Fascinated with ‘Oppenheimer’, Oliver Stone explains why he rejected the film

Among the thousand and one analysis that you are receiving Oppenheimer, stands out the one that points JFK: Cold Case (1991) as one of the main influences of Christopher Nolan. Whether this is true or not, the truth is that Oliver Stone, director of that film, has come very high with the film. To the point of revealing that he was about to direct his own adaptation of American Prometheus, the biography of the father of the atomic bomb.

“On Saturday, I saw myself in one sitting the three hours of Oppenheimer, caught up in Chris Nolan’s narration – his script is layered and riveting,” Stone tweeted. “I’m familiar with the book of kai bird and Martin J. Sherwin, I once rejected the project because I couldn’t find my way to its essence. Nolan has found it.”

Stone’s praise ranges from the directing (“Amazing and dazzling”) to the work of the actors. “Everyone has surprised me, especially Cillian Murphy, whose exaggerated eyes here look normal when you see him play a genius like Oppenheimer.”

“Oppenheimer It’s a classic, and I never thought it could be shot in today’s political climate. Bravo”, sums up Stone. Even so, true to his nature, the filmmaker can’t help but look for three feet to the cat when he addresses the theory about the bombings of hiroshima and nagasaki offered by Nolan’s film.

Referring to your docuseries The untold story of the United States (2012), Stone includes a text where he affirms that imperial Japan was willing to sacrifice its most important cities (including Tokyo) in front of the allies. The real reason for the Japanese invasion, the director insists, was the Soviet invasion of Manchuria and Hokkaido, which took place three days after the dropping of the atomic bombs.

Although he has moved away from the commercial spotlight, Stone remains a director with three Oscars (one, as a screenwriter for The midnight express and two as writer and director of platoon), and his name is still synonymous with political and ‘uncomfortable’ cinema in the US. Will these accolades facilitate a possible victory for Nolan and ‘Oppenheimer’ at the next Academy Awards?

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