As you know, it has been quite some time since we last wrote about cinema. There were many reasons for this, of course, but I believe the most important one is that the summer season is generally considered a “dead season” for cinema, and producers prefer not to release their important films before September. However, the extraordinary director Christopher Nolan, almost defying this perception, surprised everyone by releasing his latest film, Oppenheimer, in July.
Oppenheimer, as you know, is based on a true story and takes its name from a real figure.
After the screening, like every Nolan film, this one also divided the audience into two camps. Some described it as the director’s worst film, while others wrote, drew, and spoke about it as a revolution in cinema. In fact, these were the things said about almost every one of his films since his first feature film, Following.
To be honest, writing about a Nolan film in a casual manner would be unfair to the director because Nolan is not just a filmmaker. First and foremost, he is a philosopher. His work is not merely entertainment; it challenges the audience, prompts them to think, and, figuratively speaking, pushes their brains to the limit.
Therefore, before delving into a substantial analysis of Oppenheimer, it’s necessary to have some understanding of the director’s mind and worldview so that we don’t do injustice to his films.
In a series of articles, we will explore Nolan’s cinema and, ultimately, Oppenheimer. This work will revolve around cinema, art, belief, and philosophy, and don’t worry, it won’t be as long as our previous series.
Without further ado, let’s get to know Nolan a little better.
Some names have a way of catching your attention even if you know nothing else about them. If you see his name associated with a film (whether as a director, screenwriter, actor, composer, or even a cinematographer), you would go to see that film with your eyes closed. The person I’m talking about is such a figure.
Christopher Nolan is considered one of the most famous and successful film directors of the 21st century. His filmography is filled with masterpieces that have garnered both box office success and critical acclaim. Whether we allocate enough space for all of them or not, his interpretation of the Batman series alone deserves a thesis.
Nolan’s directorial style is known for its complex narrative structures, deep character analyses, and visually stunning set designs. His frequent exploration of themes related to time, space, and the questioning of reality elevates his works to a level of complexity that is both challenging and immensely enjoyable. If you watch his films, especially “Memento” and “Inception,” you’ll understand what I mean.
The Aristocrat Spirit of Cinema
When introducing him, classic sentences like “born here, studied there” won’t suffice.
Christopher Nolan is one of the most sophisticated and intellectual filmmakers of modern cinema. However, behind his success lies deep sociological and psychological factors that have shaped his artistic vision.
Born in a peaceful suburb of London, Nolan spent his childhood immersed in books, camera experiments, and imagination. His family supported his intellectual development and valued cultural and artistic activities. This environment fueled Nolan’s early interest in cinema.
To understand Nolan’s psyche, we need to carefully examine his childhood. From a young age, Nolan’s fascination with the thin line between reality and imagination became evident. His family noticed this intellectual curiosity and supported him in developing his artistic talents.
Nolan, who spent his childhood and youth shuttling between England and America (well, not everyone can do that!), began shooting films when his advertising executive father bought a Super 8 camera. George Lucas and Ridley Scott were the names that truly captivated him. Star Wars and Blade Runner, anyone?
(Not as much as his brother Jonathan, though) He also had an interest in literature and pursued a bachelor’s degree in English literature. During this time, we know that he made corporate and industrial videos. Here’s an example of a film he made.
Nolan’s short films, particularly “Tarentella,” “Larceny,” and “Doodlebug,” were early indicators of his talent. While “Larceny” was never officially released, it continues to be a subject of curiosity among fans who appreciate Nolan’s commitment to traditional film techniques.
Nolan’s second short film, “Larceny,” can be considered a precursor to “Following” in terms of atmosphere.
Nolan’s 1997 short film, “Doodlebug,” is an early example of his cinematic abilities and unique storytelling. This three-minute short film demonstrates how Nolan could tackle complex themes in a simple manner.
So, what does this three-minute film depict?
Nolan takes an event that could happen to any of us and approaches it from a completely different perspective. We follow a man as he tries to catch a bug in his apartment, and as the film progresses, we realize that this simple chase holds a much deeper and complex meaning.
In this brief film, the main character becomes a young man who shapes his own destiny. This seems to symbolize the conflicts within a person’s inner world and the harm they can inflict upon themselves.
Indeed, this theme, which Nolan would later explore in his other films, is starkly evident in “Doodlebug.” The distortion of reality in the film prompts the audience to question what is real and what is imaginary.
The character in the film realizes that the bug he’s chasing is actually a miniature version of himself, symbolizing the infinite cycle of the universe and intertwined realities.
“Doodlebug,” despite being one of Nolan’s early works, received generally positive reviews from critics and viewers. However, you know that there are some critics who can never be pleased.
For example, some critics argued that the film’s ideas were not fully developed and needed more time to be explored. The number of critics who believed that the film’s theme posed a challenge beyond the realm of cinema is not small. According to them, cinema is ultimately entertainment, not an educational tool!
And as with all first short films, there were criticisms about technical shortcomings, lighting issues, and so on. Nevertheless, “Doodlebug” is considered an early example of Christopher Nolan’s cinematic abilities and original storytelling. For many film historians, “Doodlebug” is a cornerstone work.
When we examine Nolan’s life, especially his university years, we see that he deepened his interest in sociology and psychology. While studying English literature at university, Nolan encountered not only classical texts but also postmodernism and deconstructionist movements. This became one of the fundamental factors shaping his cinematic narrative.
And, of course, Deconstruction or deconstructionism refers to approaches that aim to understand the relationship between meaning and text. Coined by post-structuralist thinker Jacques Derrida, this term is known for its post-modern critical approach that restructures old texts to create new meanings based on the idea that language is an imprecise tool guided by a traditional European-centric worldview.
Looking at the reasons behind his transition to cinema, we can see that Nolan’s complex and deep thinking is reflected in his work. Cinema, for him, is a means to question the fine line between reality and imagination, to challenge it, and to push those boundaries. Perhaps that’s why his early films were the products of this deep quest and intellectual curiosity. Especially his film “Following” reflects the mazes of Nolan’s mind and complex character analyses perfectly.
In conclusion, Christopher Nolan’s journey into cinema is a reflection of his sophisticated and aristocratic spirit. His films not only offer visual spectacle but also nourish the audience with profound philosophical and sociological questions. This belief that cinema is not just entertainment but also an intellectual research tool distinguishes him from other directors. His aristocratic spirit is evident in the sophisticated narrative and deep themes of his films. Therefore, it would be incorrect to simply view his works as mere cinema films.
We will continue…
