Alden Ehrenreich plays a Senate aide, a figure who is one of the many government workers standing behind and to the side of the head honchos helping to grease the wheels of power. He has been tasked with guiding Lewis Strauss (Robert Downey Jr.) through Senate confirmation hearings on his nomination as Secretary of Commerce to President Eisenhower’s cabinet. Ehrenreich is essentially a PR guy, a guide for Strauss and the audience through the tangled web of Cold War-era D.C. and the front-stabbing figures who have turned politics into a battlefield. He is, by design, not that important. Dozens of other nameless aides are waiting around the corner to do this job. Ehrenreich just so happens to be there at the right/wrong time.
Being an audience avatar is often a thankless role in any film, and it’s a trope that Nolan often struggles with. Discussions of process and ideas often weigh down his films and inserting a figure of relatable naivety into this risks disrupting the narrative flow. “Oppenheimer” often gets away with not having one during the glut of the story since it’s so heavily focused on conversations about science, ethics, and consequences. The scenes with Strauss and Ehrenreich are a break from this, an insight into a post-Oppenheimer world and how it has impacted the system that helped to create him in the first place. Ehrenreich is not unaware, nor is he expected to play catch-up with Strauss and company. Rather, he’s the constant reminder that scientists did not do what happened at Los Alamos alone. That he is unnamed and a fictional creation of Nolan (a sharp contrast to a film populated by real historical players) hammers home the disposability of such an aide. Ehrenreich’s job is to blend in, to keep a straight face against the peacocking Strauss. It’s a role that could, too, have disappeared into the background, but Ehrenreich knows that the best scene stealers are the ones who react to the carnage.
Ehrenreich, a character actor with the face of a 1950s leading man, has always excelled in parts where he tempers his natural charisma with a dash of something sharper. In “Hail, Caesar!,” he steals the show from one of the Coen Brothers’ starriest casts as Hobie Doyle, the adorably clueless singing cowboy the studio tries to reinvent as a Noel Coward-esque debonair leading man. He’s the safe port of sincerity in a storm of Hollywood cynicism. As the younger brother of the tempestuous Tetro in Francis Ford Coppola’s indie drama, he is appealingly innocent yet imbued with the abrasive arrogance that only a dolt of a teenage boy could truly possess. Even in “Solo: A Star Wars Story,” the unfairly maligned prequel of the new Disney/Lucasfilm era, Ehrenrich’s Han is less concerned with traditional hero expectations. Audiences seemed furious that he didn’t look or act exactly like Harrison Ford. Still, Ehrenreich understood the giddy enthusiasm of the pre-jaded space cowboy and how the character doesn’t work if he’s always cool (which Ford never was in the original trilogy, something fans often overlook.) The best Ehrenreich performances allow him to dig into humanity’s absurdities and petty mundanities, offering either the freaky flipside or a welcome dose of warmth. It’s never as interesting to be cool when you can be weird, dark, or earnest.
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