μεταμορφώσεις

[Jeff Bernstein]

Finally the company ceases to a burst of applause.

The girls retire to their father’s Hall, where they discover

a large table (set up by Diomedes) in the middle

of the room, spread over with gifts as an appreciation

from guests to hosts for their kind labour. Odysseus steps close

and urges the girls to choose, as the good king gives his assent.

(Ah! How the simple king had no suspicion of the trickiness

of the Ithacan!) The girls, as their innocent nature guides

them, takes up the elegant wands, and tests the drums,

and binds their hair with the jewelled hairbands. As for the arms,

they think them gifts for their great father, and give them no notice.

But Achilles went wild inside when he came to the shield,

admiring its shining engraving of hand-to-hand fighting

(and seeing the spots of blood on it, signs of glorious war),

and when he took the spear, well, he could hold himself no longer.

He swayed on his feet, moaning through clenched teeth, and his hair stood up

on his head. He forgot every word his mother had told him,

forgot his secret lover;—The one thought in his heart was Troy.

He stared into his shining reflection in the shield, and he

strengthened, and shuddered. Then Odysseus was there by his side.

“I know you” (he said) “you’re the centaur Chiron’s student, the son

of sea and sky. The Greek ships await you. Troy fears your very

steps will make its city walls shake. Come now, Achilles! No more

games! Let’s get out of here. Let Ida, Zeus’ mountain, look on

fearful, let your father celebrate the news, and your mother

lament her shameful fear! Let’s just get out of here!” By this time

Odysseus was already tearing the feminine clothes

from the boy’s body. Argytes, on command, blew his trumpet

that echoed through the chambers of the palace, terrifying

everyone. The girls scattered every which way, flinging the gifts

aside and hiding behind their father, who thought the Trojan

War had come to engage on Scyros. Meanwhile the garments

slipped untouched from Achilles’ body. He raised spear and shield

and suddenly surpassed in powerful size commanders

Odysseus and Diomedes. The rage of his fire

inside seemed to heat the whole palace, and all looked on amazed

at his warlike presence. He stood at the heart of the trembling

house, looking as if already begging to face cruel Hector.

[Jeff Bernstein]

But in another part of the house Deidamia tore

her clothes, and beat her breasts, and bewailed the trick discovered.

Achilles heard her lament, and recognized her voice; and his

shield lowered to his side. His fury cooled at his secret love.

At these developments he stood thunderstruck—he saw himself

naked, with lethal weaponry in hand. Then he looked at King

Lycomedes and spoke out strong : “Esteemed king, father-in-law,

my dear mother Thetis gave me to you. Dismiss all fears and doubts.

A long time ago this glory awaited you : You shall send

Achilles to Troy, and the world shall hear of it. And if it

is proper to say so, I now love you as I love sweet Chiron,

my kind parent. King, slow your heart awhile and hear my words.

Inside of me is the blood of gods from both sides of my birth.

From among your many innocents they desire one daughter.

Do you permit this? Or do you judge my blood inferior

to yours? Do you seek to refuse the will of the gods? Or will

you take our hands and seal the alliance, and pardon both child

and guest? Already in silence and secrecy I have known

Deidamia. How could her great beauty not bewitch me?

Embraced in my powerful arms how could she resist my strength?

King, father-in-law, why this long face? Why this look of suspicion?

Rather show us the kind face of the granddad.” And Achilles

laid the baby at the king’s feet. And he added : “We’re all Greeks.

We’re all on the same side now.” But as Achilles finished his

speech the king broke out in a hubbub and required restraint

from the arms of the Greek guests. In his one ear Diomedes

spoke of Zeus’s kindness toward hosts, while in the other, friend

Odysseus whispered motivating words no one else heard.

So, stirred though the king was at his good daughter’s indiscretion,

and the trickery of Thetis’ son, and the trickery

of Thetis herself, whom he had always trusted—still and all

Lycomedes stood in fear of thwarting so many destinies,

and obstructing the Trojan War. And for Deidamia

Achilles would have tricked his mother, just as he had tricked him.

And after all why wouldn’t the king want to attach himself

to such a distinguished family? Lycomedes accepts.

 

Deidamia tiptoes out from her hiding-spot, covered

in shame. And in her terror she is unable to see that all

has been made well, and she shoves her lover towards her father,

as if seeking approval to love the mighty Achilles.

[Jeff Bernstein]

EXT. CLIFFS OF DOVER - MORNING

 

Snow storm. Warlike NATIVES standing all along the edge.

 

DECK OF CAESAR’S SHIP

 

TITUS

Wind changes quickly.

 

Projectiles and rocks are coming down with the snow from the NATIVES on the cliffs.

 

CAESAR

Leeward!

 

The Roman fleet is foundering in the waves.

 

CU map in CAESAR’s hand.

 

CAESAR (v.o.)

Seven miles north!

 

ATOP CLIFFS

 

NATIVES watching Roman ships moving northward. The NATIVES, understanding, rush on ahead.

 

DECK OF CAESAR’S SHIP

 

TITUS
They know where we’re going.

 

CAESAR

They have to stop us.

 

HARBOUR

 

An open space. Roman ships coming in.

 

ON LAND

 

NATIVE charioteers and horsemen, well-weaponed, are gathering round the beach.

 

IN HARBOUR

 

In the treacherous waves the troop transports can’t get close enough to the beach to land.

 

ROMAN SOLDIERS in full panoply begin leaping into the sea.

 

UNDERWATER

 

The water is over seven feet deep. SOLDIERS’ feet catch on nothing while weighed down with arms and armour.

 

IN HARBOUR

 

SOLDIERS, floundering in the waves with shields and swords, are riding the waves haphazardly.

 

Suddenly NATIVES leap up out of the water and begin knifing soldiers.

 

YELLS, SCREAMS, WARNINGS, ALARMS, as awkward fighting breaks out in the horrible waters.

 

SOLDIERS on the troop transport ships, unhappy about it, begin leaping into the sea—but not in very large numbers. Far too many of the soldiers remain hesitant to act.

 

ON BEACH

 

The NATIVES are covering the waterline, galloping back and forth on warhorses, sometimes splashing out into the water to kill ROMANS—for the horses are experienced in water combat.

 

DECK OF CAESAR’S SHIP

 

CAESAR

Bring ourselves and all the warships around on the outside. We’ll attack from the other end of the harbour. The very sight of Caesar’s ship will surprise them.

 

IN THE WAVES

 

Caesar’s ship : majestic, terrifying, the first in a series of warships attempting to ride the winds round the fighting to their destination.

 

ON LAND

 

The NATIVES see Caesar’s and the other warships and begin to retreat.

 

IN HARBOUR WATER

 

The NATIVES begin splashing their way back onto land. The SOLDIERS, heartened, yelling, give chase.

 

ON LAND

 

From a high vantage, NATIVES throwing rocks and spears at Caesar’s ship. Troops begin spilling out. The other warships follow suit.

 

DECK OF A TROOP TRANSPORT

 

where many of the SOLDIERS still hesitate to leap into the waves.

 

FLAG-BEARER

(shouting)

Leap, troops, into the sea! The eagle shall follow you! Fight, and you shall be saved!

 

And the FLAG-BEARER, standard in hand, leaps off the ship.

 

One SOLDIER after another begins leaping into the sea until it looks as if all the troops are charging the beach.

 

ON BEACH

 

CAESAR upright on sand, looking triumphant. FLAG-BEARER plants standard by him.

 

As the NATIVES flee into woodland, the ROMAN troops follow.

 

CAESAR (to TITUS)

Get the troops back. The cavalry didn’t make it.

 

CAESAR looks out to sea.

 

SEA WAVES

 

The nine cavalry ships are foundering in the treacherous conditions.

 

ON BEACH

 

CAESAR

Another time.

[Jeff Bernstein]

18.

 

Word is sent to Thessaly, to inform father Peleus

of these great doings, and to ask for warriors and seaships.

Meanwhile King Lycomedes donates two ships of his own

for the war, apologizing to the Greeks for his scant strength.

Then they all enjoyed a day of feasting until nighttime came,

and the two lovers united without fear of being caught.

 

Glimmering in her eyes were new wars and Xanthus and Ida

and all the Greek ships. She reflected on the waves of the sea

and feared auroral dawn. She clasped an arm around her new husband’s

neck. Then she embraced his body and let all her tears flow free.

 

“Look at me, my love.” (she said) “Will you ever again rest your

head on my breasts? Will you ever think me worthy of babies

again? Or will I be forgotten while you ransack homes

of Trojans, and take away their girls as slaves? Will you forget

this bed? I don’t know what to say first, I don’t know what to think

first! How can I find words for you when this is all the time we’ll

have together? This one taste of marriage. This one single night.

The stolen sweets are all gone now. They were given, and taken

away. Go! Who am I to have a say in such monumental things? 

Go! But take care, Achilles : the goddess’ fears may be real.

Go—but promise a happy return. Return to your faithful wife.

My hopes are too huge, aren’t they? I imagine all those Trojan

girls bending their heads for your necklaces of silver and gold,

and forgetting their homeland for your nighttime couch.

Will you remember me? (Why would you speak of me to those girls?

Unless you tell the story of young Achilles lifting wands

on Island Scyros.) My Achilles! Why not take me with you?

Why should I not fight beside you? You stood by me spinning wool,

and joined in the dance to Bacchus (none of this Troy will believe)!

Promise me one single thing, my husband for all time : this boy

shall be your only child—our child : Neoptolemus.”

 

And so on and so forth. He consoles her, vows fidelity,

swears never to touch a female slave, promises treasures

beyond measure from the sumptuous city of Troy, once destroyed.

And his final loving words are taken away on the wind.

 

The End

of

Statius, The Achilleid.

 

22 June 2023 – 26 July 2023

[Jeff Bernstein]

MILD SPOILER : Oppenheimer (2023) : ON THE BERGMAN DREAM

 

Why a horse eating the poisoned apple? The horse is a visualization of the raw potential of Oppenheimer’s future, ready to run; but first the dream must prudently awaken the sleeper, to right a wrong. . . .

 

 

 

 

Edited July 27, 2023 by Jeff Bernstein

[Jeff Bernstein]

Oppenheimer (2023)

 

At end of Part I (breaking film up into by-hour just now), the character of Oppenheimer dons his fedora and takes up his pipe : does this not recall a movie Icon outfitting themselves in their accoutrements? Such as . . . Indiana Jones? In our time, the brainy Oppenheimer is our hero.

[Jeff Bernstein]

The fear here on cinematography.com is Nazi Germany. How timely is Oppenheimer. Obviously what needs doing in the Industry is a reconfiguring of the concept of interpersonal communication. What is required is not a list of demands to be addressed, or compromises to be accepted, but a new form of discourse in which these old ways are swept away and—Everyone must agree that they’re on the same side.

 

Hasn't Hollywood only been awarding itself with Oscars for junk relating to "social conscience" for years now? They talk the talk, but . . . Obviously the executives are fakers. And the stories they tell suck. It's time to wipe the slate clean.

 

Recap : Who are the culprits? Not iconic corporations. Theory : the culprits are all the people Altman jeered at in The Player. These functional illiterates are holding on by their fingertips. All they can do to maintain position is to protect each other : a criminal Situation. Who knows what they say to Corporate, which knows nothing about movies?

 

Why not wipe clean all the executive offices of Hollywood and start over?

 

Why is that so difficult?

 

Fear? Weakness? Cowardliness? I’ll keep theorizing until I come to an agreeable explanation?

 

Good luck.

 

 

 

 

Edited July 27, 2023 by Jeff Bernstein

[Jeff Bernstein]

Hollywood Executives : “Black Lives Matter, but their salaries don’t.”

 

Hollywood Executives : “Me too—but not you.”

 

Hollywood Executives : “We’ll fire all the responsible, honest immigrants working for a living, then make a feel-good movie about the immigrant experience in America for the Academy Awards.”

 

Hollywood Executive Darth Woke : “Vulnerable males, we have you now.”

 

 

 

 

 

Edited July 28, 2023 by Jeff Bernstein

[Jeff Bernstein]

Lunatic Idea or . . . ?

 

The Hollywood Artists bypass the Studios altogether, and for all time : Making deals with Amazon and Netflix and other New Players, and a New Movie Industry is Born, a new Hollywood with new rules. Fairness for all; and Behaving as Human Beings : these are the foundations of the new meritocracy, the new Hollywood.

[Jeff Bernstein]

EXT. HARBOR - THAT NIGHT

 

Full moon hidden behind cloud. Snowstorm thicker. Only a few of the eighteen Roman ships are anchored. Others are turning round and heading back toward the harbour mouth.

 

INT. CAESAR’S SHIP - WAR ROOM

 

CAESAR, TITUS, and GENERALS standing round strategy table.

 

GENERAL 1

(peering out window)

Our ships have started to raise anchor.

 

CAESAR looks down. He frowns at the water sloshing at his ankles.

 

CAESAR

No one had information on tides?

 

TITUS

No, sir.

 

GENERAL 3

We launch now or we’ll be lost.

 

CAESAR

Continue.

 

GENERAL 2

Four of our ships have broken up and sunk. I know that many—I don’t know how many—have had their cordage snapped—sails are down.

 

GENERAL 1

We didn’t bring tools for repair. Rome did not expect to be caught on the sea.

 

TITUS

And our troops have no experience in fighting in water.

 

CAESAR

Continue.

 

GENERAL 3

We raise anchor. All of us. In the morning, when we get back—

 

GENERAL 2

If we get back.

 

GENERAL 3 (cont’d.)

—we’ll find out who’s with us.

 

GENERAL 2

We stay and fight.

 

TITUS

Fight with whom?

 

GENERAL 1

(peering out window)

I estimate we still have—fifty percent?—of our forces.

 

GENERAL 3

But how are we getting word from ship to ship?

 

TITUS

Then we need to get troops to shore. And we have no cavalry.

 

GENERAL 3

We’re brought no baggage with us.

 

GENERAL 2

If we don’t fight, what do we do for food? We’ve brought no corn.

 

GENERAL 1

(looking toward shore)

We can’t see what the Britons are doing.

 

CAESAR

I know what they’re doing.

 

EXT. SHORE - NIGHT

 

In the storm the NATIVES are massing for war, holding weapons on the beach, and in the trees.

 

AMID WAVES IN HARBOUR

 

In the mighty winds CAESAR’S ship swings round on its anchor.

 

IN CAESAR’S SHIP

 

CAESAR and OTHERS hold onto the table as their ship swings unstably round with loud CREAKING.  

 

CAESAR

Each ship will survive the night singularly, and together we’ll assess the situation in the morning.

 

TITUS, etc.

Yes, sir.

[Jeff Bernstein]

Oppenheimer (2023) : Nolan/Kubrick

 

The tremendous Clockwork Orange vibe of the Security Board Hearing office space at the climax of the sequence. “Vibe” includes geometry and lens choice.

[Jeff Bernstein]

Oppenheimer (2023) : Slow Learner Discovers Brilliant Screenwriting Move

 

Ever since, I’ve wondered why the city of Manhattan was brought up during the conversation between young Oppenheimer and Werner Heisenberg (and Isidor Rabi). Now it strikes me as colossally obvious : a genius move by the screenwriter. In the future where WWII awaits, these two men will be, technically speaking, “arch enemies”—with Oppenheimer working on the Manhattan Project. The simplicity of this effect typifies the wondrous ease of the ongoing narrative.

[Jeff Bernstein]

Oppenheimer (2023) : thematic geometry

 

We must keep in mind (that is, not forget until screen-shot-time somewhere) the Relationships between windows and blackboards in Oppenheimer—considering the theory that the character Oppenheimer occupies at least fifty percent of his shots with a window or windows. In how many of the windowless shots is there a blackboard or blackboards? Obviously one thematic connection (apparently a fundamental one?) is that the life of the mind opens up an Expanse, an Infinity inside. Oppenheimer : The mind is the window to the freedom inside. This is a very fine message to promote : recalling Nolan's presentation of our contemporary Super Hero, a super-Brainy person.

 

But one has to earn the freedom inside. One fills the blackboard with the key that opens the window.

 

 

 

 

Edited July 28, 2023 by Jeff Bernstein

[Jeff Bernstein]

Lunatic time.

 

If the Studio Executives think it so sexy to "play hardball", then how about forgetting old-style Strike Action with some fast pitching? Why can't a blacklist work in both directions? "You want a Superhero movie, let's talk." The executives couldn't light a scene if their lives were on the line. If all of the artists act sensibly, then certain movies won't be made unless the craftspeople want them made. These remarks, this author is aware, require both tremendous trust and tremendous restraint in application. From now on, the film crews will decide which films will be made.

[Jeff Bernstein]

The Oppenheimer (2023) phenomenon

 

The Oppenheimer phenomenon is unspeakable. Its success is akin to an Ingmar Bergman movie gathering a Titanic audience. Oppenheimer is up there with Dead Poets Society as one of the most unlikely colossally popular Hollywood movies since who knows when. After only eight days or so, Oppenheimer must already be slotted into “word of mouth hit”—right? The easiest explanation is the easiest to discard : “It’s a Nolan film and they go to any Nolan film.” Sure, but the hypothetical “they” don’t have to tell their friends a hypothetical statement such as : “This movie was way different than I thought. For what it was, I was surprised at how cool it was.” This Storyteller Can Tell A Story! For so many reasons the Oppenheimer phenomenon is unspeakable—

[Jeff Bernstein]

EXT. HARBOUR - MORNING

 

Sunny. Birdsong.

 

DECK OF CAESAR’S SHIP

 

CAESAR inspecting the headland.

 

ON THE BEACH

 

Bleak empty snowcover.

 

CLOSER

 

Mess of tracks in the snow (evidence of retreating warriors?).

 

ON CAESAR

 

He notes what he sees. TITUS steps up.

 

TITUS

Twelve ships lost.

 

CAESAR

We’ll retrieve their timber and bronze to repair our other ships with the material.

 

TITUS

Yes sir.

 

CAESAR

I’ve sent Quintus to bring back the essential tools.

 

TITUS looks back toward the harbour mouth.

 

CAESAR

The rest of us shall be seaworthy in due course.

 

TITUS

Until then?

 

CAESAR

The Seventh Legion shall go and spy out the corn barns. No engagement.

 

EXT. FOREST - DAY

 

CAESAR on horseback. GRIM SOUNDS heard from afar : shouts and clatter of MEN being routed in battle.

 

CAESAR reaches a clearing. He sees the combat.

 

REVEAL

 

An army of Roman infantry in columns behind CAESAR.

 

THEY OVERLOOK

 

A plain. The Seventh Legion trapped by NATIVE BRITONS moving round them on horseback and in chariots. The Roman soldiers have degenerated into confusion, and are easily killed by incoming horsemen, or warriors leaping from chariots, with knives or spears in hand. The BRITONS kill, then leap back onto their moving horses or into their rolling chariots. Caught in the bloody circle of dust, the Seventh Legion faces complete decimation.

 

THE SLOW-DOWN

 

CAESAR doesn’t move.

 

One by one the BRITONS see CAESAR with his army standing on an eminence over the battlefield.

 

One by one the BRITONS slow to a halt. One by one they flee. All are gone within seconds.

 

Sunny. Birdsong. Moans and groans of wounded SOLDIERS.

 

TITUS

Orders, sir?

 

CAESAR

Gather the Seventh. We’ll return to the ships.

 

TITUS

And . . . ?

 

CAESAR

We nurture our strength, then set it free.

 

 

 

 

Edited July 29, 2023 by Jeff Bernstein

[Jeff Bernstein]

Oppenheimer (2023)

 

Josh Hartnett = "the Gary Cooper character" / the Frank Capra vibe / perhaps even Preston Sturges? / = from 1930s charm and 1940s/50s "can-do" American optimism . . . to . . .

[Jeff Bernstein]

The Oppenheimer (2023) phenomenon

 

Obviously, Reason #1 : The Message of the Third Hour Is What People Want To Hear.

 

A person just doing their job gets royally screwed over for it.

 

Oppenheimer (2023) : 10 out of 10 for audience "Relatability". Evidence : the new daily "+" at Box Office Mojo . . .

 

Oppenheimer (2023) : those who should be safeguarding Justice is destroying it. Only the people themselves can fix things. But the fight is a colossal one. More voices like Nolan's is not only required but essential, or this moment in time passes, and for the rest of all of our lives (but not mine, because I'm fighting) everyone is just a weak and cowardly "vulnerable male"  courtesy of the women of Variety.

[Jeff Bernstein]

Let’s Quickly Demonstrate that Richard Brody and the New Yorker are Human Filth

 

The following is more serious than a “bad review”. This is pushback from Tyranny. The good news is that Tyranny is illiterate filth.

 

Article : “Oppenheimer Is Ultimately a History Channel Movie with Fancy Editing"

 

1. “Christopher Nolan’s bio-pic is so intent on being a morality tale that it misses its protagonist’s complexity.”

 

a. This line is gabble from an imbecile. Apply this line to any Shakespeare History Play.

b. Hey, but Richard Brody, thank God, is an expert in character complexity! Please, sir, teach us authors more about writing.

 

2. “And [Wikipedia] has more to say about the movie’s essential themes—the ironies and perils that arise when science, ambition, and political power mix—than the movie itself does.”

 

Brody tells us what what the movies “essential themes” are, as if he knows (and from one viewing!), and then criticizes them. Imbecilic gabble.

 

A few lines in, and the writing is already worthless junk. Your insane author could systematically destroy this Brody BS word by word on a coffee break. But it’s not worth anybody's time. This so-called "man" is an educated imbecile. No need to continue past paragraph 1 except for ritual humiliation (no thanks).

 

P.S. “Fancy” Editing? Did he even see the movie? If I’m not mistaken (as mentioned in an earlier post) there’s only one single shot of so-called “fancy editing” in the entire movie.

 

Maybe because Richard Brody is an entitled wanker the third hour meant nothing to him? Just as it did to the illiterate b***h in The Spectator (UK) (“the third hour dragged” : no, stinky centred crack of darkness, you dragged).

[Jeff Bernstein]

EXT. FOREST - DAY

 

CAESAR and ARMY retreating, carrying with them the wounded of the Seventh.

 

ATTACK!

 

Out of the tree cover come the BRITONS, appearing and disappearing like ghosts, picking off SOLDIERS, one here, one there.

 

PANICKED NOISE rushes up the ranks.

 

CAESAR turns round to look.

 

CAESAR

Keep forward!

(to TITUS)

Send Commius.

 

FOREST - WIDE

 

The Roman ARMY begins to break up.

 

ON TITUS

 

He gallops down the lines with Caesar’s message.

 

WIDE

 

Most of the forces continue with CAESAR.

 

REARGUARD of ROMAN ARMY

 

COMMIUS and men (on horseback) engage the enemy.

 

As if fighting ghosts, they lash out here and there at tree branches, but whoever was there is now gone.

 

CU COMMIUS

 

He takes in a deep surprised breath. He sees :

 

FOREST

 

Empty. Sunny. Moans and groans of wounded soldiers. Birdsong.

 

COMMIUS

Let’s go.

 

EXT. HARBOR - NIGHT

 

Five Roman ships riding at anchor.

 

IN CAESAR’S SHIP

 

By candlelight CAESAR lies on his couch, thinking. No book in sight. Distractedly he snuffs out the candle with his fingertips.

 

EXT. HARBOR - NEXT MORNING

 

A Roman ship enters the harbour—Quintus with the essential tools.

 

MONTAGE

 

Repairing the five Roman ships.

 

ON SHORE

 

BRITONS spying.

 

ON CAESAR’S DECK

 

CAESAR in staring contest with BRITONS.

 

CU OF CAESAR

 

Sighs and lowers head.

 

EXT. HARBOR - MIDNIGHT

 

Caesar’s ship raises anchor. The Roman ships leave the harbour.

 

ON SHORE

 

The BRITONS cheer!

 

AT SEA

 

Caesar’s ship, sailing away into the distance.

 

TITUS (v.o.)

Message from Rome : To celebrate the ongoing achievements of Caesar’s campaigns, the Senate decrees a public holiday for twenty days.

 

FADE OUT

 

 

 

 

Edited July 30, 2023 by Jeff Bernstein

[Jeff Bernstein]

The Oppenheimer (2023) phenomenon

 

The narrative of Oppenheimer (2023) is founded in the creation of the atomic bomb. But the creation and detonation of the atomic bomb may be received as metaphors for the release of energy from a justly enraged public.

[Jeff Bernstein]

Oppenheimer (2023)

 

Theory : The character Oppenheimer puts himself through the third hour to experience a Bresson-like penance.

[Jeff Bernstein]

Oppenheimer (2023)

 

The character Oppenheimer speaking to a cheering public auditorium sequence : Fellini.

[Jeff Bernstein]

Here Comes A Truly Important Point

 

Putting a still-working artist’s filmography into a structure more expressive than a timeline is helpful in many ways. Example : PTA. The storytelling of, say, Boogie Nights and Magnolia is completely different from the storytelling of what I’ll call Stage 3 of PTA’s career (The Master, Inherent Vice, PT). But so-called humans all too often (evidently) bandy the names of films around willy-nilly without regard for the storyteller’s storytelling development. So when media text on, say, Oppenheimer is generated, often other films of Nolan’s are tossed into a mix regardless of any association with each other except Nolan. Example : Though Dunkirk has nothing to do with any of his other films, it’s often just "there" with whatever other Nolan movie. Your humble author believes Dunkirk should be prioritized as a movie that surpasses all of Nolan’s others, and exists up with the other best International movies created in our lifetimes. However, this present author is not the person for the job of organizing Christopher Nolan’s films in a handy developmental structure. Still, a theory : the humanist Nolan of Dunkirk is back and Oppenheimer is a beginning of a New Stage. 

[Jeff Bernstein]

Oppenheimer (2023)

 

“Lewis Strauss was once a lowly shoe salesman.”

“No, just a shoe salesman.”

 

First-rate storytelling. Passing interactions such as this one condition an entire lifetime’s relationship.