The result is a claustrophobic introspection into guilt and remorse, which hardly sounds like fitting material for a grandiose movie musical. But Oppenheimer’s focused approach to human drama makes it sing.

The End’s major downfall, aside from being overlong and ideologically tepid, is that its musical numbers are dull and discordant.

The End is a challenging film and the rewards may be minimal, but that it exists at all is a miracle itself.