#albert conti

[misscryptidart]

My opinions on Oppenheimer after misbooking my Barbie tickets and being forced to do a solo movie instead of a double feature with the movie of the year no im not bitter

Tom Conti really nailed Albert Einstein as a tired math grandpa who kind of just ended up being there instead of directly contributing

why did they put *that line* (y'all know what im talking about) in *that scene*????

I was incredibly surprised that Nolan used Oppenheimer's political leanings and the McCarthyism era U.S politics as the vocal point of the movie. It was really interesting to see be played out as honestly as I think it could have.

Drake, where is the activation button for the Trinity Project?

Kitty is the ideals of Gaslight, Gatekeep, Girlboss and she deserved so much better (me. Kitty should have married me.)

Cillian Murphy had such babygirl energy the entire time. Literally, he convinced Grove to fund not only the entire project but also an entire town and also bring in his "formerly" communist brother in by batting his eyes and saying pwetty pwease and I love him for that.

Strauss using his power as a politian to completely ruin Oppenheimer in a sham meeting that was nowhere near truthful or fair to the man because he was embarrassed at a meeting and paranoid about Einstein being turned against him (because he didn't smile at him or some shit idk) was such peak political behavior that was played as childish and petty as it truly was IRL

Oppenheimer trying to poison his tutor for being a Class A dick then regretting it a day later and tossing away the apple was actually such good foreshadowing to his later feelings about the A Bombs

[where-our-stories-start]

Oppenheimer (2023)

[priestmiracle]

*Atmospheric Ignition

[weirdworldofwinnie]

Real J. Robert Oppenheimer with Albert Einstein vs. actors Cillian Murphy as Oppie and Tom Conti as Einstein

[editfandom]

Albert Einstein - Oppenheimer, 2023

[denimbex1986]

'Christopher Nolan has a knack for wrangling impressive ensemble casts for his films, but he really outdid himself with his 3-hour historical epic Oppenheimer. Even if the World War II biopic didn’t include the frequent Nolan collaborator Michael Caine, the stacked ensemble is filled with a terrific ensemble of veteran Hollywood stars, Academy Award-winning performers, underrated character actors, relative unknowns, and a few former box office titans that have seemingly disappeared over the last decade or so. It wasn’t that long ago that Josh Hartnett was the marquee lead of films like Lucky Number Slevin and Black Hawk Down, but his star power has seemingly evaporated, as some actors can only maintain the same level of success for so long. However, Hartnett has always been a more interesting and complicated actor than the roles that he was given at the beginning of his career. Hartnett isn’t just in the middle of a major comeback; he basically steals Oppenheimer with one of the most nuanced supporting performances.

Why Is 'Oppenheimer's Ernest Lawrence So Important?

Oppenheimer is told in non-chronological order, in what has become a hallmark of nearly all of Nolan’s films. While Hartnett doesn’t play a significant role in the black-and-white sections that show the confirmation hearings for Lewis Strauss (Robert Downey Jr.), he is instrumental within the main storyline focused on J. Robert Oppenheimer’s (Cillian Murphy) studies at the University of California in Berkeley, where he first conceived of much of the technology that ended up becoming critical within the Manhattan Project. The sequences in Berkeley aren’t just where Oppenheimer unlocks part of his genius, but also where he falls in love with his second wife Kitty (Emily Blunt), and makes a community of friends for the first time. It is during this period that he works hand-in-hand with Hartnett’s depiction of Ernest Lawrence; having an outsider’s perspective on Oppenheimer’s work was necessary for this sequence to function.

Ernest Lawrence was an incredibly influential figure in Oppenheimer’s life. While he’s not someone that Oppenheimer often looks up to and idolizes like Neils Bohr (Kenneth Branagh) or Albert Einstein (Tom Conti), Lawrence represents the sort of man that Oppenheimer could never really become. Hartnett depicts Lawrence as a man of great importance, intelligence, and class that also has a relatively normal social life and shows an ability to adjust to the stresses within his life. Lawrence encourages Oppenheimer to find a balance within his work, but it becomes obvious that it’s not possible for someone with his capacity for genius. It creates an odd tension between them; Lawrence feels both resentful and sympathetic for his friend. Oppenheimer’s inability to simply “turn off” his brain and focus on something other than his work may end up making him more historically important than Lawrence, but it negates any sense of accomplishment or happiness he may feel.

Josh Hartnett does some really outstanding subtle work with his performance, as there’s an interesting dichotomy to Lawrence’s feelings about Oppenheimer. He’s not resentful, as he and Oppenheimer are able to get along and share much in common due to their shared experience in nuclear research. Lawrence is someone who can communicate with Oppenheimer on an intellectual level about the groundbreaking studies that are being done, but he’s not capable of reaching the same next-level conclusions. Lawrence is well-educated and knows what he’s talking about, but also acknowledges that it’s not his name that the world will remember. It was almost a bit of reflective acting on Hartnett’s part as if he was acknowledging that he was no longer the same star who had led Pearl Harbor to its box-office success two decades prior.

Ernest Lawrence Is Important to the Politics of 'Oppenheimer'

Christopher Nolan isn’t necessarily known as a “political filmmaker,” but while his films aren’t necessarily as overt as the work of directors like Oliver Stone or Spike Lee, there are strong anti-war, anti-escalation themes in The Dark Knight, Dunkirk, and Tenet. Oppenheimer is definitely Nolan’s most overtly political work to date, and Lawrence is instrumental in unpacking the film’s complex understanding (and criticism) of the decisions that Oppenheimer made on behalf of his country during his lifetime. At first, Oppenheimer’s relationship with Jean Tatlock (Florence Pugh) is nothing more than a passionate romantic affair, but it's Lawrence who explains the danger that being involved with the socialist political movement at the time that they are in. Lawrence has his personal feelings about the rising Communist movement, but he worries that Oppenheimer’s mind could be distracted when he’s working on studies that could literally change the way that mankind observes the world.

The political differences between Lawrence and Oppenheimer are fascinating, and Hartnett does a great job of showing Lawrence’s conviction in his belief and handling the dense political dialogue. It’s fascinating that Lawrence’s political beliefs aren’t delved into that deeply other than his expressed desire to keep all discussions about the socialist movement out of the classroom. Lawrence tells Oppenheimer that he considered himself a patriot, but he also wants the University to be an institute of science, and not a hangout spot for a potentially dangerous movement to begin. He and Oppenheimer begin to grow further apart as a result of this, but they still share a mutual understanding of which events transcend their own personal beliefs. Both men react with the same surprise and fear when news of Adolf Hitler’s invasion of Poland breaks.

Josh Hartnett does a great job of showing Lawrence’s empathy for Oppenheimer. While he understands that a traditional celebration isn’t necessarily something that Oppenheimer would enjoy, there’s a friendliness between the two men that continues after General Leslie Groves (Matt Damon) whisks him away to work on the Manhattan Project. Lawrence refuses to report incriminating evidence on Oppenheimer during the government’s investigation, and the two are able to shake hands at the end of the film. That’s more than Oppenheimer can say about Edward Teller (Benny Safdie), whose pro-nuclear beliefs created too much of a divide between them.

Josh Hartnett is in the midst of a much-needed comeback, and it’s great to see that Oppenheimer gave him such a nuanced role to execute. While it may have taken a while for him to finally get the chance to work with Nolan, his performance is one that is essential to show what made Oppenheimer tick on both an intellectual and personal level.'

[grande-caps]

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[gozaimachi]

he took that personally💀

[filmesbrazil]

[aquitainequeen]

One of the most beautifully shot scenes in a beautifully shot film; the very first one ever from Ridley Scott!

[annie-also-draws]

Daily warm-ups but make it ✨Oppenheimer Characters✨ Day 9&10

Leslie Groves, played by Matt Damon (I might have accidentally Barbie-fied this one)

There’s so many good conversations and banters between Oppie and Groves that I have a hard time choosing just one iconic phrase. In the end I choose this one. Through out the movie Groves has always shown full support to Oppie’s demands. Even at the very moment that could potentially end the world, despite his fear, Groves still had faith in Oppie and I personally think it’s a beautiful scene :)

Groves: Are you saying that there’s a chance that when we push that button … we destroy the world?

Oppenheimer: The chances are near zero…

Groves: Near zero!?

Oppenheimer: What do you want from theory alone?

Groves: ZERO would be nice!

Day 10:

Niels Bohr, played by Kenneth Branagh, and his most memorable quotes:

Bohr: The power you’re about to reveal will forever outlive the Nazis, and the world is not prepared.

You are an American Prometheus. The man who give them the power to destroy themselves. And they’ll respect that. And your work will really begin.

The world was indeed not prepared for what was coming 🥲.

Albert Einstein, played by Tom Conti

My favorite conversation between Einstein and Oppenheimer has to be where he confronted Oppie about the interrogation and the one close to the end where he foreshadowed Oppenheimer’s future.

Einstein: I left my country, never to return. You served your country well. If this is the reward she offers you then perhaps you should turn your back on her.

Oppenheimer: Damn, I happen to love this country

Einstein: Then tell them to go to hell.

Einstein: One day, when they’ve punished you enough, they will serve you salmon and potato salad, make speeches, give you a medal, Pat you on the back and tell you all is forgiven. Just remember it won’t be for you. It will be for them.

In conclusion, Einstein got no chill. Whoever spoiled that Einstein is a passive boogie man who pops up here and there were lying.

This quote is an interesting parallel to what Kitty told Oppie when she figured out what was happening:

Kitty: Did you think that if you let them tar and feather you, then the world will forgive you? They won’t.

[unfortunatetheorist]

Yes! This is REALLY far away from my usual type of post, but Oppenheimer was too good of a movie to not be mentioned. The BAFTA was truly well-deserved, and I'm sure this movie, like many others, will go down in history as one of the greatest of all time.

¬ Th3r3534rch1ngr4ph

[thebrownees]

"Oppenheimer" has more Nobel Prize-winning characters than any movie in Hollywood history. Who are the actors who play them (and the spy Klaus Fuchs)?

[saltyinternetflower]

Tumblr will leave nothing sacred 😂😂

[viggos-mortensen]

TOM CONTI as Albert Einstein in Oppenheimer (2023)

[denimbex1986]

'It struck me watching Christopher Nolan’s masterful three-hour epic telling of the story of J. Robert Oppenheimer, long labeled the Father of the Atomic Bomb, that this is a period piece with an exclamation point for audiences today.

In the 1940s, Oppenheimer and a team of brilliant scientists traveled into the unknown to create the ultimate weapon of mass destruction, the A-bomb, but with the noble reason that its use could be an end to war, its explosive and wide-ranging ability to tear apart vast areas of the planet would be used ultimately as a deterrent, not an endgame. It would be used against Nazi Germany in World War II, an answer to Hitler’s own demented vision of world dominance and annihilation. But anytime you are doing something never done in the whole history of humanity, there is risk, moral questions, unintended consequences and the possibility of building a monster even Dr. Frankenstein could not have imagined — or stopped.

So I was thinking about the current discussions of AI — its potential for good and life-changing breakthroughs but also, as scientists and its Silicon Valley creators have been warning recently, a new gadget (as the A-bomb initially was nicknamed) whose use could careen out of control and destroy us all. This is no mere science fiction, and neither was getting “the bomb,” which did the thing for which it was built and had the effect of ending World War II (but after Germany surrendered) when it was dropped twice on Japan in August 1945, first Hiroshima and then Nagasaki. The result for humanity there was devastating, but it turned out it was just the beginning.

Nolan is simply an exceptional filmmaker whose cinematic sensibility is steeped in the classics but merged with modern sensibilities and tools to make one-of-a-kind visual experiences with real ideas about the world around us. With Oppenheimer, his interest is in the complex mind of J. Robert Oppenheimer (played by Cillian Murphy in his sixth collaboration with Nolan but first as the lead), a complicated but brilliant physicist tasked with leading the Manhattan Project, the secret effort to create the nuclear bomb, a weapon so powerful it could be used to end war forever — in the right hands. Oppenheimer, a man with leftist politics even accused of being a communist, knew he could bring all the elements together but also — as we see his story played out in an unusual first-person approach in Nolan’s stunning screenplay based on the Pulitzer Prize-winning book, American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer by Kai Bird and Martin J. Sherwin — a moral conundrum gathering in his head as he begins to envision the dangers beyond a short-term use of a weapon that could — and did — spark an arms race and a new world order that changed us forever.

Nolan’s movie is set right at the start but serves as a fascinating glimpse into those who had it in them to pull off this remarkable feat but also had to live with its consequences, something we all have to live with today in a shaky time where the nuclear threat has sadly not gone away but only brought the doomsday clock closer to midnight than ever. How many times lately have we heard Putin try to make its use in Ukraine a possibility, even pointing out the Americans have been the only ones to ever use it — so far?

It is not a spoiler to reveal that Nolan ultimately chose not to show the horrific results of what happened the first time the Americans dropped that A-bomb over Japan. Instead we see it played out through Oppenheimer’s haunted eyes, a far more effective and chilling approach, achieved with some superior special effects married to music (Ludwig Goransson did the pulsating score) and superb, ear-rattling sound design. This ultimately is not an action spectacle or bomb-dropping war movie but a very human one in which its title character faces a moral dilemma shared by few in history, if anyone.

Oppenheimer’s story is told in non-linear style, shuffling back and forth to different periods in time, his own tale shot in color and told in first person, the later trials explaining how it all happened from various points of view shot in striking 65MM black-and-white film — particularly Robert Downey Jr.’s cagey Lewis Strauss, who was the founding commissioner of the U.S. Atomic Energy Commission and later a Cabinet appointee as Secretary of Commerce in the Eisenhower administration.

Although they are two key players here, Nolan has made a very dense film with a very large and starry cast — three recent Best Actor Oscar winners have small supporting roles, if that gives you an idea — the kind we used to see in ambitious Hollywood films by great directors but not so much lately, at least on this intellectual scale. Matt Damon is excellent as Leslie Groves, the Army officer who was director of the Manhattan Project and brought Oppenheimer into it; Emily Blunt is riveting as Kitty Oppenheimer, his wife (on her fourth marriage) but the one who clearly was his match; Florence Pugh plays Jean Tatlock, with whom he had a sizzling but tragic affair; Josh Hartnett is full of his own energy as the lively friend and nuclear scientist Ernest Lawrence; Kenneth Branagh is Niels Bohr, a Nobel Prize winner in physics who serves as sort of a mentor; Benny Safdie is great as Edward Teller, the theoretical physicist who pushed further into development the terrifying H-bomb, something Oppenheimer vehemently opposed; and on and on.

Those three recent Best Actor winners have memorable, if brief, moments as well. Casey Affleck is Boris Pash, the Presidio’s Chief Army Counter Intelligence Officer; Rami Malek is an associate physicist who makes his mark in a Senate hearing later in the film; and an unrecognizable Gary Oldman is highly amusing as President Harry Truman in one of the film’s most memorable scenes as he invites Oppenheimer into the Oval Office to congratulate him on the A-bomb, only to hear Oppenheimer’s new misgivings about its use going forward and that the Russians are on the path to getting it. He shuts him down, dismissing that idea and reminding him, in pure Trumpian-style bravado, that it will be he who will be remembered as the one who actually used it and won the war.

Shout-outs as well to David Dastmalchian as William Borden, a zealous nuclear advocate; Jason Clarke as Roger Robb, who was Special Counsel at the 1954 hearing to deny Oppenheimer’s security clearance; Tony Goldwyn as Atomic Energy Chairman Gordon Gray; and Jefferson Hall as Haakon Chevalier, a key early friend of Oppenheimer’s. Veteran actor Tom Conti also is simply terrific in his few scenes as Albert Einstein, a famous confidant of Oppenheimer’s. Casting director John Papsidera should get plaudits for helping to put together this far ranging cast of fine actors, way too many to mention here.

At three hours, there is a lot of story to tell here, and Nolan condenses it nicely and really moves this along with the pace of the best thrillers. The scene where the big first Trinity test of the bomb occurs in the New Mexico desert is pulse-pounding suspense (no one knew when the button was pushed what its effect on the Earth’s atmosphere would be), aided significantly by the razor-sharp editing of Jennifer Lame and ace cinematography by Hoyte van Hoytema, working for the fourth time with Nolan. But this is a movie where you never look at your watch no matter what the running time. Murphy gets the deserved role of a lifetime and really captures all the contradictions of this brilliant, tortured, complicated man. Downey gets his best role in years, a real standout as well.

From a man who has taken us into places movies rarely go with such films as Interstellar, Inception, Tenet, Memento,the Dark Knight Trilogy, and a very different but equally effective look at World War II in Dunkirk, I think it would be fair to say Oppenheimer could be Christopher Nolan’s most impressive achievement to date. I have heard it described by one person as a lot of scenes with men sitting around talking. Indeed, in another iteration Nolan could have turned this into a play, but this is a movie, and if there is a lot of “talking,” well he has invested in it such a signature cinematic and breathtaking sense of visual imagery that you just may be on the edge of your seat the entire time.

Hopefully people will see it in a theater, a place of worship for people like Nolan and me. It was made on the biggest film stock possible and meant for the largest screens, but it isn’t mere summertime escapist entertainment like most of the movies in large formats these days. At the very least, it is a necessary reminder that we are still sitting on the powder keg Oppenheimer and his team created, and we still need to heed his warnings, maybe now more than ever.

Oppenheimer is the most important motion picture of 2023, and maybe far beyond.'