Cillian Murphy is not the only actor to recoil from opening up to strangers on red carpets, but he remains more forceful in his reluctance than most, writes Donald Clarke via IrishTimesCultr
Taking inspiration from Kai Bird and Martin J Sherwin’s book American Prometheus, the film gives Murphy free rein to explore the physicist’s eccentricities. He famously left a poisoned apple for his tutor when at Cambridge. We are left with a genius believably tortured by the decisions other people made following, in the summer of 1945, the first successful detonation of an A-bomb. There is weirdness and vulnerability in there.
Murphy will, no doubt, regret that, less than a year before the release of Oppenheimer, Corcadorca, the great independent theatre company that gave him his break, closed its doors for good. The legend goes he saw the company performing an adaptation of A Clockwork Orange and knew instantly that is where he wanted to be. His first lead role came opposite Eileen Walsh in Enda Walsh’s Disco Pigs.
The apparent stability of his home life reinforced that sense of a safe ship being piloted steadily forward. The word “apparent” is there to press home his continuing resistance to prying or probing. You couldn’t quite call him an enigma. He does not – so far as we are aware – spend his summers among any sinister cults. He has no expensively vulgar movie-star hobbies.
There is a campaigning side to his personality. Last year, Ionbhá: The Empathy Book for Ireland, a collection of essays and poems he edited to support the “Activating Social Empathy” education programme, was published by Mercier Press. “The book was something that we had been talking about for ages, just to try and get this idea of empathy into the common vernacular/vocabulary,” he said following the book’s release. He supported the 2007 Rock the Vote campaign.
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