Murphy’s portrayal is said to be astonishing (“Oscar-worthy” is the buzz). Photograph: Robert Viglasky/BBC/Caryn Mandabach Productions Ltd 2019 “What does with film, it fucks you up a little bit.” It’s going to knock people out,” he adds. It feels sometimes like a biopic, sometimes like a thriller, sometimes like a horror. “I don’t like watching myself – it’s like, ‘Oh, fucking hell’ – but it’s an extraordinary piece of work. But he relaxes when I ask if he’s pleased with Oppenheimer. Murphy loathes interviews, looks visibly tortured at points. The only background noise is the low hum of a wine refrigerator. The room is dark, the sun shining through a solitary Velux lighting his features like a Géricault. So, yes, here we sit in an empty upstairs room of a restaurant near his house in Monkstown, Dublin, working out how to do this. Nolan? The studio? The US government? All I know is that as well as Murphy being gagged by hefty NDAs, I am not allowed to see it (“bit unfortunate”, he concedes). It’s not clear who issued these instructions. Which is awkward when you’ve flown to his home in Ireland to interview him specifically about playing the physicist who oversaw the creation of the atomic bomb, later detonated over Hiroshima and Nagasaki. Murphy is under “strict instructions” not to talk about the content.
Incidentally, Lynch's groundbreaking TV series Twin Peaks debuted later this same year, and many of that show's actors can be seen in small parts here.Cillian Murphy is struggling with what he can and can’t say about his title role in Oppenheimer, the latest Christopher Nolan epic, such is the secrecy surrounding this film. But for the majority of the movie, Lynch's touch works, and provides a strange, entertaining ride. Lynch also includes some moments of plain weirdness, such as a man talking with a high-pitched voice and another man ( Jack Nance, of Eraserhead) speaking in odd riddles, which only calls attention to itself.
Yet Lynch seems to have let his artistic id take over a bit too often, obsessing on both The Wizard of Oz and Elvis Presley, and trying to shoehorn references into the movie whenever possible - whether they fit or not. Even if they have been the victims of bad luck and made some bad choices, they are worth rooting for, and Cage and Dern are terrific in their roles (especially Dern, whose physicality in this movie is striking). In their scenes together, they seem to truly appreciate each other's nuances and to respect one another. At its core, Wild at Heart is a pretty simple, very good lovers-on-the-run film noir Sailor and Lula are super-cool yet sympathetic characters whose love is never in doubt. David Lynch's adaptation of Barry Gifford's novel contains much of his trademark powerful, nightmarish imagery, even if it also appears that he might have been grasping at straws at times.
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