It’s become trendy to interpret films as “secret Westerns,” even though they are explicitly not Westerns. Analyzing films through the prism of Western tropes and themes is ironic, considering that the genre appears dormant. However, if there is one director who has enough cachet to revive a stagnant genre, one that dominated the industry in the 1950s, it would undoubtedly be the man responsible for turning a three-hour historical biopic about the construction of an atomic bomb into a tentpole summer blockbuster.
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