David Krumholtz did not receive an Oscar nomination for portraying Isidor Isaac Rabi in Oppenheimer.
I have to say this is a performance that was unfairly unrecognized by the SAG ensemble award, meanwhile Rami Malek and Kenneth Branagh, for their entirely fine but also entirely unsubstantial work were. A shame though because every time I come back to the film Krumholtz's performance stands out more for me. Which on its own is fascinating to see Krumholtz get to this point anyway, going from Wednesday Addams's wannabe boyfriend, to something like this, which is reflective of his work in Coen brothers films, which is a true character actor in the very best of ways. As it is impossible to see a hint of the child actor of old, as he is so much just simply is this scientist character of Rabi, where Krumholtz's portrayal from the thick New York Jewish accent, to his whole very specific somewhat hunched over manner that only amplifies the period and place where the man originally hails for in every choice, all seem completely natural. This is to the point you'd just think these were entirely Krumholtz's actual mannerisms and accent because he just is this person in a way that is pretty incredible in its straightforward convincing way about. There's no accepting him, he just is, aka what a great character actor can do with such a role. Krumholtz's performance is an aspect of the film that has just that much more of an impact every time I watch the film as the character we perhaps get to know the most who has no ulterior motives and just wants to be a friend to Oppenheimer (Cillian Murphy). Krumholtz brings such a naturally warm and sweet disposition in their first conversation where he mixes the right sense of admiration though with just enough of a bit of a sardonic humoring towards Oppenheimer's skinny frame as they connect on both studying physics and being Jewish. Krumholtz's way of turning his being impressed at his language acquisition skills in one moment then going slightly cockeyed as he ponders how Oppenheimer doesn't know Yiddish, delivers with it just the right sincerity of sort of a tender criticism, who always just means the best for the man. With his way of sharing food with Oppenheimer and requesting that he "eat", Krumholtz every time delivers with just the sweetest bit of care as someone who just likes Oppenheimer. Krumholtz comes in and out of the film a few times and each time he makes an impact by being so convincing in playing this more appreciative note towards Oppenheimer. As we see him first reject then eventually consult on the Manhattan project, where Krumholtz is wonderful by showing a true, without exception, friend to Oppenheimer. As Krumholtz's portrayal of his doubts over the use of physics for a bomb is with a real sense of the gravity of the situation within his eyes this careful consideration, though as naturally wraps that with a true supportive pride in looking at his friend in his position of power in the moment, though again with the natural critique as he tells Oppenheimer to be himself rather than wear the requested military uniform. Krumholtz's performance brings forth the depth of a true friendship for each snippet we do have of him. This being most powerful in his own testimony on Oppenheimer's security clearance meeting, where Krumholtz's performance is great because of the modesty of it. Krumholtz doesn't portray any effort as he defends Oppenheimer, it is just with a simple delivery fitting a man who doesn't have to try to do the right thing, he simply does it for a friend. Although my favorite moment of his performance is when he stares down fellow scientist Ernest Lawrence (Josh Hartnett), who is about to come to testify against Oppenheimer, despite the two having been friends. Krumholtz's stare towards him, that gets Lawrence to reconsider, is great acting by Krumholtz because he uses really the nature of the man, as just the good man in the moment, as his stare only says "really? are you going to do this to our friend", in a small gesture, that perfectly sums up the moment without saying a word. It's absolutely wonderful work by Krumholtz, and accomplished in that it technically is very mannered, but you don't think about it, he just instead is this accepted true bit of unadulterated warmth within the film.
Benny Safdie did not receive an Oscar nomination for portraying Edward Teller in Oppenheimer.
Speaking of other scientists within the program is the notable Edward Teller, who is played by actor/director Benny Safdie, who has been carving a name for himself quite dramatically on both fronts. Safdie's performance is dealing with an innately challenging part partly due to Teller's extremely thick Hungarian accent which was just the reality of his accent so I don't have any reservations regarding that accent whatsoever. Safdie puts on fully and for me it serves its purpose. What I do think that Safdie does effectively within his part, as really a contrast to every other character in the film, is basically present as a scientist whose viewpoint is far more just the expansion without the same kind of considerations that end up weighing so deeply on Oppenheimer as the film progresses. The only moment of reservation is when Teller discovers that setting the bomb off could cause atmospheric ignition that could destroy the world. After such concerns are satiated, what Safdie presents consistently is a man who is only concerned with what he will do next for an even larger bomb. Safdie's performance when for example proposing the Hydrogen bomb, Safdie speaks with a specific determined pride of a man eager towards the idea, to the point when shut down he presents a man frustrated almost like a child not being allowed to play. The moment of Oppenheimer convincing him to stay, Safdie only presents the fixation on getting what he wants, which is the expansion of his vision. He does portray any appreciation in Teller for the offer and is almost still dismissive in a certain sense. Safdie's performance in a way works by purposefully only having a surface depth of seeing things as either an obstacle or not in terms of human interactions. When arguing with Oppenheimer that the world will build a bigger bomb, it isn't with concern, it is just a factual statement from him. When he dismisses the horrors of the atomic bomb explosion in an argument with Oppenheimer, Safdie's presentation of the frustration is that of just casual disregard as that it is merely an some attitude he must overcome to get back to his work. His negative testimony towards Oppenheimer is the same thing as Safdie's delivery of both his minor protection of Oppenheimer's character, but questioning his choices as a leader, Safdie speaks both with a kind of detachment of someone just doing the thing he needs to do to keep building his bigger bombs. As when Teller goes to shake Oppenheimer's hand, even after mostly denouncing him, Safdie doesn't show a hint of regret just as something he did no more no less. The one place that Safdie does show passion, quite impactfully, is when discussing his bomb idea and when witnessing the bomb. His portrayal of just the reactions during Trinity are key, as Safdie shows unlike so many, no fear whatsoever, but rather this jubilation. Safdie in the moment presents a man who loves the sight of the bomb as simply a result of ambition without any reservation to what it might mean. Safdie presents in the moment the truth of Teller pointedly as a man who loves the bomb without fear or reservation.
Alden Ehrenreich did not receive an Oscar nomination for portraying the congressional aide in Oppenheimer.
I don't mind giving some time for Ehrenreich who continues to get an unfair bad rap for having to portray Han Solo in an uninspired reworking of the character that really had little to do with him. His ability as a performer though is very evident here in Oppenheimer that could easily be a very throwaway part in playing really what is an exposition device within the film to help facilitate the character of Lewis Strauss (Robert Downey Jr.) as he goes through his own hearings for his nominations for Eisenhower's cabinet. Ehrenreich is good though in providing character within the lines, even as he has no name therefore is not a historical figure, rare within the overall tapestry of the film. There's just a very perfunctory manner early on as he breaks down everything about the process in just a professional way, where he's slightly encouraging to the person he's working for in his job but doesn't put too much weight on it. And as I write this I entirely somehow had just the revelation that his character is essentially the priest in Amadeus who is hearing the confession of the jealous man who lived parallel to the genius, although here it is more about unraveling the mystery of that. Ehrenreich's performance then is often more so about the reaction shots and slowly the man seemingly figuring out just who Lewis Strauss is as the audience does step by step. His performance is effective in that Ehrenreich always keeps the certain professional distance partly, while just below the surface of that showing the real impact of the revelations, as he first brings just hints of doubt towards Strauss that grow over time. Ehrenreich I think even has the challenge here in that I think he gets really the only lines in the film that I have issues with, and harken back to "no more dead cops" aspect of Nolan's writing, something I'm impressed he avoided 99% of the time here despite being such a dialogue heavy film, where his character needs to slightly too obviously state ideas to set up lines for Strauss. Ehrenreich to his credit makes those moments sound as natural as they can be by playing the quiet frustration in the realizations that he's working for a far more insidious man than he thought. Ehrenreich turning from this supportive presence, to almost pestering, not with any negative notion but rather with moral questions. I mean reading the line that feels equivalent to the Joker tease at the end of Batman Begins, for JFK is a little silly (and logically doesn't make much since given Joseph Kennedy was a well known figure and different line like "there were a few holdouts, led by Joseph Kennedy's son" would've made more sense), but Ehrenreich still delivers it with conviction. And thankfully he gets a much better line afterwards where he dismisses Strauss's particularly petulant insistence that Oppenheimer spoke poorly about him to Albert Einstein's, where the aide chides Strauss that they might've been talking about something more important than Strauss. Ehrenreich's delivery of this parting shot is great because he doesn't overplay it, rather just makes it as blunt of a truth as his earlier explanations and in a way by playing it so small shows just how small Strauss's bitterness was.
Matt Damon did not receive an Oscar nomination for portraying General Leslie Groves in Oppenheimer.
Matt Damon isn't always my favorite actor I will admit, though I do think he has talent and more so has presence as a performer. Presence that I think is ideally used as Leslie Groves the military general tasked with organizing the Manhattan project. Damon's performance takes upon it the right king of movie star ease, even though he's not the star of this film, by presenting Groves as someone who very much has no pretense he just wants to get the job done. His interview scene with Murphy is wonderful for both actors because they pick at each other a bit while also showing their obvious admiration. Damon's great because he speaks every dismissive line with a certain smile almost as a warm challenge to Oppenheimer to go with a comeback. When Oppenheimer even claps back occasionally, Damon's reactions are pitch perfect because he always shows a sense of just loving someone willing to play this game with him in the moment as they trade certain kinds of barbs. Damon and Murphy show really an ideal working chemistry between the two as they work together in discussing the race with the Nazis to develop the bomb. Damon's performance shows Groves as essentially looking for a mutual spirit with Oppenheimer who will be honest in his opinions and lack of phoniness. Damon brings in each interaction in their first scene that sense of quick affection in his eyes seeing Oppenheimer was clearly a man he can work with through such a difficult process, while also keeping within that this low key passion of someone who very much is serious in terms of making sure the job gets done. Damon is ideally placed in the film as really the one major source of humor in the film, and I'd say in a bygone era of Oscars, he might've been the role to be singled out for this film from the supporting actors because of that. As Damon by being decidedly less severe creates a wonderful contrast as someone who can have fun even in such a situation. Damon brings just the right natural comedic timing in his Groves, where he makes the humor of the character very natural coming from someone who just knows when to be blunt and isn't afraid of that honesty. Again with that chemistry with Murphy, Damon and he bounce off each other by this sense of understanding which even includes the two both know the two aren't being completely honest with each other, whoever admires that in a weird way because they both acknowledge that fact. With Damon's moments of insisting he's just your typical soldier, with the undercurrent of joy of someone who is purposefully playing the part, but enjoying the fact that Oppenheimer doesn't buy it and is willing to say it as such as well. Damon carefully segues though nicely to more dramatic moments when situations call for it, such as when he warns Oppenheimer about his interactions with Boris Pash, where Damon brings the severity in his speech though I think with the right sense of direct conviction of someone honestly trying to tell someone to help them and not as admonishment. And I particularly love the way Damon almost laughs at himself when recalling Pash's anti-communist bona fides, just trying to spell it out as clearly as possible that it's not someone Oppenheimer should entangle himself with. Damon in this sequence bringing the right intensity of a man genuinely warning to help him. The other moments though are that of the true soldier where his objective is to make the bomb and drop it, Damon shows that in this aspect Groves has no reservation because he's a soldier and he'll do what it takes to defeat the enemy. These moments, such as shutting down Oppenheimer voicing other scientists' objections to the bomb's use, or describing why they're going to use the bomb twice, Damon in these moments is no nonsense in the perfect way by essentially showing where the line is drawn. I especially love his look at Oppenheimer in this scene, which as cold as it is, it's in its own way respectful in a man's expression being essentially "this is something I'm not going to debate". The moments after the war where we see Groves's own testimony, Damon hits just the right note here as well. As in part you see the soldier who isn't going to lie at the board, but he also isn't going to destroy Oppenheimer for the sake of it. Damon earnestly presents each moment as the man just being direct in his personable way and finding ways to even soften it in the way he sees fit. Damon's particularly fantastic in the moment of saying that he wouldn't clear Oppenheimer under the current guidelines as just an official "no" but followed by the true care of a man who he respects as he tries to clarify he wouldn't be able to clear most of the scientists. The moment where he clarifies that he never once questioned Oppenheimer's loyalty where Damon is forthright in a most wonderful and even light way of the man just making his real respect known without exception one more time. Making the moment where he and Oppenheimer shake hands, wholly heartwarming because Damon and Murphy absolutely earned it by making their relationship absolutely convincing as basically two ideal business partners.
Casey Affleck did not receive an Oscar nomination for portraying Colonel Boris Pash in Oppenheimer.
I believe this is the shortest performance I'm covering here, yet I still feel it deserves mention for the immediate impact that Affleck manages to make as the Manhattan security chief Boris Pash, who Oppenheimer accidentally ends up in a room with after reporting on a potential security threat among the scientists. Affleck quickly just does a great example of pure soullessness in a moment. It is helped by Affleck's wispy voice to begin with, which he makes even stricter within his performance here to be this uncompromisingly quiet way of speaking. Affleck's performance being that of an interrogation the whole time even though all his questions are casually as written, but not casual as spoken by Affleck. Affleck's eyes just being completely the truth of the matter as he seems to be looking into Oppenheimer's soul to uncover whatever truth he can, and the eyes of a man who is a killer both metaphorically and literally. Affleck manages to create menace by seemingly almost doing nothing, but nothing in the way nothing seems to move him nor does there seem to be humanity. Whenever Oppenheimer does give an answer, the way Affleck makes no reaction is chilling as a man who will not accept any answer as his silence is an act of peering deeper towards the truth he wants. When he occasionally does speak it is without comfort, particularly his "Why would anyone on the project want to do that", with that being not a question about the question but rather a question to Oppenheimer and just how much he should trust anyone in the project particularly Oppenheimer. Affleck creates the right eeriness of a man who is playing an entirely different game of life and death than Oppenheimer or anything else, and an exact lack of even a minor hint of empathy. A brief snippet of a man but one that leaves an impression, to the point one does wonder with the life of Boris Pash, if one wouldn't want to explore that more at some point as he's a most fascinating brief technical footnote here.
Gary Oldman did not receive an Oscar nomination for portraying Harry S. Truman in Oppenheimer.
I'll admit I wasn't sure about Oldman's performance the first time I watched the film, as he plays then president Truman who was the one who actually authorized the dropping of the Atom bomb on Japan, twice, partly perhaps because it was a surprise to see him made up as Truman and speaking in his Kansas accent, however now it is honestly one of my favorite scenes in the film, with Oldman being an essential factor in this. As Oldman basically does a complete dissection of the man in a couple minutes of time. As he begins walking as the "great man" and seemingly being quite warm as he welcomes Oppenheimer as the most famous man. Oldman projects someone who really is just here to celebrate, with a great moment of reaction in his taken aback delivery of "well obviously" when Oppenheimer reminds him of both cities that were bombed. Oldman goes further though in basically playing it as though Truman is treating Oppenheimer as hopefully a yes man as he dismisses any notion of the Soviets having an Atomic weapon, with this patronizing playful way of speaking every word towards Oppenheimer as though he's making campaign promises that have little meaning and he's just waiting to hear what he wants to hear. The moment where Oppenheimer suggests dismantling the Los Alamos lab, the way the political friendliness just rifts from Oldman's face is great acting as we suddenly see a much colder man beneath it all. Oldman's trademark intensity suddenly used for great effect, as Oppenheimer tries to find any sympathy by remarking about the "blood on his hands" for the bombings. Oldman's great at being horrible, first taking out his handkerchief as a purposefully dismissive gesture with a blithe disregard for his emotions. Then his delivery of saying he's the one people care about regarding the bomb, is brought with such a sinister anger of first showing callously his rejection of Oppenheimer's regrets, though in the intensity Oldman brings just a hint within the level of aggression of Truman's own feelings of guilt. It isn't something he portrays as Truman truly feeling sorry, rather as a man who doesn't want to think about it therefore is truly disgusted when faced by Oppenheimer forcing him to do so. A quick bit but an impactful one from the great actor.
Tom Conti did not receive an Oscar nomination for portraying Albert Einstein in Oppenheimer.
There's something not talked about much, but something I've always appreciated by Nolan is his tendency to bring in once prominent 80's actors back to a big budget film, for at least a few scenes, Rutger Hauer in Batman Begins, David Bowie in The Prestige, Eric Roberts in The Dark Knight, Tom Berenger in Inception, Matthew Modine in The Dark Knight Rises, also in that film Tom Conti, as the world's greatest chiropractor, but was given an even more substantial role here as the most famous scientist of the 20th century in Albert Einstein. It is just great to see Nolan still using Conti, maybe other filmmakers should take a note, and for such a "big" role so to speak, I think Conti remarkably downplays it. He does bring the mannerisms of the hangdog expression of Einstein, and fashions his German accent all in a decidedly unfussy way, fitting as the man to be the occasional mentor to Oppenheimer. Conti made a few but impactful appearances throughout the film. The first major one being when Oppenheimer comes to him with the quandary of atmospheric ignition, to which Einstein doesn't resolve rather giving the responsibility to the next generation of scientists. Conti's performance though is wonderful in the amount of years in the field himself, though with this sort of grace of a man who has become comfortable in place such, such as telling Oppenheimer that he must share all his information with the Nazis if that is the case, with just the quiet conviction of true wisdom. We see the same in two other instances of Einstein quietly encouraging Oppenheimer though in a way which is recognizing the bad but just kind of living with the hardship. Conti's performance delivers this with the sense of all the old battles having been fought, there is warmth, there is care, but also exasperation of someone who has been through the battles so he truly does know. Speaking the words with that history each time, supportive but also with warning. The one moment that contrasts this is when Oppenheimer actually takes Einstein back by his admission that he believes creating the bomb will cause the apocalypse, and Conti's reaction of existential horror is a powerful one. Conti delivers here a quick, but convincing portrayal of a legend that excels by not playing him as such.
Jason Clarke did not receive an Oscar nomination for portraying Roger Robb in Oppenheimer.
Clarke has a challenging role, even if the role of an attorney is often the actor's friend since it is all about bringing things in the open and very much attacking with words. But the character of Roger Robb only exists in Oppenheimer's security clearance hearing, we know nothing about him, other than him being chosen as prosecutor seems like a killing stroke by Strauss because the man's reputation as a prosecutor precedes him. That's all we know, so what Clarke needs to live up to is that reputation purely through performance. And that's where I think this role is very similar to George C. Scott in Anatomy of a Murder, which was another performance, where we don't know the man, rather the character is built entirely on the lawyerly technique of the man. Leaving it all to Clarke, who thankfully is more than up to the task as probably an actor who deserves even more roles than he's getting, and he's definitely getting roles.. For much of the film Clarke makes a striking impression every time he speaks early on with his questions he asks to undercut Oppenheimer's reputation within every witness. Clarke essentially this verbal sniper in his casual way he can so precisely bring a sudden doubt to Oppenheimer and make him seem more careless in his past associations. I love the way Clarke plays these early moments though where there is kind of this love of the game in his performance. Robb obviously is a great prosecutor in part because he loves to do it and Clarke makes him seem all the more dangerous because of those moments where he is nearly beaming at the chance to cut down Oppenheimer just a bit more. Clarke makes a quick impact several times in the early scenes of the film, though almost as a warmup as he exudes the style of a predator just toying with his prey before he's about to show his real teeth. Clarke portrays a man who has an ease in his intelligence, and gives you that tangible sense of someone who is almost always ten steps ahead. Clarke in the moments of using evidence against Oppenheimer, that Oppenheimer's defense does not have access to, Clarke is perfectly cruel in the smug way he brandishes it and also dismisses any accusations of unfairness. The greatness of Clarke's work really is at the tail end of the film where we get his two focal point scenes for him. The first being his interrogation of Kitty Oppenheimer (Emily Blunt) who proves much more formidable than expected. Clarke's great with his slightly patronizing attitude at first with "oh" to her seeming modest at first before stumbling the only time he does in the film as Kitty doesn't suffer his accusations. Clarke's excellent in showing the other side of the coin in his attempts at undercutting her lines with suddenly more than a little frustration, and almost looking lost, as Kitty successfully deflects him each time. Clarke naturally showing Robb's one mistake in a way that doesn't undercut the character, rather shows in this instance he underestimated his opponent. Unfortunately for Oppenheimer, Robb is prepared for the husband. And again is a stellar sequence, for the way Nolan crosses between both Oppenheimer and Strauss at their lowest, for Downey, for Murphy and for Clarke. Clarke is outstanding in this sequence through his performance revealing every trick in the book to try to destroy Oppenheimer. Clarke opens with just a calm asking about Oppenheimer's moral qualms, Clarke showing a man leading Oppenheimer into his trap into admitting his unease with the United States having the Hydrogen bomb. Clarke begins with just this procedural way of leading every statement that so coldly reveals the real tremendous amount of deaths. Clarke physically leaning into as he's going into the kill, every line delivery of his being just honestly masterful in terms of amplifying the tension of the moment and making you sense Oppenheimer's guilt through the line of questioning. Clarke slowly becomes more direct, more emotional himself, but a pointed emotion of force. Clarke's hectoring him by being so frankly mesmerizing with his reactions of this almost laughing at Oppenheimer's attempts to explain himself, and with every moment basically breaking him down that much more. Clarke builds towards his own vicious passion with Robb forcing Oppenheimer admittance and his portrayal not making it convincing but showing us that it must be inevitable. Clarke is just stellar in the sequence, and is essential to its greatness. Clarke delivers fantastic work that makes the absolute most of every second of his screen time and creates a captivating character almost purely through performance....and he also wasn't in the SAG ensemble nominees...thought that nonsense was worth pointing out.
