Oppenheimer is powerful film. Perhaps it requires someone versed in science fiction to do something like this. The world changed when Trinity went off and the only art form that doggedly tackled the ramifications of that change was science fiction. Unleashing the power of the atom was transformative in ways most people at the time could not fathom. Since the introduction of that power was as a weapon, it is natural that people would be, at best, ambivalent about its potential. The way the country dealt with that over the next 15 years did little to ease people into this new reality. We were in the midst of the second Red Scare at the same time, so everyone’s nerve endings were constantly assaulted by things triggering panic.

What the film manages to do is convey that arc from the collapsing world order through the triumph of community action and the achievement of dedicated people to create something new down into the cesspool of post-war anxiety that poisoned everything. What begins as a youthful encounter with new physics on the cutting edge of revelation becomes the hardened pragmatism of survival (theory only takes you so far) and then disintegrates in the endemic distrust of men trying to contain something they categorically do not understand. The impossibility of isolating the discoveries of the American program becomes the paranoid insistence that no one can be trusted, turning the youthful dream into the nightmares of the guilty.

At the same time, we are treated to several well-placed mini-presentations of problem-solving and the nature of the subatomic realm as revealed by the drive to build The Bomb.

Cillian Murphy is amazing as Oppenheimer. We are treated to glimpses of many of the players involved, each distinct, and perhaps the fairest portrayal of General Groves in any dramatic presentation to date.

But the core of the film is that turn from one world—one kind of world—to another. The Trinity test is just past halfway in and much of the event occurs in eerie silence. Probably accurate, but as useful as that may be, it is the symbolism that strikes home. No word is spoken, no sound, either of bell or crying prophet, no whisper in the vacuum of transition. Nolan ties this together with an interaction at the beginning, a conversation between Oppenheimer and Einstein by a lake that is unheard (though tragically misinterpreted by the uninvolved witness), and revelation of what was said at the end. Just as in particle physics, we observe small interactions that ramify into huge consequences.

The scientists who were trying to caution the politicians that this was something for which they were woefully unequipped all seem to underestimate the venality of those with whom they must deal. Most of them, anyway. A few understood quite well and acted on their knowledge for both good and ill. Multiple tragedies emerge.

The movie leaves us with much to ponder, but it is we who must do so and conclude what we will. To say they should not have done what they did is pointless. Many of these people were condemned later, for a variety of reasons, early victims in the emerging world of cynical power management that characterized the post-war years.

And for all its excesses and over-the-top drama, it seems that science fiction was always the best tool for trying to cope with what happened after the genie emerged. Mutability is at the core of SF, mutation both subject and theme, and as absurd as some of it may have appeared to the general public, especially through the radiation scares of the Fifties, it has turned out to be more or less on the nose with respect to the cultural reactions. Which, finally, may be why the best dramatization of all this has come from someone who is familiar and skillful with the tools of SF.