Amid a titanic battle between cinematic giants, Christopher Nolan’s Oppenheimer emerges as a masterpiece during a crowded opening weekend with direct competitor Barbie and the previous weekend’s Mission Impossible: Dead Reckoning Part 1. Due to this highly-anticipated cinematic showdown and the fact that this is Nolan’s first film since 2020’s Tenet, audience anticipation has been high.
Nolan’s reputation as a visionary director and his penchant for seamless storytelling have raised expectations for Oppenheimer. But while cinematography and script are central to any film’s success, the role of costume designer Ellen Mirojnick’s work in creating a narrative should not be underestimated. In this article, we delve into the essential accessories that significantly shape the characters and enhance the film’s storytelling.
Hats: the Oppenheimer fedora
Many may assume that Mattel’s Barbie has the edge when it comes to marketing opportunities. However, as a defining element of Oppenheimer’s persona, the fedora hat is a contending factor for the marketing of Oppenheimer. The hat’s association with the physicist is deeply rooted in history, dating back to Oppenheimer’s time. It exudes sophistication and elegance, perfectly complementing the character’s intellectual persona.
In fact, the fedora hat became so synonymous with Oppenheimer that fans sought to emulate his style as far back as 2010, with one user on thefedoralounge.com searching for a hat like the one worn by the famous nuclear physicist, describing it as “positively atomic.” Nolan’s and Mirojnick’s attention to detail and their understanding of the impact of fashion on character are evident in the choice of the fedora hat, which, combined with Cillian Murphy’s enigmatic portrayal, adds depth and pathos to Oppenheimer’s on-screen presence.
Eyewear: masking the gaze
The film’s attention to authenticity is evident in the choice of eyewear that reflects the 1940s and 50s. The two main styles are the round frames, worn by many of the scientists working on the Manhattan Project, and the Times American Optical glasses, similar to the Ray-Ban Wayfarer, worn by Robert Downey Jr’s Lewis Strauss. These classic designs have proven to be timeless with designer glasses referencing the styles of the 40s and 50s and reimagining them for modern wearers, as shown by the round frames of the Radley from London Retro and the thick top frames of the Remington from Glasses Direct. Glasses can also be crucial in film for adding an air of mystery or impenetrability to a character. This is made most clear through Lewis Strauss, whose motives against Oppenheimer are slowly revealed throughout the film.
Pipes and cigarettes: a pensive persona
Beyond hats and sunglasses, pipes and cigarettes were also essential accessories for characterising Oppenheimer. The act of smoking, particularly with a pipe, adds a pensive and intellectual quality to the characters, further reinforcing the film’s historical setting.
Despite Cillian Murphy’s resolve that he will no longer be playing smokers due to the health issues associated with smoke and tobacco, he admits that portraying the persona of a lifelong nicotine addict was crucial in embodying Oppenheimer. The portrayal of Oppenheimer’s chain-smoking tendencies demands attention to detail in how this accessory is integrated into the character’s behaviour and body language. The act of smoking becomes an integral part of Oppenheimer’s persona, serving as a visual representation of the character’s complexities and internal struggles.
From the iconic fedora hat to the eyewear and the pensive pipes and cigarettes, each accessory is carefully chosen to add depth and nuance to the characters and their stories. By incorporating these key accessories seamlessly into the narrative, Nolan and Mirojnick create a captivating on-screen fashion experience that enhances the overall storytelling, leaving audiences mesmerised by the world of Oppenheimer.
Also Read: Review: Oppenheimer
