To rescue Kahlo from the clutches of the corporate art market, we need to acknowledge the overt and covert political dimensions of the work, demands GAVIN O’TOOLE
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What about the victims?
CAROL TURNER points out the failure of the film Oppenheimer to face up to the real-life consequences of nuclear warfare
Color photograph of the Trinity test, 15 July 1945; J. Robert Oppenheimer (in light colored hat with foot on tower rubble), General Leslie Groves (large man in military dress to Oppenheimer's left), and others at the ground zero site of the Trinity test after the bombing of Hiroshima and Nagasaki, some time after the actual test.
[United States Army Signal Corps/CC; Federal government of the United States/CC]
If you can see past the relentless commodification you will be rewarded by enormously powerful work, suggests JENNY MITCHELL
CHRIS SEARLE revels in the one-off collaboration between an American polymath and a British Muslim, and detects the presence of their revolutionary forebear
GORDON PARSONS revels in an ebullient production of Shakespeare’s magical comedy
BRENT CUTLER welcomes a thoughtful analysis of the Erdogan regime, viewed through the evolving history of a neighbourhood in Istanbul
GORDON PARSONS regrets the price, but is dazzled by an outstandingly ambitious study of the way art restoration in particular, and culture in general was weaponised by the Nazis
CHRISTOPHER NOLAN’s big-name, big-budget film, Oppenheimer, opened last Friday amid considerable interest. Within 24 hours international box office returns had topped $174 million. It has already been nominated for a variety of awards.
This three-hour film, which tells the story of the atomic bomb through the eyes of theoretical physicist and Manhattan Project director Robert Oppenheimer, is a visually captivating and complex tale, with sufficient dramatic tempo to hold the audience’s attention over a long period.
The filmic success of Oppenheimer sits unhappily alongside its cinematic impact, however. It is, I believe, a flawed cultural creation.
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