Understanding Oppenheimer: Unravelling the hidden messages of the story and the score

J Robert Oppenheimer, played by Cillian Murphy. © Universal Pictures 2023

A few weeks ago, I managed to go and see a viewing of the critically acclaimed, Christopher Nolan masterpiece Oppenheimer. Since then, I've been diving into the depths of musical analysis with regard to Ludwig Göransson's soundtrack - so I thought that it was high time that I share my take on the film itself and its accompanying score. This analysis does contain spoilers though, so I thoroughly encourage you to go and see the film first!

There are certain films that completely trancend the boundaries of mere visual entertainment. Oppenheimer stands as a shining example of a cinematic sensation that not only captivates with its visual storytelling but also enthralls through its meticulously crafted original soundtrack.

The film opens with a delicate yet solemn piece titled "Fission", characterised by violin open 5ths followed by spectral-like notes on the harp. The sonic landscape curated by the film's composer, Ludwig Göransson, encapsulates a sense of melancholy, serving as a prologue that sets the tone for the cinematic experience that follows. We start in a cramped meeting room, where J. Robert Oppenheimer's journey unfolds before us. We appear to see Oppenheimer being interviewed about his academic experience, providing a vivid picture of his academic beginnings at Cambridge University and the pivotal moment that led him down a different path. When Oppenheimer explains to the board his "emotionally immature" visions he struggled with at Cambridge, the score triggers a descending violin glissando (a downward sliding note) which mimics the idea of these complicated theoretical ideas Oppenheimer struggled with. After seeing a brief glimpse into his life at Cambridge (including how he was marginalised by his peers and lecturer at the time), a visiting lecturer, Niels Bohr, notices that Oppy feels constrained within Cambridge academia and urges him to "go somewhere where they let you think". Cue the tempo-and-time-signature-changing masterpiece that is "Can You Hear The Music".

"Go somewhere where they let you think"

I find that there are a multitude of poetic links that synergise the music with the motion picture in Can You Hear The Music. As we catch a glimpse of Oppenheimer's time studying in Germany, a musical pattern unfolds—first, an ascending six-note phrase carried by a steady 3/4 tempo across 8 bars, followed by a quicker downward version in 6/8 time for another 8 bars. The upward motif appears to mirror the slow and meticulous process of theory and research, echoing Oppenheimer's academic journey. Interestingly, it also aligns with the Trinity Project's portrayal later in the film, where the bomb is methodically raised up the launch tower. On the flip side, the downward motif seems to symbolize the 'drop' of the bomb, marking the point where Oppenheimer's control over his own creations slips away. This musical dialogue with the visuals adds layers of depth to the story, making us ponder its intricate threads, adding meaning behind the age old phrase "It takes 20 years to build a reputation and 5 minutes to ruin it".

Another theme that Is certainly worth mentioning when discussing the masterclass that is Göransson's score for this film is 'Meeting Kitty'. This composition serves as an introduction to Kitty, Oppenheimer's wife. Kitty's character is notably intriguing within Oppenheimer's life story, revealing herself to him initially as a biologist, before humorously yet grudgingly acknowledging her shift to a housewife role. The score for Kitty is at face value a pensive and somber soundscape, however listening to the piece paired with the scenes that we see of Kitty during the film (her struggles with alcoholism, coming to terms with being a parent over working and seeing their life be scrutinised and torn to pieces by the security clearance review board) add a depth to the music that paints Kitty as not merely a depressive woman but a woman of strength and integrity. It unveils a multifaceted depth to her character, depicting her as a survivor of profound challenges who remains steadfast in the face of adversity.

"Somehow I've graduated to a housewife"

Two final compositions that deserve our attention are 'Ground Zero' and 'What Have We Done'—pieces that collectively encapsulate the periods before and after the Trinity Test. 'Ground Zero' stands as an electronically infused creation, thoughtfully interweaving an assortment of marble and glass-like synth textures with an oscillating sub-bass undertone. This piece is heard in the film during the set up of the trinity tower; where the bomb is dropped. In a complete contradiction to the sound world that this piece creates, Kitty's theme can also be heard towards the end of the piece, as this piece matches up with a scene that depicts Oppenheimer stating to Kitty that if things go their way with the Trinity Test, then he will send a message for her to "take in the sheets". This beautiful touch to the score adds further depth to their relationship, showing that despite the fact that his research is classified, he still finds a way to involve her and seek her support in his endeavours.

"Kitty and I are grown-ups, we've walked through fire together. We'll be fine."

'What Have We Done' is heard when Oppenheimer approaches Groves (the Director of the Manhattan Project) about the next steps following on from the successful Trinity Test. Oppenheimer appeals for restrictions on the circumstances in which the bombs should be used, and preventative measures to ensure that those circumstances are never reached. Upon the hand-off of the bomb to Army representatives, Oppenheimer expresses his concerns and is met with a cold "With respect, Dr Oppenheimer, we'll take it from here". This calls back to the scene that we saw during the set-up phase of the Manhattan Project where Oppenheimer pleads to a potential scientist-recruit to say that the country needs them, for the scientist to foreshadowingly respond with "until they don't".

"We've given them an ace, it's up to them to play the hand"

I'm convinced that, attempting to culminate all the exquisite examples of cinematography and sound design within this article would transform it into an opus rivaling a doctoral-length thesis. The film expertly weaves together a tapestry of multiple themes in a seamless symphony—chronicling Oppenheimer's internal struggle with the creation of a weapon of destruction, the relinquishing of control over his inventions, the dynamics of his marriage and family, and, perhaps most significantly, the disection of his name and reputation.

Göransson's original score dances in perfect tandem with Nolan's masterful directorial vision, forging an unprecedented synergy that seems to leap off the silver screen. The more I strive to convey the brilliance of this film, the more it becomes evident that words can barely scratch the surface of its intricate nuances and hidden messages. It is with unwavering conviction that I believe this as Christopher Nolan's crowning achievement to date.

For those who haven't seen Oppenheimer, it is still being shown in cinemas! No dates have been confirmed for its release to streaming services as of yet, but be sure to book tickets as soon as possible so you don't miss out!