cinematic tour de force

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tour de force

Definition of tour de force

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1802, in the meaning defined above

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“Tour de force.” Merriam-Webster.com Dictionary , Merriam-Webster, https://www.merriam-webster.com/dictionary/tour%20de%20force. Accessed 12 Sep. 2024.

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Why 'Zero Dark Thirty' Is the Best Film of the Year

Director Kathryn Bigelow's latest is a cinematic tour de force, but one open to moral questions.

Director Kathryn Bigelow's latest is a cinematic tour de force, but one open to moral questioning.

Khobar, Saudi Arabia, May 29, 2004: A terrorist faction affiliated with al-Qaeda attacks two oil installations, killing 19 foreigners and 3 locals.

London, July 7, 2005: Four suicide bombers blow themselves up on public transit during rush hour, killing 52 civilians.

Islamabad, September 20, 2008: A dump truck laden with explosives detonates in front of the Marriott Hotel, killing at least 54.

Khost, Afghanistan, December 30, 2009: A suicide attack against Forward Operating Base Chapman kills 9, including 7 members of the CIA.

For all the political talk of the War on Terror, it's a war that remains largely an abstraction in post-9/11 America, with long periods of relative silence punctuated by occasional news of a terrorist attack overseas. Zero Dark Thirty , the stunning new film by director Kathryn Bigelow and screenwriter Mark Boal, has been widely, and accurately, described as a "procedural," an intercontinental detective story about the hunt for Osama bin Laden. But it is also an unconventional war movie about an unconventional war, one in which those on the front lines are not principally soldiers and marines, but intelligence analysts and operatives. For them, the war is not a series of loosely connected news events, but a daily, agonizing reality.

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It is already difficult to discuss Zero Dark Thirty without discussing its attendant controversies, and I won't try. But before wading into these, let me say that, judged purely on cinematic grounds, Zero Dark Thirty is a tour de force, and the best film of the year. Bigelow and Boal's prior collaboration, The Hurt Locker , was extraordinary in its execution but relatively narrow in its ambitions, a series of snapshots from a life lived at unthinkable extremes. With Zero Dark Thirty , the filmmakers bring the same meticulous eye and sense of harrowing immediacy to a story of vastly greater scope.

At the center of the film is Maya (Jessica Chastain), a young CIA analyst of undisguised talent and obstinacy. We first meet her in 2003, when a veteran interrogator named Dan (Jason Clarke) introduces her to the savage realities of the Agency's detainee program. "When you lie to me," he tells Ammar (Reda Kateb), a captive with possible links to al Qaeda, "I hurt you." It's a promise fulfilled with the now all-too-familiar litany of brutal techniques: beatings, waterboarding, stress positions, extremes of cold and dark, sexual humiliation, sleep deprivation, mind games. "It's gonna take a while," Dan explains to Maya. "He has to learn how helpless he is."

Eventually Ammar produces a name, Abu Ahmed al-Kuwaiti, and the film enters its long second act, its procedural phase, in which leads are followed, lost, and rediscovered. Maya (a character based on a genuine CIA analyst whose identity remains classified) is convinced that Abu Ahmed is a courier with direct ties to bin Laden. But her superiors are unpersuaded, and her consequent insubordinations become progressively more explicit. Years tick by, as the story winds it way through Islamabad and Kuwait City, through Langley, Virginia and a "black site" in Gdansk, Poland.

Until May 2, 2011, when Maya's tenacious conviction is vindicated in a walled compound in Abbottabad. Here, in the movie's final act, Bigelow dramatizes the bin Laden raid with all the meticulous care of the Seal Team 6 squad that preceded her: muffled Blackhawks thrum across the Khyber Pass; night vision paints the blackness a queasy green; explosives are set, shots fired, and blood spilled.

Zero Dark Thirty is, like the story it chronicles, a sprawling enterprise—one that, unlike so many other offerings of this holiday season, earns every minute of its two-and-a-half-hour-plus running time. The large cast encompasses Jennifer Ehle, Kyle Chandler, Mark Strong, Joel Edgerton, Chris Pratt, Harold Perrineau, Edgar Ramirez, James Gandolfini, and too many others to catalog. As Dan, the ambivalent interrogator, the Australian-born Clarke is particularly notable, building on the work he did earlier this year in Lawless .

Chastain's Maya, though, remains a bit of a cipher. The actress is good, as always, and it is a relief that her character has not been burdened with backstory. Yet something is missing, some telling idiosyncrasy, especially when she makes her most forceful declarations. (Explaining her attendance at an Abbottabad briefing she tells the CIA chief, "I'm the motherfucker who found this place.") For all Chastain's gifts, Maya comes across less as an individual than as the expression of an idea: the woman who must be tough enough to survive in a male environment, a topic about which Bigelow knows more than a little.

As for Bigelow herself, her direction is vital, controlled, enthralling. If The Hurt Locker cracked the door on her cinematic gifts, Zero Dark Thirty kicks it wide open. Boal's script, meanwhile, is a comparable marvel, gripping yet utterly authentic.

But the film is not, of course, authentic in the most literal sense, which brings us to the overlapping controversies it has engendered. The first erupted long before the movie even screened, when news broke that the Obama administration had granted Bigelow and Boal access to classified information, and opponents of the president charged that the movie would amount to pro-White House propaganda. Their concern was misplaced: Obama appears only once, on a TV screen in the background, and his presence is ironic at best.

But the filmmakers' extraordinary access raises other, more troubling questions. Bigelow and Boal have presented their filmmaking process as "journalistic," while at the same time stressing that the resulting movie is a work of fiction, not a documentary. The problem, as Peter Maass and others have noted, is that it is impossible to know where the journalism ends and the fiction begins: in short, where the filmmakers have been privy to secrets shared by the CIA and where they've simply made things up.

Compounding such concerns is the sense in many quarters that Zero Dark Thirty is, at least implicitly, pro-torture—that it shows that "waterboarding works." I confess that my initial response was very nearly the opposite: No one, I thought, who sits through the film's early, excruciating scenes, will ever again claim (as many advocates of "enhanced interrogation" did) that waterboarding does not constitute torture. Moreover, unless I misremember, it is neither waterboarding nor other physical abuse that results in Ammar's eventual confession, but rather the kindness and trickery that follow. (Though one can, of course, argue that it is only the abuse that makes the later trickery possible.) Several writers have also cited as evidence of pro-torture bias a scene in which a peripheral CIA agent complains, after the detainee program is shut down, that intelligence will be harder to obtain. But I was equally struck by another moment. The CIA director (Gandolfini) convenes a meeting to assess the likelihood that bin Laden will be found at the Abbottabad compound, and the most skeptical of all those sitting around the table is Dan himself, who places the odds at a "soft 60" percent. The very person who conducted the initial interrogation, in other words, is the one least convinced by the intelligence it gleaned.

Which is not to say that I necessarily disagree with critics of the portrait painted by the film; rather that I am conflicted, and eager to see it a second time with their complaints in mind. With Zero Dark Thirty , Bigelow and Boal have produced a powerful, morally complicated work on an urgent subject . It is a film that deserves—that almost demands—to be seen and argued over.

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Review: ‘Dunkirk’ Is a Tour de Force War Movie, Both Sweeping and Intimate

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By Manohla Dargis

• July 20, 2017

One of the most indelible images in “Dunkirk,” Christopher Nolan’s brilliant new film, is of a British plane in flames. The movie recounts an early, harrowing campaign in World War II that took place months after Germany invaded Poland and weeks after Hitler’s forces started rolling into the Netherlands, Belgium, Luxembourg and France. The plane, having glided to a stop, has been defiantly set ablaze by the pilot to avoid its being captured. It’s an image of unambiguous defeat but also an emblem of resistance and a portent of the ghastly conflagrations still to come.

It’s a characteristically complex and condensed vision of war in a movie that is insistently humanizing despite its monumentality, a balance that is as much a political choice as an aesthetic one. And “Dunkirk” is big — in subject, reach, emotion and image. Mr. Nolan shot and mostly finished it on large-format film (unusual in our digital era), which allows details to emerge in great scale. Overhead shots of soldiers scattered across a beach convey an unnerving isolation — as if these were the last souls on earth, terminally alone, deserted. (Seen on a television, they would look like ants.) Film also enriches the texture of the image; it draws you to it, which is crucial given the minimalist dialogue.

The movie is based on a campaign that began in late May 1940 in the French port city of Dunkirk, where some 400,000 Allied soldiers — including more than 200,000 members of the British Expeditionary Force, the British army in Western Europe — were penned in by the Germans. The British, faced with the capture or possible annihilation of their troops, initiated a seemingly impossible rescue. Named Operation Dynamo , this mission has assumed near-mythic status in British history and been revisited in books and onscreen; it shows up in “Mrs. Miniver,” a 1942 Hollywood weepie about British pain and perseverance in the war meant to encourage American support for the Allies.

War movies tend to play out along familiar lines, including lump-in-the throat home-front tales like “Mrs. Miniver.” “Dunkirk” takes place in battle, but it, too, is a story of suffering and survival. Mr. Nolan largely avoids the bigger historical picture (among other things, the reason these men are fighting is a given) as well as the strategizing on the front and in London, where the new prime minister, Winston Churchill, was facing the horrifying possibility of diminished military muscle. Churchill is heard from, in a fashion, but never seen. Mr. Nolan instead narrows in on a handful of men who are scrambling and white-knuckling their way into history on the sea, in the air and on the ground.

By turns intimate and sweeping, the film opens with six soldiers walking away from the camera down a spookily deserted street. Their bodies are shown in full, head to toe, and they are flanked by low buildings, the sort that now look so charming in touristic photographs. Slips of paper swirl around the men like autumn leaves. A few grab at the papers. One tries slurping water from a nearby garden hose; another pokes a hand through an open window, searching for a smoke. Still another reads one of the papers, which shows a map of the surrounding area encircled by arrows and ominous words of warning in English. He then crumples it, unbuckles his belt and begins to squat.

It’s a somewhat perplexing, awkwardly funny moment — this is a manifestly serious situation, and you’re about to watch a man defecate. You don’t know whether to laugh, but before you decide, shots ring out and the soldiers start running, the camera quickly following. The haunted emptiness is suddenly filled with the sounds of frantic escape and whizzing bullets. And then the men begin falling, one, two, three, until just the unbuckling one remains, scrambling first over a gate and soon onto a beach where thousands of other soldiers are massed and waiting. He silently takes in the extraordinary scene and then hustles over to a dune to begin undoing his belt again.

Scarcely a word has been uttered up to this point, yet much has been expressed: isolation; danger; desperation; fear; relief; and sheer, extreme bodily need and effort. Throughout this de facto prologue, Mr. Nolan emphasizes the concrete details, making you acutely aware of the fine-grained textures — the sores and embedded dirt on a man’s hands — and every resonant sound: the dribbling of water, the fluttering of paper, and the sharp crack and mechanical buzzing of rifle fire that turns into muffled thuds when bullets enter bodies. By the time the surviving soldier reaches the beach, you are already closely acquainted with his heavy breathing, wild fumbling and clumsy, chaotic running.

Soon, the scene switches to another port, where a British teenager, George (Barry Keoghan), is helping a father and son (Mark Rylance and Tom Glynn-Carney) unload a small yacht that’s been requisitioned for the Dunkirk mission. The three men instead set sail on their own, joining a civilian fleet — a rousing, motley armada of tugs, steamers, ferries and so on — that’s racing across the Channel. A third, astounding narrative section soon opens in the air, where three British Spitfire planes are quickly engaged in battle against German planes headed for Dunkirk, racing through the vast canopy and bobbing under clouds as the sun flashes, temporarily blinding them.

Mr. Nolan’s elastic approach to narrative works beautifully in “Dunkirk,” which oscillates among its three sections, each largely taking place in distinct locations in different time frames. The events on the beach — called the Mole for the breakwater that’s used as a dock — unfold during one week. The events on the sea occur in one day, while the air scenes transpire in an hour. The locations and the time periods are announced onscreen. At first the dividing lines aren’t always obvious as Mr. Nolan cuts from daytime scenes on the ground to those in the sea and in the air, a slight merging of space and especially of time that underlines the enormity of a fight seemingly without end.

Once Mr. Nolan begins switching between day and night, the lines dividing the three narrative segments mostly sharpen. Even as each section — with its individual dramas and perils — comes closer into view, Mr. Nolan keeps them all in dynamic play with one another. Some of this he achieves with stark visual echoes, as when water rushing into a downed Spitfire engulfs the pilot and elsewhere a soldier nearly drowns. (Tom Hardy plays the most critically important pilot, while a sympathetic Jack Lowden takes on a critical support role.) At one point, Mr. Nolan pulls the three narrative strands tightly together, creating a tremendous, enveloping sense of bone-deep dread.

“Dunkirk” is a World War II movie, one told through soldiers, their lived and near-death experiences and their bodies under siege. Names are generally irrelevant here; on the beach — and in the sea and air — what counts are rank, unit, skill and the operation, although more important is survival, making it through another attack and somehow avoiding exploding bombs. Mr. Nolan’s emphasis on the visceral reality of Dunkirk leaves much unsaid; even in some opening explanatory text, the enemy isn’t identified as Nazi Germany. The soldiers, of course, know exactly who they are fighting and perhaps even why, but in the field the enemy is finally the unnamed stranger trying to kill them.

The soldier who scrambles over the gate and onto the beach is called Tommy (Fionn Whitehead) in the credits, but I don’t remember hearing or reading his name. Mostly, I just thought of him as Our Boy, less because of his youth than because of the vulnerability communicated through Mr. Whitehead’s slight figure and tangible physical performance, his small and large gestures and moves: the darting, panicked eyes; the nervous, abrupt gestures; the hunched shoulders. In time, Tommy is joined by other soldiers waiting and running and ducking on the beach, the most important played by the equally fine Aneurin Barnard and the singer Harry Styles.

Mr. Nolan’s unyielding emphasis on the soldiers — and on war as it is experienced rather than on how it is strategized — blurs history even as it brings the present and its wars startlingly into view. “Dunkirk” is a tour de force of cinematic craft and technique, but one that is unambiguously in the service of a sober, sincere, profoundly moral story that closes the distance between yesterday’s fights and today’s. Mr. Nolan closes that distance cinematically with visual sweep and emotional intimacy, with images of warfare and huddled, frightened survivors that together with Hans Zimmer’s score reverberate through your body. By the time that plane is burning — and a young man is looking searchingly into the future — you are reminded that the fight against fascism continues.

Dunkirk Rated PG-13 for intense and realistic war violence. Running time: 1 hour 46 minutes.

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Meaning of tour de force in English

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• a feather in your cap idiom
• a roaring success idiom
• accomplishment
• achievement
• achievement test
• have something to your credit idiom
• have something under your belt idiom
• secret sauce
• sense of achievement
• stratosphere

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to move something by pulling it along a surface, usually the ground

Treasure troves and endless supplies (Words and phrases meaning ‘source’)

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– Entertainment Analysis and Reviews

Exploring “Oppenheimer”: A Masterpiece by Christopher Nolan

“Oppenheimer,” the 2023 biographical thriller film directed by Christopher Nolan, stands as a masterpiece that delves into the life of J. Robert Oppenheimer, the renowned theoretical physicist often referred to as “the father of the atomic bomb.” Based on the 2005 biography “American Prometheus” by Kai Bird and Martin J. Sherwin, this cinematic gem chronicles the fascinating journey of Oppenheimer, who played a pivotal role in the development of the first nuclear weapons during the iconic Manhattan Project, marking the beginning of the Atomic Age. With an impressive ensemble cast, including Cillian Murphy as Oppenheimer, Emily Blunt as his wife Katherine “Kitty” Oppenheimer, Matt Damon as General Leslie Groves, and Robert Downey Jr. as Lewis Strauss, the film brings the enthralling historical narrative to life.

Nolan’s passion for storytelling and keen eye for cinematic detail shine through in “Oppenheimer.” The film’s production was no small feat, with the use of IMAX 65 mm and 65 mm large-format film, and, for the first time in history, sections shot in IMAX black-and-white film photography, creating a visually immersive experience. Moreover, Nolan’s preference for practical effects over computer-generated imagery adds authenticity to the film’s portrayal of historic events.

Premiering at Le Grand Rex in Paris on July 11, 2023, “Oppenheimer” received widespread critical acclaim, with accolades showered upon the cast, screenplay, and visuals. The movie’s simultaneous release with another film led to a unique social media phenomenon, urging audiences to view both movies as a double feature, contributing to its impressive box office success, grossing over $180 million worldwide.

As we embark on this cinematic journey into the life of J. Robert Oppenheimer, let us explore the intricate layers of brilliance that Christopher Nolan has meticulously crafted, and uncover the riveting tale of a man whose contributions shaped the course of history and the world as we know it.

The Making of “Oppenheimer”

Unraveling j. robert oppenheimer’s life, what is oppenheimer about, oppenheimer’s role in the manhattan project, personal and professional milestones, movie themes, the cinematic brilliance of “oppenheimer”, ending explained.

• “Oppenheimer” came to life through the creative vision of Christopher Nolan, who both wrote and directed the film. The project was officially announced in September 2021 after Universal Pictures won a competitive bidding war for Nolan’s screenplay, indicating the industry’s anticipation for another Nolan masterpiece.
• The casting process for “Oppenheimer” saw Cillian Murphy taking on the challenging role of J. Robert Oppenheimer, embodying the complex character with fervent intensity. Accompanying Murphy, other talented actors, such as Emily Blunt as Katherine “Kitty” Oppenheimer, Matt Damon as General Leslie Groves, and Robert Downey Jr. as Lewis Strauss, were chosen to bring depth and authenticity to the film’s pivotal figures.
• In preparation for filming, pre-production began in January 2022, laying the groundwork for what would become a visually stunning and historically accurate portrayal of Oppenheimer’s life and the events surrounding the Manhattan Project.
• To achieve a unique cinematic experience, Nolan utilized a combination of IMAX 65 mm and 65 mm large-format film. Notably, sections of the film were shot using IMAX black-and-white film photography, adding an evocative element to the storytelling. This dedication to visual excellence showcases Nolan’s commitment to pushing the boundaries of filmmaking.
• Throughout production, Nolan stayed true to his signature style of relying on practical effects over computer-generated imagery, further immersing the audience in the world of “Oppenheimer” and capturing the authenticity of historical moments.
• The film’s use of IMAX 70mm screens presented a challenge and a unique opportunity, as only 19 theaters in the U.S. had the capacity to showcase it as intended. However, this decision ultimately allowed viewers to experience the sharpness, clarity, and depth of the image unparalleled in other formats, delivering a feeling of three-dimensionality without the need for special glasses.

“Oppenheimer” takes the audience on a captivating journey through the life of J. Robert Oppenheimer, a brilliant theoretical physicist whose contributions and controversies left an indelible mark on history. The film begins with an exploration of Oppenheimer’s early years in the 1920s, where he grapples with homesickness and anxiety while studying at the Cavendish Laboratory in Cambridge under the mentorship of the demanding Patrick Blackett.

Completing his PhD in physics at the University of Göttingen in Germany, Oppenheimer meets the renowned physicist Werner Heisenberg during his time there. Upon returning to the United States, he sets his sights on expanding quantum physics research within the country, commencing his teaching career at the University of California, Berkeley, and the California Institute of Technology.

Throughout the film, Oppenheimer’s life is presented in a nonlinear narrative, alternating between key events at various stages. Viewers are privy to his interactions with significant figures of his time, such as Niels Bohr, whose life he inadvertently saves by preventing him from consuming a poisoned apple left for Patrick Blackett.

One of the significant aspects explored is Oppenheimer’s personal relationships, including his romance with Jean Tatlock, a member of the Communist Party USA, and his marriage to Katherine “Kitty” Oppenheimer, played by Emily Blunt. The film portrays the complexities of his emotional journey, as well as the profound impact these relationships have on shaping his choices and actions.

As Oppenheimer’s career progresses, “Oppenheimer” delves into his instrumental role in the Manhattan Project, where he takes on the directorship of a secret weapons lab in Los Alamos, New Mexico. This part of the film portrays the moral dilemmas faced by Oppenheimer and his fellow scientists as they wrestle with the profound implications of harnessing nuclear reactions for warfare.

Nolan’s masterful storytelling weaves together Oppenheimer’s scientific brilliance with his personal struggles, painting a multifaceted portrait of the man behind the atomic bomb. As Cillian Murphy portrays Oppenheimer’s character with fervor and intensity, viewers are invited to witness the internal conflicts and challenges he faced, both within the scientific community and from external forces during the controversial McCarthy era.

“Oppenheimer” is a 2023 biographical thriller film written and directed by Christopher Nolan. The movie chronicles the life of J. Robert Oppenheimer, a renowned theoretical physicist who played a pivotal role in the development of the first nuclear weapons as part of the Manhattan Project during World War II. Oppenheimer’s work led to the creation of the atomic bombs dropped on Hiroshima and Nagasaki, marking the beginning of the Atomic Age.

The film delves into Oppenheimer’s journey from his early academic years in Cambridge to his position as the director of the Manhattan Engineer District in Los Alamos, New Mexico. It explores the complexities of Oppenheimer’s character, showcasing his brilliance as a scientist, his personal relationships, and the ethical dilemmas he faced while working on the development of the atomic bomb.

As a biographical thriller, “Oppenheimer” offers an in-depth and thought-provoking portrayal of one of history’s most influential scientists, shedding light on the moral implications of scientific advancements and the far-reaching impact of Oppenheimer’s work on the world. The movie received critical acclaim for its cast performances, narrative structure, and Christopher Nolan’s cinematic brilliance in bringing Oppenheimer’s story to the screen.

• At the heart of “Oppenheimer” lies J. Robert Oppenheimer’s pivotal role in the Manhattan Project, a top-secret research and development effort during World War II to construct the world’s first atomic bombs. As the director of the clandestine weapons lab in Los Alamos, New Mexico, Oppenheimer led a brilliant team of scientists and engineers on the path to harnessing nuclear energy for warfare.
• The film meticulously portrays the intense scientific endeavor involved in the development of the atomic bomb, highlighting the challenging and often morally conflicted decisions faced by Oppenheimer and his colleagues. Their quest for the successful realization of the bomb’s potential is both awe-inspiring and unsettling, as they grapple with the potential consequences of their work.
• The Manhattan Project culminated in the successful testing and eventual deployment of the atomic bombs on Hiroshima and Nagasaki, marking the end of World War II but also raising profound ethical questions regarding the use of such destructive power.
• Nolan’s approach to depicting the Manhattan Project focuses on the process of building the bomb rather than sensationalizing the actual detonations. This decision demonstrates his commitment to portraying the human side of the story, exploring the intellectual and emotional challenges faced by those involved.
• The film showcases the intellectual camaraderie and tensions among the brilliant minds at Los Alamos, providing a glimpse into the collaborative efforts and the unique perspectives of scientists like Oppenheimer, whose work and decisions would shape the course of history.
• The profound impact of the bombings and their aftermath on Oppenheimer’s conscience and the world at large forms a central theme in the film. Oppenheimer’s complex emotions, ranging from pride in his scientific achievement to guilt over the destruction caused, add depth to the character portrayal.
• “Oppenheimer” underscores the historical significance of the Manhattan Project and its legacy, prompting reflection on the responsibility of scientists and society at large when dealing with powerful and potentially devastating technologies.
• Throughout the film, the audience is immersed in the moral dilemma faced by Oppenheimer and his team, raising questions about the fine line between scientific progress and the ethical implications of weaponizing such knowledge.
• Nolan’s sensitive and nuanced depiction of the Manhattan Project not only adds authenticity to the narrative but also invites viewers to contemplate the far-reaching consequences of scientific advancements and their impact on humanity.

• “Oppenheimer” delves into the personal and professional milestones that shaped J. Robert Oppenheimer’s life, portraying the multidimensional nature of this influential figure.
• The film explores Oppenheimer’s early academic years in Cambridge, his interactions with renowned physicists like Niels Bohr, and the profound impact these relationships had on his intellectual growth.
• Oppenheimer’s return to the United States and his endeavors in expanding quantum physics research at the University of California, Berkeley, and the California Institute of Technology showcase his dedication to scientific exploration.
• The portrayal of Oppenheimer’s romantic relationships, particularly with Jean Tatlock, a political firebrand and member of the Communist Party USA, adds complexity to his character and the various influences in his life.
• The film delves into Oppenheimer’s marriage to Katherine “Kitty” Oppenheimer, played by Emily Blunt, and the challenges they faced as a couple amidst the pressures of his career and involvement in the Manhattan Project.
• Oppenheimer’s role as the director of the Manhattan Engineer District in Los Alamos is a central focus, depicting his leadership and the camaraderie among the brilliant scientific minds working towards harnessing nuclear reactions.
• The controversy surrounding Oppenheimer, particularly during the McCarthy era, is explored, shedding light on the anti-Communist attacks that nearly ruined his career and the impact on his personal life.
• “Oppenheimer” presents a nuanced portrayal of Oppenheimer’s character, showcasing moments of brilliance and vulnerability, allowing the audience to witness the complexities of his emotional journey.
• The film also highlights Oppenheimer’s friendships and romances, demonstrating the role they played in both supporting and troubling him throughout his life.

• Scientific Pursuit and Ethical Dilemmas: The film delves into the pursuit of scientific knowledge and the profound ethical dilemmas faced by scientists, particularly regarding the development of the atomic bomb.
• Complexity of Historical Figures: “Oppenheimer” explores the multifaceted nature of historical figures, portraying J. Robert Oppenheimer as a brilliant physicist with personal struggles and conflicting emotions.
• Legacy and Historical Impact: The film examines the lasting legacy of Oppenheimer’s contributions to science and the far-reaching impact of his involvement in the Manhattan Project.
• Moral Responsibility: Themes of moral responsibility are prominent, prompting reflection on the consequences of scientific advancements and the weight of decisions that shape history.
• Personal Relationships and Human Connections: Oppenheimer’s personal relationships, both romantic and platonic, add depth to the narrative, emphasizing the significance of human connections amidst scientific pursuits.
• Inner Conflict and Self-Reflection: The film delves into Oppenheimer’s inner conflict, reflecting on his journey of self-reflection and grappling with the implications of his work.
• Time and Memory: Through its nonlinear narrative structure, “Oppenheimer” explores the significance of time and memory, weaving together past and present to offer a comprehensive portrait of the protagonist.
• Brilliance and Fallibility of Humanity: Themes of brilliance and fallibility underscore the complexity of human nature, portraying Oppenheimer as a flawed yet remarkable individual.
• The Impact of War: The film touches on the devastating impact of war, highlighting the role of scientific advancements in shaping historical events and the consequences on humanity.
• Historical Accuracy and Context: “Oppenheimer” emphasizes historical accuracy and context, providing an insightful glimpse into a critical period of scientific and global history.
• Existential Questions: The film prompts existential questions about the nature of scientific discovery, human progress, and the moral implications of groundbreaking achievements.
• Intellectual Camaraderie and Collaboration: Themes of intellectual camaraderie and collaboration are explored as brilliant minds come together in pursuit of scientific breakthroughs.

• “Oppenheimer” showcases Christopher Nolan’s unparalleled storytelling prowess, infusing the film with his signature style and cinematic brilliance.
• The use of IMAX 65 mm and 65 mm large-format film adds a visual grandeur to the film, creating a breathtaking and immersive experience for the audience.
• Nolan’s decision to shoot certain sections of the film in IMAX black-and-white film photography adds a striking contrast and depth to the narrative, emphasizing pivotal moments in Oppenheimer’s life.
• The film’s nonlinear structure, with strands of Oppenheimer’s life intertwined like the double helix of DNA, highlights Nolan’s mastery in constructing complex narratives that captivate and challenge viewers.
• By employing the words “fission” and “fusion” as motifs in the film, Nolan subtly weaves scientific and thematic elements into the storytelling, contributing to a more profound and thought-provoking cinematic experience.
• “Oppenheimer” exemplifies Nolan’s commitment to historical accuracy and attention to detail, capturing the essence of the era and the scientific advancements that defined it.
• The extensive practical effects used throughout the film contribute to the authenticity of the period and enhance the audience’s immersion in Oppenheimer’s world.
• The lush color palette and high-contrast black-and-white sequences, coupled with Ludwig Göransson’s evocative musical score, create a multisensory experience that complements the film’s narrative.
• Nolan’s direction and the stellar performances from the ensemble cast, led by Cillian Murphy’s fervent portrayal of Oppenheimer, elevate the film to a powerful exploration of a complex historical figure.

“Oppenheimer” culminates with a poignant and contemplative ending that leaves audiences reflecting on the profound impact of J. Robert Oppenheimer’s life and work. As the film draws to a close, viewers witness Oppenheimer grappling with the weight of his contributions to the development of the atomic bomb, the cataclysmic force that reshaped the world.

The nonlinear narrative, skillfully crafted by Christopher Nolan, seamlessly weaves together Oppenheimer’s past and present, providing a deeper understanding of the man behind the historical figure. The juxtaposition of key moments from his academic years in Cambridge, his involvement in the Manhattan Project, and the post-war period where he faces the consequences of his actions, creates an emotionally charged portrayal of Oppenheimer’s journey.

Cillian Murphy’s riveting performance as Oppenheimer captures the inner turmoil and conflicted conscience of a man burdened by the moral implications of his scientific achievements. The film delves into Oppenheimer’s relationships, revealing the complexities of his personal life, from his romances with Jean Tatlock and his wife Kitty to his friendships with fellow scientists.

As the haunting musical score by Ludwig Göransson resonates, the film drives home the immense responsibility that comes with wielding scientific knowledge for military purposes. The devastation wrought by the atomic bombs on Hiroshima and Nagasaki is felt deeply, and Oppenheimer’s role in the creation of such destructive power is presented with unflinching honesty.

The concluding scenes find Oppenheimer facing a pivotal moment, where he confronts the moral consequences of his work during a security hearing in 1954. This poignant sequence showcases the internal struggle of a man who recognizes the weight of his actions and seeks to come to terms with his role in shaping the course of history.

In a thought-provoking denouement, the film offers no easy resolutions or absolutes. Instead, it leaves the audience with lingering questions about the nature of scientific progress, the ethical implications of groundbreaking discoveries, and the human capacity for both brilliance and fallibility.

In its entirety, “Oppenheimer” emerges as a cinematic tour de force, celebrating the complexity of the human spirit while delving into the intricacies of one man’s profound impact on the world. Christopher Nolan’s masterful direction and the exceptional performances of the cast combine to create a film that is as intellectually stimulating as it is emotionally resonant.

In conclusion, “Oppenheimer” stands as a cinematic masterpiece crafted by the visionary Christopher Nolan, weaving a captivating narrative that unravels the life of J. Robert Oppenheimer, the father of the atomic bomb. With meticulous attention to historical accuracy and a dedication to storytelling excellence, Nolan’s direction brings to life the complex web of personal and professional milestones that shaped Oppenheimer’s journey.

The film’s use of IMAX 65 mm and 65 mm large-format film, along with sections shot in IMAX black-and-white film photography, immerses the audience in a visually stunning experience, emphasizing the emotional depth of the story. Nolan’s nonlinear narrative structure, emblematic of the DNA’s double helix, enriches the exploration of Oppenheimer’s life, transcending traditional biographical portrayals.

Through brilliant performances from the ensemble cast, led by Cillian Murphy’s intense portrayal of Oppenheimer, the film delves into the man behind the scientific genius, revealing his vulnerabilities and internal conflicts. Oppenheimer’s role in the Manhattan Project is depicted with nuance, as the film navigates the ethical dilemmas and moral complexities faced by the brilliant minds that forged the atomic bomb.

“Oppenheimer” is not only a powerful biographical thriller but also a profound reflection on the consequences of scientific progress and the responsibility that accompanies it. By merging historical accuracy with cinematic brilliance, Christopher Nolan’s film prompts introspection on the legacy of those who have shaped our world and the impact of their actions.

As audiences embark on this cinematic journey into the life of J. Robert Oppenheimer, “Oppenheimer” remains a testament to Nolan’s visionary storytelling and his ability to delve into the human spirit behind pivotal historical events. With critical acclaim and box office success, the film solidifies itself as an enduring exploration of a complex individual whose contributions forever altered the course of history.

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“Oppenheimer”: A Masterpiece of Historical Cinema

By Webmaster

A Review of Oppenheimer

(By Carmichael Phillips)

“Oppenheimer,” directed by Christopher Nolan, is a cinematic tour de force that delves deep into the life and complex legacy of J. Robert Oppenheimer, the brilliant scientist who played a pivotal role in the development of the atomic bomb during World War II. This biographical drama combines stellar performances, impeccable storytelling, and breathtaking visuals to deliver a thought-provoking and emotionally charged cinematic experience.

A Glimpse into History

The film begins with Oppenheimer’s early career as a physicist and his involvement in the top-secret Manhattan Project, which aimed to create the world’s first atomic bomb. Cillian Murphy’s portrayal of Oppenheimer is nothing short of mesmerizing, capturing the scientist’s intellectual brilliance and inner turmoil. Murphy’s nuanced performance takes viewers on a journey through Oppenheimer’s moral dilemmas and the weight of his scientific achievements.

The Ensemble Cast

“Oppenheimer” boasts an ensemble cast that delivers standout performances. Emily Blunt shines as Katherine “Kitty” Puening, Oppenheimer’s wife, providing depth to the character and adding emotional resonance to the film. Notable supporting roles by actors like Tom Hardy, who plays fellow physicist Richard Feynman, and Marion Cotillard as Jean Tatlock, Oppenheimer’s confidante, round out the stellar cast.

Nolan’s Signature Storytelling

Christopher Nolan’s direction and storytelling prowess are on full display in “Oppenheimer.” The film’s non-linear narrative weaves together multiple timelines, allowing viewers to explore Oppenheimer’s life from different angles. Nolan’s signature use of time manipulation creates a sense of suspense and intellectual engagement, keeping the audience captivated throughout.

Visual Spectacle

As expected from a Nolan film, “Oppenheimer” offers breathtaking visuals that complement the narrative. Cinematographer Hoyte van Hoytema’s work is nothing short of stunning, capturing the vast landscapes of Los Alamos, New Mexico, and the intricacies of the scientific experiments. The film’s visual effects are seamless, particularly in scenes depicting the explosive power of the atomic bomb.

A Moral and Ethical Exploration

At its core, “Oppenheimer” is a profound exploration of the moral and ethical dilemmas faced by scientists involved in the Manhattan Project. The film invites viewers to contemplate the consequences of scientific discovery and the ethical implications of using such devastating power. It challenges the audience to grapple with the moral gray areas of science and wartime decision-making.

A Timeless Relevance

While “Oppenheimer” is firmly rooted in historical events, its themes are timeless. It prompts viewers to reflect on the role of science, power, and responsibility in the modern world, especially in an era where technological advancements continue to raise ethical questions.

“Oppenheimer” is an exceptional cinematic achievement that combines outstanding performances, innovative storytelling, and stunning visuals. Christopher Nolan’s direction, coupled with Cillian Murphy’s brilliant portrayal of J. Robert Oppenheimer, creates a powerful and thought-provoking cinematic experience. The film not only delves into a crucial chapter of history but also raises pertinent ethical questions that resonate with contemporary audiences. “Oppenheimer” is, without a doubt, a masterpiece of historical cinema that deserves recognition and praise.

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Review: ‘Oppenheimer’ Is A Cinematic Tour de Force

“Oppenheimer,” directed by the visionary filmmaker Christopher Nolan, is a cinematic masterpiece that not only delves into the historical events surrounding the development of the atomic bomb but also explores the complex moral and ethical dilemmas faced by its brilliant but conflicted protagonist, J. Robert Oppenheimer.

The film stars Cillian Murphy as J. Robert Oppenheimer and Emily Blunt as his wife, biologist and botanist Katherine “Kitty” Oppenheimer. Oscar® winner Matt Damon portrays General Leslie Groves Jr., director of the Manhattan Project, and Robert Downey, Jr. plays Lewis Strauss, a founding commissioner of the U.S. Atomic Energy Commission.

Academy Award® nominee Florence Pugh plays psychiatrist Jean Tatlock, Benny Safdie plays theoretical physicist Edward Teller, Michael Angarano plays Robert Serber and Josh Hartnett plays pioneering American nuclear scientist Ernest Lawrence.

Oppenheimer also stars Oscar® winner Rami Malek and reunites Nolan with eight-time Oscar® nominated actor, writer and filmmaker Kenneth Branagh.

The film’s narrative is a tour de force, seamlessly weaving together Oppenheimer’s personal journey, scientific brilliance, and the broader context of World War II. Cillian Murphy’s portrayal of J. Robert Oppenheimer is nothing short of extraordinary, capturing the physicist’s internal struggle as he grapples with the consequences of his groundbreaking work. Murphy’s performance brings depth and humanity to a character often portrayed as a distant historical figure.

Nolan’s signature storytelling techniques are on full display here, with a non-linear narrative that keeps the audience engaged and invested in the story. The film’s use of time, sound, and visuals is a testament to Nolan’s mastery of his craft, creating a palpable sense of tension and urgency throughout.

The supporting cast, including Emily Blunt as Kitty Oppenheimer and Michael Caine as General Leslie Groves, deliver impeccable performances that complement Murphy’s portrayal beautifully. Their interactions with Oppenheimer provide insight into the personal and professional challenges faced by the scientists and military figures involved in the Manhattan Project.

One of the film’s most remarkable achievements is its ability to humanize the scientists behind the atomic bomb. It highlights the moral ambiguity surrounding their work, the weight of their decisions, and the haunting realization of the destructive power they’ve unleashed. “Oppenheimer” doesn’t shy away from the ethical questions raised by the atomic bomb’s creation, and it leaves viewers pondering the consequences long after the credits roll.

Hans Zimmer’s haunting and evocative score adds another layer of depth to the film, enhancing the emotional resonance of key moments and contributing to the overall sense of unease that permeates the story.

Visually, “Oppenheimer” is a spectacle to behold. Hoyte van Hoytema’s cinematography captures the grandeur of the New Mexico desert, the claustrophobia of the Los Alamos laboratories, and the sheer awe of witnessing the first successful atomic explosion. The attention to detail in recreating historical settings and events is commendable and adds to the film’s immersive quality.

In conclusion, “Oppenheimer” is not just a historical drama; it’s a thought-provoking exploration of the human condition, the pursuit of scientific discovery, and the moral dilemmas that come with it. Christopher Nolan’s direction, Cillian Murphy’s mesmerizing performance, and the film’s technical brilliance combine to create an unforgettable cinematic experience. “Oppenheimer” is a triumph that will leave you both intellectually stimulated and emotionally moved. It’s a must-see for anyone who appreciates the art of filmmaking and the complexity of the human spirit.

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“Oppenheimer” is a cinematic tour de force

July 21, 2023 By Summer Brooks 1 Comment

Director Christopher Nolan’s new film, “Oppenheimer,” is a cinematic tour de force. mily Blunt, who plays Oppenheimer’s wife Kitty, commented in a press interview about Nolan’s “command of excellence.” While there are some flaws such as the picture being too long at three hours and of the Trinity explosion happening too early in the movie, these seem to be somehow minimized by the sheer grandeur of this project. In that way, it mirrors the complex process that was the Manhattan Project.

This is clearly a biopic. Based on the Pulitzer-Prize-winning book “American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer” by Kai Bird and Martin J. Sherwin, the film goes throughout the scientist’s life. The key focus is on the life-altering moment when Trinity was detonated.

As such, I do not feel the need to provide biographical background on Oppenheimer for the purposes of this review. These facts are readily available in the book or for those wanting a brief synopsis, an online encyclopedia or Wikipedia.

For me, the film seems more like a memoir than a biography. Indeed Nolan wrote a script for this project in first person.

The crucial difference in a memoir is that it relies on one’s recollections, however diminished or altered by time, rather than an outside observer recounting facts. There are several scenes in the film where we see what amount to intertitles of phenomenon presumably imagined and experienced by Oppenheimer. These include electrical currents, lightning, embers, floating particles, and oscillating waves. The effect is striking every time that it occurs.

The movie does an excellent job in showing the contradictions of Oppenheimer’s life. He was involved in leftist causes that made him suspect to lead the Manhattan Project. Yet he was a brilliant theoretician and a natural leader. He was loyal to his wife and had at least one affair. He had his security clearance revoked and then was honored by JFK and LBJ.

There is a great scene that appears twice in the film from different perspectives. In the first occurrence, we see Lewis Strauss (Robert Downey, Jr.) watching Albert Einstein (Tom Conti, in a brilliant minor role) and Oppenheimer (Cillian Murphy) converse but we do not hear the conversation.

In the second instance, we hear the conversation between the two scientists in their very brief tete-a-tete. It is a highlight of the picture.

Nolan designed the film to be shot in 70 mm. Seeing it as I did in an IMAX theater, one might wonder why a biopic rated such a venue. Yet there is something all-engrossing in seeing these large images that envelop you in the picture playing out on screen.

Sitting as I was in the upper right in the higher rows of the theater, I observed an audience completely rapt by the preparations to explode the Trinity bomb. You could have heard a pin drop. What struck me was that we all know that this explosion is going to be successful, so why the intense gaze? This is a true tribute to the storytelling skills of Nolan.

The work of cinematographer Hoyte Van Hoytema is Oscar-worthy. From the work on the intertitles to the black-and-white scenes, his skill is masterful.

Likewise Ludwig Goransson’s score is powerful in places and appropriately light in others. His ability to create a unique sonic landscape that mirrors what we are seeing in the intertitles is first-rate.

If Robert Downey, Jr., does not receive a Supporting Actor nomination at the Academy Awards, it will be a true injustice. His portrayal of Lewis Strauss and Strauss’s role in Oppenheimer’s life is breathtaking in its subtlety and range of emotions. Downey is at the top of his craft here in a career performance.

Murphy himself gives a very understated representation of the scientist throughout various stages of his life. He disappears into the character and so you almost don’t notice him despite his omnipresence in the story.

Of course I am sure that Nolan with his stellar reputation has no trouble attracting actors who want to work with him. Matt Damon, Josh Hartnett, and Florence Pugh are a few of the fine cast in this work. The central theme of the movie seems to be the moment in human history where we acquired the power to alter life on earth through mass destruction. If Trinity had failed, would the world be different? Another reality was the very slim chance that the explosion might ignite the entire atmosphere and annihilate life on Earth.

This theme seems particularly relevant as we approach another threshold for the human race. The seemingly-rapid rise of ChatGPT and AI in general is reworking the landscape of our lives. For the film and TV industries, it bodes major changes in the future. Like any scientific development, the question remains how do we handle it.

An item that might be considered a flaw is that certain characters come and go very quickly. You often don’t get to know much about them. Then they may reappear later and you have to remember who they are. Yet many people were involved not only throughout Oppenheimer’s life, but in particular in the Manhattan Project. How do you convey the complexity of this enterprise if you do not have a complex film? Nolan tackles this head-on by showing the compartmentalization of the Project and by having bit characters who the viewer may or may not remember.

Nolan is one of the few directors who does not pander to his audience. He admirably trusts the viewer’s instincts to keep up. Another director who films in this manner is Jordan Peele. For example, in “Nope,” there is very little exposition or often explanation for what is going on.

Even placing the later, less-exciting years of Oppenheimer as the final third of the movie was not enough to detract significantly from the overall effect. These are the scenes where Downey excels and so that is compensation of its own kind.

The length is usually an issue for me. For once, I was never bored. I don’t know which scenes Nolan could have edited out from this masterpiece.

If you can see this in an IMAX theater, then do so. If you see it in a regular theater by itself or as part of the Barbenheimer experience, then enjoy its thought-provoking messages.

Five out of five stars

Written and directed by Christopher Nolan, Oppenheimer is an IMAX®-shot epic thriller that thrusts audiences into the pulse-pounding paradox of the enigmatic man who must risk destroying the world in order to save it.

The film stars Cillian Murphy as J. Robert Oppenheimer and Emily Blunt as his wife, biologist and botanist Katherine “Kitty” Oppenheimer. Oscar® winner Matt Damon portrays General Leslie Groves Jr., director of the Manhattan Project, and Robert Downey, Jr. plays Lewis Strauss, a founding commissioner of the U.S. Atomic Energy Commission.

Academy Award® nominee Florence Pugh plays psychiatrist Jean Tatlock, Benny Safdie plays theoretical physicist Edward Teller, Michael Angarano plays Robert Serber and Josh Hartnett plays pioneering American nuclear scientist Ernest Lawrence.

Oppenheimer also stars Oscar® winner Rami Malek and reunites Nolan with eight-time Oscar® nominated actor, writer and filmmaker Kenneth Branagh.

The cast includes Dane DeHaan (Valerian and the City of a Thousand Planets), Dylan Arnold (Halloween franchise), David Krumholtz (The Ballad of Buster Scruggs), Alden Ehrenreich (Solo: A Star Wars Story) and Matthew Modine (The Dark Knight Rises).

The film is based on the Pulitzer Prize-winning book American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer by Kai Bird and the late Martin J. Sherwin.

Cast: Cillian Murphy, Emily Blunt, Robert Downey, Jr., Matt Damon, Rami Malek, Florence Pugh, Benny Safdie, Michael Angarano, Josh Hartnett and Kenneth Branagh Written and Directed by: Christopher Nolan Genre: Epic Thriller

"Oppenheimer" is a cinematic tour de force

While there are some flaws such as the picture being too long at three hours and of the Trinity explosion happening too early in the movie, these seem to be somehow minimized by the sheer grandeur of this project. In that way, it mirrors the complex process that was the Manhattan Project.

User Review

August 5, 2023 at 4:38 am

“Tour de Force” is exactly what I said to the buddy who invited me to this as we left the theater. I did not know the running time when we went in and was astonished when we checked the time at the end. There was no slow scene; every moment had me on firmly in the world of the film.

No movie I’ve seen deserves this description more.

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Definition of tour de force noun from the Oxford Advanced American Dictionary

tour de force

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tour de force

[ t oo r d uh fawrs , - fohrs ; French too r d uh fawrs ]

Herman Melville's Moby Dick was a tour de force.

The way the president got his bill through the Senate was a tour de force.

• a feat requiring unusual strength, skill, or ingenuity.

/ ˈtʊə də ˈfɔːs; tur də fɔrs /

• a masterly or brilliant stroke, creation, effect, or accomplishment
• A feat accomplished through great skill and ability: “The speech was a tour de force; it swept the audience off its feet.”

Word History and Origins

Origin of tour de force 1

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‘Wonderstruck’: How Costume Design Superstar Sandy Powell Boosted Todd Haynes’ Cinematic Tour de Force

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After working on “Hugo” (based on Brian Selznick’s illustrated novel, “The Invention of Hugo Cabret”), costume designer Sandy Powell became the first champion of his follow-up, “ Wonderstruck .” In fact, Powell was so taken with his parallel adventures of two deaf children in 1927 and 1977 New York, that she encouraged him to write a screenplay and then gave it to Todd Haynes , who read it and agreed to direct.

“I thought it would make a wonderful movie, and, after Brian finished the script, I joked that I would have to produce it,” said the three-time Oscar-winning Powell (“The Young Victoria,” “The Aviator,” and “Shakespeare in Love”).

“I immediately thought of Todd. He’s so visual and he takes risks, and I was interested in his take on younger people driving the story,” added Powell, who previously worked with the director on “Carol,” “Far From Heaven,” and “Velvet Goldmine.”

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A Tale of Two New Yorks

“Wonderstruck” concerns a mysterious connection between the deaf Rose (deaf actress Millicent Simmonds) and the recently deaf Ben (Oakes Fegley), both drawn to New York 50 years apart in search of a mother and a father. Visually, it alternates between Rose’s black-and-white silent world and Ben’s gritty world.

“It was like working on two different films concurrently but with the same budget for one,” Powell said. “The number of crowds doubles from more than 300 each, and you had to separate your brain. But both periods are grounded in reality and both children are coming from real places and they arrive at a very specific time.”

Powell researched clothing in doc footage and street photography and was inspired by the contrasts. “The ’20s in New York were very optimistic, affluent, and thriving,” she said. “When Rose arrived downtown in the financial district, the streets were absolutely packed with people, but everybody’s fairly well-dressed and intimidating in their splendor, in a sense.

To get into the silent movie ethos, Powell dressed Juliannne Moore’s fading star a la Lillian Gish in a movie inspired by “The Wind.”

“And 1977 was the reverse of that. It was New York at its nadir. There was high crime rate, there was unemployment, there was trash on the street. It was slightly intimidating in a different way. The extras for that world were a much broader range of types and characters.”

According to Powell, dressing extras was especially important because of the impact on the two kids. “They are reacting to, apart from the enormity of the city itself, a seething mass of bodies,” she said. “There is a lot of wonder involved, even though it’s scary and intimidating.”

Therefore, extras were not neutralized in the background. We see all of the characters, textures, and details, right down to the earrings because it was viewed from Rose and Ben’s perspectives. And because Rose and Ben are deaf, their worlds are more visual and full of distinct urban vibrations.

Adjusting to Black-and-White

There was also the central issue of black-and-white during Rose’s story. “The interesting discovery about working with black-and-white was that I couldn’t start off with color,” Powell said. “When I put things together that looked good, they quite often turned out the same bland shade of gray when photographed. I talked to [cinematographer] Ed Lachman about working with strong contrast and real texture that you could see.”

Powell realized that she prefers clashing colors that are tonally similar, but, when photographing in black-and-white you need contrasting tones. For Rose, she chose a black-and-white plaid dress, orange jacket, and red shoes. By contrast, Ben, wore  a simple teal plaid shirt and beige cords.

But after working on both “Hugo” and “Wonderstruck,” Powell was struck by a similar approach to dressing the children. “All of the children really only had one costume,” she said. “I treated both movies as if they were illustrations from children’s books. You somehow pare it down. I wanted each character to have a distinctive, recognizable look so they could be spotted from afar.

“And also that very young children could relate to and understand. In my mind, I don’t remember people changing their clothes in children’s books. It could also go right back to Brian Selznick.”

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