Based on Kai Bird and Martin Sherwin’s Pulitzer Prize-winning American Prometheus, Christopher Nolan’s biopic of J Robert Oppenheimer is a remarkable feat of engineering and propulsion. Read Tara Brady’s full review here:
Dozens of supporting characters – Tom Conti’s Albert Einstein, Benny Safdie’s Edward Teller, Gary Oldman’s President Truman – are caught in Oppenheimer’s gravitational pull.
Other disparaging details are extenuated or glossed over. Oppenheimer’s intellectual fidgeting – which arguably haunted him on his deathbed more than anything else – is never explored. Nor what Einstein called his autoritdtsdusel, or stupor in the face of authority. Womanising is mentioned, yet one of Oppenheimer’s extramarital conquests is reduced to a glib punchline.
Jean Tatlock is distilled from a real-world intellectual and political influence to a glistening pair of breasts. Photograph: Universal Pictures/PAThe film’s representation of science is bafflingly facile, even if the chalkboard squiggles on quantum dynamics and quantum physics in the background are undoubtedly accurate. “Light is both a particle and a wave!” Oppenheimer cheerily imparts to a student.
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