Oppenheimer,” a brainy, brassy yet, on the whole, majestic historical biopic-thriller about the father of the atomic bomb, J.
Robert Oppenheimer. The moment is part of a sequence that recounts a first in the history of humankind: the detonation of the world’s earliest nuclear weapon during the Trinity test explosion, that some of the universe’s top scientific brains carried out as part of the “Manhattan Project.” It was days before the U.S.
dropped a pair of replica atomic bombs on Hiroshima and Nagasaki to a shatteringly devastating aftermath that brought a definitive end to WWII while claiming hundreds of thousands of human lives and launching a nuclear arms race between the U.S.
and the Soviet Union. (Those blasts, Nolan smartly and responsibly doesn’t try to recreate.)The fleeting silence in such a massive, centerpiece of a scene is ironic and unexpected, especially considering Nolan’s appetite for bravura filmmaking and incessant and enormous sound, that’s often delivered with a side of a persistent musical score. (Here, the imposing and stupendous score that can occasionally afford to take a backseat belongs to the Oscar and Grammy-winning maestro, Ludwig Göransson.) The quiet doesn’t last of course.
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