recognised. His theory made reality. Similarly, we’re never made to see the horrors of Hiroshima itself, but merely the look on his face as he watches the images of the aftermath and the destruction he wrought. I did find it curious, however, that the film’s clearest objective is to have us feel for Robert and how his government turned on him, and not the staggering loss of life in Japan.

Through its blistering tale of destruction, Oppenheimer deconstructs the idea of what a “biopic” should be. A statement of facts peppered with context and perspective? Or something greater? The end of a conversation, or the beginning of one? In asking us a series of important questions, Christopher Nolan crafts a piece of cinema that may not serve as spectacle, but it certainly is epic.

• Christopher Nolan

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Oppenheimer fame Cillian Murphy to reprise his role in Peaky Blinders movie

Online streaming giant netflix has confirmed that cillian murphy will reprise his role as birmingham gangster tommy shelby in a peaky blinders film. scroll down for more details.

New Delhi: Oscar winner Cillian Murphy will reprise his role as Birmingham gangster Tommy Shelby in a Peaky Blinders movie, streaming platform Netflix has confirmed.

Set to arrive on the streamer, the new film is made in association with BBC. It will be directed by Tom Harper and written by Steven Knight.

Murphy, who earlier this year won his first best actor Oscar for Oppenheimer , dedicated the upcoming movie to admirers of the series “It seems like Tommy Shelby wasn’t finished with me. It is very gratifying to be recollaborating with Steven Knight and Tom Harper on the film version of Peaky Blinders. This is one for the fans,” the actor said in a statement.

The series, about the titular Peaky Blinders crime gang in the aftermath of the First World War, had ended with its sixth season run in April 2022 creator Knight had maintained he would like to continue the story “in another form”.

Harper, who helmed episodes of the show’s first season in 2013, said he is thrilled that a Peaky Blinders movie is about to happen.

“It will be an explosive chapter in the Peaky Blinders story. No holds barred. Full on Peaky Blinders at war,” he added.

The film, which goes into production later this year, will be an epic continuation of the multi-award-winning gangster saga.

Set in Birmingham between 1919 and 1934, Peaky Blinders followed the rise (and sometimes fall) of the Shelby family as they navigated a world wracked with radical social, economic, and political change.

“When I first directed Peaky Blinders over 10 years ago, we didn’t know what the series would become, but we did know that there was something in the alchemy of the cast and the writing that felt explosive. Peaky has always been a story about family — and so it’s incredibly exciting to be reuniting with Steve and Cillian to bring the movie to audiences across the world on Netflix,” Harper said.

The show, which started on BBC Two in 2013, moved to BBC One, and eventually became a worldwide phenomenon after it became available on Netflix.