A s you are already aware, the Oscars in the categories of best picture, best director and best actor went to the Oppenheimer team. This left no one feeling particularly sur- prised, as it was all expected and somewhat tedious. You should nonetheless definitely watch this film, if you haven't already, just be prepared for it to last a bit longer than you’re used to (around three hours). For starters, whether you like him or not, Chris- topher Nolan’s impressive career as a filmmaker has remained consistent in one element: the non-linear flow of the plot. Visual storytelling with an emphasis on frame composition that uses colours, as in the case of Oppenheimer, which switches between black and white aesthetics and realistic ones, suggests that we may be watching an internalised subjective feeling of the characters and events or a neutral analysis of the personalities. According to critics, this is just one of the many cinematic tools that he uses in presenting this film's three-hour spectacle. Then there’s the cinematic story of Robert Oppen- heimer, the father of the atomic bomb, based on the biography American Prometheus. Dissecting his life’s emotional, scientific, moral and character aspects can be summarised most succinctly in three points: three impulses and three regrets. A vainly impulsive desire to murder his professor by poisoning an apple, a guilty conscience and the successful preventing of a disaster. An impulsive emotional desire to sever all contact with his ex-wife, who was in need of help, and bitter regret when she took her own life. And his last scientific im- pulse to work an atomic wonder and the regret that left him feeling as though he had blood on his hands. His sympathy towards the Communist Party of the U.S. in the post-WWII period and the impulsive game in which he resented those seeking to scrub him from the map of history, especially for his lobbying on the control of nuclear energy, led to a 1954 investigation that is unavoidably reminiscent of Kafka’s The Trial. That’s because, at its essence, Oppenheimer is un- doubtedly a period and political drama and a character study, though as Nolan has himself said, “it is kind of a horror movie”. Nolan’s preferred storytelling method, in which the action switches back and forth, along with twenty-odd characters, the historical, political and sci- entific context, may create in the viewer a feeling of be- ing attacked for the first hour, with a sense of panic over being completely lost among the scientific terms and im- portant events for humanity. But every shot, every scene and every piece of dialogue lands exactly where required as the film approaches its finale. The picture provided by Nolan, with complex narrative and character elements, leaves such a striking impression after three hours that one is left only with a desire to watch it once more, in order to “catch” the details that escaped us. The cast is led by Cillian Murphy, who won all awards in the past year and was truly impressive in this film, demonstrating the full scope of his acting prowess.
„Američki Prometej“. Rastrgnuta na njegov emotivni, naučni, moralni i psihološki život, u najkraćoj verziji može da se sažme u tri tačke – tri impulsa i tri kaja- nja. Sujetnom impulsivnom željom da ubije svog pro- fesora trovanjem jabuke, grižom savesti i uspešnim sprečavanjem katastrofe. Implusivnom emotivnom željom da prekine svaki kontakt sa bivšom suprugom kojoj je bila potrebna pomoć i gorkim kajanjem ka- da je oduzela sebi život. I poslednjim naučnim im- pulsom da učini atomsko čudo i kajanjem zbog ko- jeg je osećao da mu je krv na rukama. Ranija naklonjenost Komunističkoj partiji SAD posle Drugog svetskog rata i ponovo impulsivne igre u kojoj se zamerio onima koji su želeli da ga izbrišu sa istorijske karte, naročito zbog lobiranja o kontro- li nuklearne energije, doveli su ga do istrage 1954. godine koja neodoljivo podseća na Kafkin „Proces“. Kičma „Openhajmera“ svakako jeste istorijsko-po- litička drama i studija karaktera, ali kao što je i sam Nolan rekao, „na neki način je to horor film“. Omilje- na Nolanova metoda pripovedanja u kojoj se radnja premešta napred–nazad zajedno sa dvadesetak liko- va, istorijskim, političkim i naučnim kontekstom, u prvih sat vremena možda će stvoriti osećaj ataka na gledaoca koji se panično može potpuno izgubiti me- đu naučnim terminima i važnim događajima za čove- čanstvo. Ali svaki kadar, svaka scena i svaki dijalog ležu tačno tamo gde je potrebno kada se film pribli- ži finalnim minutima. Slika koju je dao Nolan kom- pleksnim narativnim i karakternim elementima po- sle tri sata filma ostavlja toliko impresivan utisak da postoji jedino želja da se pogleda još jednom kako bi se ulovili detalji koji su nam promakli. Na čelu glumačke ekipe je Kilijan Marfi, koji je u godini za nama pobrao sve nagrade, a zaista je bio impresivan u ovom filmu pokazavši sve svoje glu- mačko umeće.
Tekst / Words: Milorad Milovanović Fotografije / Photography: Profimedia.rs
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