The eagerly awaited movie Oppenheimer, directed by Christopher Nolan, has captivated audiences in India. Early estimates from industry tracker Sacnilk indicate that the movie made an amazing Rs 13–14 crore on its first day of release in India. The film, which starred Cillian Murphy as theoretical physicist J. Robert Oppenheimer, came out on July 21.
Audiences were very energized by the legendary confrontation between Oppenheimer and Greta Gerwig’s Barbie. Oppenheimer fared significantly better on day one than Barbie. Barbie was able to earn Rs 5-5.50 crore, but Oppenheimer surpassed Tom Cruise’s Mission: Impossible – Dead Reckoning Part One, which made Rs 12.50 crore on its opening day, to earn the biggest opening for a Hollywood movie in India this year. Additionally, it performed better than Vin Diesel’s Fast X, which made its Indian premiere on May 19 with Rs 12.50 crore.
The film’s popularity didn’t just spread to major cities; it also did well with audiences in smaller towns and cities across the nation.
Oppenheimer received a lot of accolades from critics, who praised Cillian Murphy for his superb portrayal of J. Robert Oppenheimer. Shalini Langer, a critic with The Indian Express, gave the movie 4.5 stars. This is almost totally a Murphy show, with a lot of terrific actors throwing in for significant roles, according to a passage in her review. Nolan takes his time getting things going, and Florence Pugh has the biggest impact in her small part.
Oppenheimer describes the historical events that took place during World War II when he was chosen by Lt. Gen. Leslie Groves Jr. to oversee the top-secret Manhattan Project. Oppenheimer spent years creating and building the first atomic bombs, working with a group of committed scientists. Their efforts were successful on July 16, 1945, when they saw the first nuclear explosion in history, which permanently changed the trajectory of human history.
Along with Cillian Murphy, the film also boasts an excellent cast that includes Matt Damon, Emily Blunt, and Robert Downey Jr. in crucial roles.
More philosophical and existential than one might originally anticipate from a brand based on plastic fashion dolls that became a cultural symbol in the late 1950s, Barbie is a surprisingly complex movie. Barbie emerged during this time as a means of spreading the message of independence, which is the subject of Greta Gerwig’s film, at a time when young girls were in dire need of role models.
The movie opens with Stereotypical Barbie (Robbie) enjoying a great day in Barbie Land, her ideal pink village, according to the screenplay by Gerwig and Noah Baumbach. She gets dressed without even putting on clothes and consumes liquids from empty glasses. She doesn’t eat or do any cleaning because everything happens as it should. Barbie Land is powered by women, who hold every job imaginable, including that of Supreme Court judges, physicians, and scientists. In this place, women can be anything they choose to be. All other Kens, including stereotypical Ken (Ryan Gosling), exist solely to serve their Barbie counterparts.
Miss Stereotypical interrupts a Barbie beach house party that has coordinated dance by asking if anyone else considers dying. Things are seriously off the following morning. The breakfast burns, the milk is past its expiration date, and Barbie’s pointed feet flatten before it dawns on her that she is still experiencing existential dread. She must visit the home of Weird Barbie (Kate McKinnon) to figure out what is going on, and she is informed that in order to locate the girl who owns her version of the doll, she must travel into the real world. Barbie is experiencing emotions that she is unsure how to handle due to some sort of mental crossover. Even if she is anxious about the task, she is eager to enter a new setting because, after all, because to her, women also dominate the actual world, right?
Prepare yourself for a severe dose of reality, ma’am.
The writing by Baumbach and Gerwig does a good job of making characters extremely aware of their surroundings. Barbie is aware of its own absurd existence in a world where beautiful plastic dolls contend with human flaws. It admits that improvement is an unattainable and even undesirable objective and that change, however difficult, is necessary. Although feminism and patriarchy are important subjects, the writing team was able to convey their viewpoints with just the appropriate amount of humor and camp to avoid detracting from the movie’s overall message, which is about discovering yourself and striking a balance.
In the lead part, Robbie is as impressive as ever. Barbie is no exception to her well-known dedication to her roles. She gives her character a level of nuance and complexity that raises Barbie above the stereotype of the plastic doll. Gosling, McKinnon, America Ferrera, Michael Cera, Simu Liu, Will Ferrell, Emma McKay, Issa Rae, Hari Nef, Ncuti Gatwa, Alexandra Shipp, and others are among the similarly skilled cast members who support Robbie and give strong performances.
Essentially, Barbie is a movie that asks the audience to reevaluate their perception of societal norms and expectations. Although it may be based on a plastic character, the movie is really about the human condition, including both our virtues and vices. It serves as a reminder that even in the most superficial aspects of our culture, there may be a surprising depth and a need for discussion. Once again demonstrating that tales can emerge from the most unlikely settings, Gerwig’s directing is a sincere investigation of identity, societal systems, and the fortitude to embrace change.