‘Oppenheimer’ is a beautiful, dense and long biography about the complex ‘father of the atomic bomb’; g1 already seen

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In a new film, Christopher Nolan proves that ‘Tenet’ was just a stumbling block. With 3 hours and a brilliant performance by Cillian Murphy, the production opens this Thursday (20) in Brazilian cinemas. “Oppenheimer”, the new film by British filmmaker Christopher Nolan (“Tenet”), is a triumph in many ways. More than a biopic that escapes the tired structure of the genre, it manages to portray and explore the complexity – and eventual humanity – of one of the most mythical real characters in contemporary history. The production, which debuts this Thursday (20) in Brazilian cinemas, tells the life and infamous work of J. Robert Oppenheimer (Cillian Murphy). Popularly known for decades as the “father of the atomic bomb”, the physicist is portrayed as a complicated genius, yes, but also as a human being whose motivations are not always easily deciphered. With an impeccable performance that should at least give Murphy an Oscar nomination (“Peaky Blinders”), finally raised to the lead role after several supporting roles in Nolan’s films, the director and screenwriter enjoys each of the long three hours of duration. Even so, it still suffers from some of its biggest quirks, like its well-known banter with timelines, and obstacles (read: female characters). Watch ‘Oppenheimer’ Trailer Shatter of Worlds At first glance, it would be easy to treat “Oppenheimer” as “the bomb movie”. It would also be wrong. Based on the book “Oppenheimer: The triumph and tragedy of the American Prometheus”, by Kai Bird and Martin J. Sherwin, Nolan’s script highlights the entire process of invention, of course, but focuses more on the life of the protagonist. After a brief passage through the physicist’s youth in college, a more reflective and “outside the box” moment of the plot, the narrative focuses on the race to develop the weapon before the Nazis, who had months ahead during the beginning of World War II. Most projects of the genre would perhaps be content to end there. But the filmmaker persists and explores the repercussions of his success in the following decades. Cillian Murphy on the scene of ‘Oppenheimer’ Publicity This second half is probably the most interesting – maybe because it focuses more on politics to the detriment of science, maybe because of the unknown (everyone knows, after all, the outcome of the Manhattan Project ). Nolan then sews together a much more complex character than the mythological creator of the first nuclear weapon. The lack of debate about what would lead a scientist so connected to left-wing movements to abandon his convictions to lead such an undertaking bothers at first – both those who are concerned about whether the film “does the cloth” for the episode and those who agree with his decision. However, exploring the complexity of his life results in a human being with flaws and qualities. Someone who can reach the pinnacle of his career while feeling the weight of being, at least indirectly, responsible for the deaths of over 200,000 people. Matt Damon and Cillian Murphy in a scene from ‘Oppenheimer’ Press Release Spoken Beauty Cinematographer Hoyte Van Hoytema (“Dunkirk”) excels at giving the usual beauty of his sensitive eye to more mundane scenes. In the war epic for which he was nominated for an Oscar, it was easy. Giving grace to the dialogue of two scientists in a corridor, on the other hand, is more complicated. And scenes like that are the backbone of the film. There’s a spark of the visual spectacle that Hoytema and Nolan are known for, but what really carries the production are the conversations – quantum physics, planning negotiations, military strategy, academic politics, science politics. Even political politics comes in. With his temporal comings and goings, the director makes everything even denser. It’s not easy to follow the filmmaker’s travels, one of his great hallmarks. By the end of the three hours, many can feel like someone who has run a marathon. Cillian Murphy and Robert Downey Jr. in a scene from ‘Oppenheimer’ Publicity The Oscar is coming At the center of “Oppenheimer” is also its cast filled with giant award-winning names and, at the center of this cast, is Murphy. Ever since he was revealed in “Extermination” (2002), the 47-year-old Irishman deserved a platform as a leading man so that his peers could celebrate his talent. An Oscar nomination is certain. Victory, very likely. His Oppenheimer is so big that the characters around him become small, no matter how good the interpreters are. A choice of script too, yes, but a right one. Kenneth Branagh (“Tenet”), Josh Harnett (“Operation Fortune”), Gary Oldman (“Destiny of a Nation”), Casey Affleck (“Manchester by the Sea”) – all as competent as passengers . There are other highlights, however. As the great foil to Murphy, the closest “Oppenheimer” has to an antagonist, Robert Downey Jr. (“Iron Man”) delivers a work that can also be remembered by the Academy. Florence Pugh and Cillian Murphy in a scene from ‘Oppenheimer’ Disclosure Nega-‘Barbie’ On the negative side, Matt Damon (“Air: The story behind the logo”) is very Matt Damon for the film. His talent is undeniable, but not everyone suits any project. His general full time seems two tones above the rest. By his side are the ever-celebrated Emily Blunt (“A Quiet Place”) and Florence Pugh (“Midsommar”). Not that they are to blame. Nolan’s problem with female characters is notorious, and it would be no different in a drama about the scientific community in the United States at the beginning of the 20th century. The sadness is watching two actresses the size of the duo relegated to almost crutches, with characters whose existences only are justified by the journey of the protagonist. As it has become a cliché in the filmmaker’s career, one of them even dies (this story is not a spoiler. Check it out). Like pretty much everyone besides Murphy and Downey Jr. have limited screen time, the trio’s problems aren’t as glaring – but surely someone, somewhere must know how to give the women in the physicist’s life more agency. With all this, “Oppenheimer” is almost a negative of “Barbie”, a film with which it shares its debut – something that has been celebrated in a slightly disproportionate way on social networks. Both humanize their protagonists and explore complex themes, but Nolan goes for a grayer (and much longer) true story, with a focus on science in relation to the absurd magic of the doll, and with the direct opposite in relation to the proportion and importance of the characters. genres in the plot. Cillian Murphy and Emily Blunt in a scene from ‘Oppenheimer’

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