Film critic phillipstribune writes: I had to drive to Indianapolis to see “Oppenheimer” in what writer-director Christopher Nolan has deemed the finest possible version of his movie: on IMAX 70 millimeter film. Was he lying? No, reader, he was not.
Nolan’s films favor a dense, tricky sound mix of effects, music and dialogue, usually at the expense of the dialogue. When backed by a musical score by Hans Zimmer or, in the case of “Oppenheimer,” Ludwig Göransson, Nolan’s results can be aurally relentless.
IMAX 70MM film statistics: “Oppenheimer,” a three-hour affair, comprises 53 reels of film. Eleven miles, if you laid it out along I-65.The Indy IMAX screen is 84 feet wide and 60 feet tall, with the auditorium seating 357. Stories of projection troubles with “Oppenheimer”'s 70MM film presentations, IMAX or otherwise, have popped up here and there since the film opened in late July. IMAX 70 film projection demands a lot of its projectionists, just as 70MM non-IMAX screenings do. If you Google “Grand Rapids IMAX damage,” you’ll getabout a little problem the Grand Rapids Celebration Cinema North theater had the day after things temporarily went flooey in Indianapolis.
In action movies, many directed by Nolan, an IMAX 70MM presentation expands and contracts as dictated by the crucial action sequences. In true IMAX 70, “Oppenheimer” follows that template, more or less, expanding to full height and impact for scenes such as the Trinity atomic test, with its staggering pillar of fire, or simpler, quieter vertical compositions featuring a windmill.
Then, in the more stationary and verbally driven shots that follow, Nolan switches to the more rectangular aspect ratio. This imparts a tightness and confinement, and the toggling back and forth, which manages to never feel arbitrary or gimmicky, gives the film a unique spatial dimension.
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