Fat Man and Little Boy (Widescreen)

 

Picture: B+     Sound: B     Extras: D     Film: B+

 

 

In 1989’s Fat Man and Little Boy, the events of the Manhattan Project are closely examines through the eyes of Gen. Leslie R. Groves (Paul Newman).  The title comes from the two atomic bombs, which were ironically named ‘Fat Man’ and ‘Little Boy’.  The events that took place during this period of time would change the world in many ways never thought of at that particular moment, but here we are many decades later with some effects still in transition. 

 

The film also is told though the life around the head scientist Robert Oppenheimer (Dwight Shultz) and involves his family as well.  What allows for this film to have the effect that it does is that the characters of history are given the depth that allow for them to be screen characters as well, not just some names we have heard in history books.  Because of this, we see a greater significance in the choices that were made to launch this project and to carry it out as well. 

 

Most American’s are not found of historical films, but some are.  Most of the time we prefer a melodramatic version of the real story in order to make it more cinematic, but this film tries to veer from that.  Director Roland Joffé, known at this point mostly for his 1986 film The Mission starring Robert DeNiro takes the cast on a fine trip into history and while there is a sense of manipulation in the narrative filmmaking, it overall is a good film. 

 

Paramount has been rooting through their back catalog of titles and gradually putting them onto the DVD format, now having arrived at this title, delivering it to the format just the way one might expect.  Since the film does not exactly have a huge following there are no extras, which might disappoint those history buffs that would have liked to have more material on the true events or other production material about the research done in order to re-enact the film.  However, we are not given those, so instead we shall stick with the technical qualities instead.

 

Presented in an anamorphic 2.35 X 1 transfer demonstrating Vilmos Zsigmond’s amazing camerawork, the film was shot in the J-D-C scope process, which uses lighter lenses and allows for more maneuverability.  It also looks more like a Panavision type of process with its clarity and excellent presentation of color.  Since the events are taking place during the 1940’s the palette for the film maintains a very golden almost sepia style, which gives the ‘older’ feel to the picture.  Choosing a cinematographer like Zsigmond was a very wise choice since he knows how to capture a period like with 1978’s The Deer Hunter or 1980’s Heaven’s Gate.  Both are fine examples of master camerawork that is able to put the viewer into the era and keep them there.  He is also quite capable of utilizing scope framing, which once again is demonstrated on this film. 

 

The Dolby 5.1 and Dolby Surround audio options are almost identical with the 5.1 benefiting from a more discreet sub-woofer channel.  Not only that, but dialogue placement and musical direction seem more natural.  I would have liked to have received more dimension with scenes where the bombs are exploding, but the front portion of the sound stage is the only part that gets activity for the majority of the films duration. 

 

If you are looking for a very moving and powerful portrayal of the events that happened with the Atomic bombs, this is your resting home.  Fans that enjoyed uplifting movies like Apollo 13 will be satisfied.  The film has enough strength from a production standpoint that make all the elements come together well.  Question is…will anyone take notice?

 

 

-   Nate Goss