Either despite its intense craft or because of it, Christopher Nolan's 3-hour movie about the architect of the atomic bomb works. TIME reviews Oppenheimer:
is a story told in dots and dashes, demanding that you keep up with its shifts in time and space. But even if you know nothing about Oppenheimer’s story, following along is not that hard—Nolan pulls it all together at the end, and from that vantage point, the landscape of where he’s taken us looks pretty grand. We get some background on Oppenheimer’s time as a young student at Cambridge, homesick for America and tormented, as he tells us in those voiceovers, by the secrets of an “alien universe.
Nolan toggles between the distant past and the less-distant past, shifting between black-and-white film stock to muted color as he focuses on three central episodes in Oppenheimer’s story. One of these is the 1954 hearing that ultimately led to the revocation of Oppenheimer’s security clearance, ending his career in government and eroding his status as an academic.
Emily Blunt and Cillian Murphy in a scene in which Murphy's Oppenheimer must testify at a hearing regarding his security clearanceThe problem was that after Oppenheimer had pulled off the achievement, both extraordinary and tragic, of developing the bomb that would end World War II, his government, which no longer really needed him, decided it was time to question his loyalty—though the FBI had already been dogging him for years, collecting possible evidence against him.
Most important of all, Nolan doesn’t disguise or downplay his sympathy for Oppenheimer the man and the scientist. In that sense, his movie is bracingly honest.
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