Oppenheimer

Wednesday

David Baddiel

The vibrancy of the Edinburgh Festival

I’m doing a show in Edinburgh for the first time in a long while. It’s fun, although I feel I’m basically wearing a scent called Elder Statesman (I’m hoping it smells more of ancient leather and authority than incontinence). I get stopped in the street a lot, including by some people who have not mistaken me for Ben Elton. One of the two shows I’m doing, at Assembly Studios at lunchtime, is a Q&A based around the themes in my books Jews Don’t Count and The God Desire. The idea comes from doing loads of literary festivals, where I tend to get interviewed by a luminary for 50 minutes and then there are ten minutes of questions from the audience. But it’s often that bit that I think the audience really want.

Sunday

Roger Kimball

The atomic bomb saved Japanese lives, too

From our US edition

It’s August 6, which means that it is the anniversary of the atomic bombing of Hiroshima.   Every year at this time there are a spate of articles about that horrific event. Some of the articles are condemnatory; some hand-wringing; some are defiantly supportive.  This year, the recent release of Christopher Nolan’s new movie about J. Robert Oppenheimer and the making of the atomic bomb has given the controversy over the development and deployment of that awesome weapon a new urgency.   Something else that has contributed to the fraught atmosphere is the war in Ukraine. After all, one side in that conflict, Russia, controls the world’s largest arsenal of nuclear weapons, more than 6,000 warheads. My friend Roger L.

hiroshima atomic bomb japanese

Wednesday

Deborah Ross

Dense and spectacular – and not pink: Oppenheimer reviewed

Oppenheimer is Christopher Nolan’s biopic of J. Robert Oppenheimer, the brilliant quantum physicist and ‘father of the atomic bomb’ who was later haunted by what he’d created. Starring Cillian Murphy, and his cheekbones, the film is dense, ambitious, complex, so very long (three hours) and impressive, even if it does drag by the end. (When a film is so very long, that’s the price you pay.) I could go on and on but, for many, the main selling point will be this: it isn’t Barbie and it isn’t pink. If that’s all the thanks you get for developing the next generation of weapon, I’m glad I never bothered It’s a Nolan film so, of course, it’s not chronological storytelling. I pity his wife.

Monday

Alexander Larman

Oppenheimer and the triumph of Christopher Nolan

From our US edition

The Barbenheimer phenomenon — thought of by many as just idle chatter on the internet — has enduring power. Last weekend, Barbie and Oppenheimer earned a combined $511 million in global box office receipts; an unprecedented number where neither film is a superhero picture or a sequel. Barbie made more money, on the grounds that it’s an hour shorter and is PG-13 rated, but the vast box office success of the R-rated Oppenheimer, which made over $170 million in its opening weekend, is testament both to Barbenheimer excitement, and to the film’s very own brand: its powerful writer-director-producer, Christopher Nolan.  James Cameron aside, it is hard to think of any filmmaker who wields such power and influence in contemporary Hollywood.

Christopher Nolan

Sunday

Oliver Jia

Japan deserves to see Oppenheimer

From our US edition

As millions of people across the world rush into cinemas this week to see Christopher Nolan’s latest epic thriller Oppenheimer, one notable country will not be part of the film’s initial release window despite the relevant subject matter — Japan. For reasons that are still unclear, Universal Pictures has not announced a Japanese release date. Yet if any place deserves to see a film based on the life of the theoretical physicist who played an essential role in developing the atomic bombs which ended World War Two, it should be the country that was most affected by them. Hollywood films being delayed for release in Japan is a very common occurrence, and it rarely ever has anything to do with politics.

japan oppenheimer
oppenheimer
Aaron Gwyn

Oppenheimer’s passenger

From our US edition

Ripples appear in courtyard puddle outside the Cavendish Laboratory at the University of Cambridge; a tornadic funnel erupts from the black atmosphere toward Earth. Between these images — the small one of intimate life and the colossal one of planetary death — a haunted young man looks on in curiosity and horror.  The man is Robert Oppenheimer, played to perfection by Cillian Murphy, a theoretical physicist “troubled by visions of a hidden universe.” This visionary, capable of conjuring apocalypse from the particles stowed inside atoms, spends the first fifteen minutes of the film looking bewildered — a gaunt, gray sliver of a man wandering through his life like a ghost.

Wednesday

Alexander Larman

The last stand for intelligent films?

From our US edition

This week, Christopher Nolan’s new picture Oppenheimer began production. Its star-studded cast features everyone from Cillian Murphy as the theoretical physicist J. Robert Oppenheimer to Emily Blunt (as his wife Katherine) to Matt Damon (Manhattan Project director Leslie Groves) to Robert Downey Jr. (as Oppenheimer’s nemesis Lewis Strauss), with Florence Pugh, Rami Malek and Kenneth Branagh in support. Nolan has been granted a $100 million budget by his new studio, Universal, after angrily leaving Warner Bros. in a row over their decision to deny their 2021 pictures an exclusive theatrical release. The implication is clear: Oppenheimer will be a very big deal indeed. Nolan himself possesses a unique level of influence in contemporary Hollywood.

christopher nolan oppenheimer