The Particle Paradox. Review on Oppenheimer

Years have increased the grey hairs surrounding the temple region, in perceiving the evocative art that flitted a narrative established by Christopher Nolan. I meant we were over Dunkirk, before Tenet made us rank his achievements at a latter half of films that tried to leave a mark with its hype in the last century.

Now, he decided to once again go back to the traditional model of tome adapted film processing. That lessens a writer's burden much over a director's scope in gauging a script. This time as well, history beckoned Nolan to bring a man of import in the form of J Robert Oppenheimer. Whose own achievements have been buried in a rubble, while society and governments have made a so-called habitation on it. That sounds so ironical!

The movie does wonders to a rather bland but espionage thriller book, which was drafted by Kai Bird and Martin Sherman. Having personally read it myself, the premise will appeal everyday non-fiction fans in a menial manner that could be gotten over soon. However, with Nolan's depiction through the lens, that balances allegory, adages, art, and Greek references, the movie transcends from a simple monologue documentary or court room drama that is likely to be picked up by many.

In some scenes, Nolan rolls out the mirror effect or the Anti-Christ that is portrayed by Lewis Strauss(Robert Downey Jr) whose enthusiasm to play Judas is revealed. As he uses Oppie's own personage as a single atom and binds him with other atoms(that is denoted by the many scientists, girlfriend, and wife he had in his lifelong). The depiction of Kitty's appearance, with a tapping typewriter playing in the background, and nervous Oppie trying to achieve reconciliation from his childhood friend and fellow scientist Isidor Rabbi before submitting towards an informal hearing, is erriely reminiscent of an atomic implosion that was about to occur internally measured by a Geiger counter(Typewriter clicks). This is confirmed by Nolan, with contrasting scenes that show both Strauss and Oppie skirting paparazzi's on opposite directions. Further, promising at a Biblical reference that shadowed the accomplishments of Oppenheimer. Meanwhile, camera angles echo the hurt that artists like Rembrandt, Picasso, and Botticelli might have felt at a war afflicted era. Where world government was swamped under a mire of political innuendos, while Oppie's father was rather fond of adding the pieces to his collection.

Hoyt Van Hoytema is spot on! Giving the element of jump scares, and shaping Oppenheimer into a demon. That convulses into a deity trying to part the oceans(indicating the basketball court speech scene), granting a just punishment for Prometheus.

Another dark view point is also laid out by both Nolan and Hoytema, in structuring the interplay of the plot like a solar system. Where, Einstein(Tom Conti) turns into a moon that depends on its source of light from the sun(Oppenheimer). Whereas, converging amidst their interaction is the ever-looming Earth(Lewis Strauss). The storytelling constantly poses the question of Einstein's contribution to Quantum Physics, and how it's exploration that was limited became a great irony of the Universe. That might be subjected for reasoning as to the future black hole phenomenon that might engulf us.

The orchestral brilliance that Ludwig Goransson composed, pales to some extent that would grant the film into attaining a reputation of an opera. However, it injects the touch of cinema that has long been absent from the everyday lives of people.

Cillian Murphy's role as the eccentric scientist Oppenheimer, could only be believed upon witnessing. He is as culpable as the character, and indubitably a perfect choice to embark on the role.

It's a saga of secrecy that has been put forth by Nolan, but doesn't lack it's needed prowess to become a movie in the proper sense of the word. That will inevitably change the Father of the Atomic bombs claim.

An 8/10 by me. It's a must watch for all.