Oppenheimer:Don't look back in anger
Oppenheimer is a biographical masterpiece that delves into the life of J.R. Oppenheimer, the father of the atomic bomb. While personally, I may not connect deeply with this film, I recognize its significance and believe it merits discussion.
Nolanic
Directed by Christopher Nolan, Oppenheimer unmistakably bears the mark of his distinctive filmmaking style. Shot in 70mm IMAX, the film shares the grandeur of Interstellar and Tenet, featuring breathtaking scenes of space and bomb explosions—many achieved without CGI, creating a dreamy and immersive atmosphere.
The film’s sound effects and editing are nothing short of brilliant. From the haunting echoes of stomping in Oppenheimer’s mind to the realistic sounds following the Trinity nuclear test, and the seamless integration of classical music and the soundtrack into the narrative, it is evident that a master is at work.
Beyond its technical prowess, the film traverses familiar Nolan territory, exploring two recurring themes from his previous works: a fascination with science and technology, exemplified in Interstellar, Inception, and Tenet, and an exploration of war, as witnessed in Dunkirk and, to some extent, The Dark Knight Rises.
The Hero
Oppenheimer primarily centers on J.R. Oppenheimer’s life, particularly his leadership of the Manhattan Project and the subsequent security clearance hearing. It’s essential to note that the film isn’t a straightforward biography but rather a hero’s journey, illustrating how a hero is forged and ultimately brought down[^1].
The film is divided into two acts: fission, which draws from Oppenheimer’s memories, and fusion, which taps into the recollections of Admiral Strauss, the man who led the hearing and viewed Oppenheimer as a personal adversary.
The seamless editing interweaves these two acts, presented partly out of chronological order. The first act is captured in color, while the second is in black and white, symbolizing Oppenheimer’s colorful life and Strauss’s more rigid, black-and-white perspective.
The first half of the film takes us on a vibrant and romantic journey through Oppenheimer’s life. We travel to Oxford, Göttingen, Leiden, and Berkeley, encountering luminaries such as Max Born, Paul Dirac, Niels Bohr, and Enrico Fermi. We also meet Oppenheimer’s wife, Kitty, and his mistress, Jean Tatlock. Finally, we arrive at Los Alamos, the nexus where Oppenheimer merges physics and the New Mexico landscape.
Despite personal setbacks in love, politics, and science, Oppenheimer perseveres. His fame reaches its zenith after the Trinity nuclear test. A particularly resonant line in the film is:
“Math is like reading sheet music, but physics requires one to hear the music.”
It serves as inspiration for Oppenheimer and for those, like myself, who struggle with math.
The film could have concluded here as a celebration of American heroism if it were a typical popcorn flick.
The Martyr
Dark clouds perpetually loom over Oppenheimer’s life. In Europe, he grapples with depression, even attempting to poison his tutor, as his mistress famously remarks, ‘you just need to get laid.’ He also faces discrimination as a Jew.
Upon returning to the United States, his left-wing political beliefs and a cavalier attitude towards love lead to serious troubles. These aspects not only paint a picture of him as a romantic yet eccentric genius but also serve as metaphors for both Oppenheimer’s and humanity’s self-destructive tendencies – in the end, we will fuck all up.
One scene stands out: during sex with his mistress, he has her recite the famous lines from the Indian epic Bhagavad Gita:
Now I am become Death, the destroyer of worlds.
This haunting line continues to torment him throughout his life.
The fear of the destructive power of nuclear bombs peaks after their use in World War II, at the very moment of his greatest success and fame. During a patriotic speech in front of a cheering crowd, he is haunted by the sound of stomping feet, reminiscent of a nuclear explosion. He also envisions the faces of those seemingly burned and disfigured by nuclear blasts.
After the war, Oppenheimer becomes a pacifist, advocating for nuclear disarmament. The irony is palpable—the hero who created the atomic bomb now opposes it.
The irony continues as his stance clashes with the wishes of certain politicians, leading to the public humiliation of Admiral Strauss. A ‘kangaroo court’ is set up to strip Oppenheimer of his security clearance, subjecting him to torture and persecution. Nolan’s use of over-the-shoulder shots, rather than the typical shot-reverse-shot technique, captures Oppenheimer’s resentful gaze.
Ultimately, Oppenheimer chooses to attend the hearing, becoming a martyr, albeit a tall and arrogant one.
Looking back and forth
In the end, the film reflects on a moment by the lake in Princeton when Albert Einstein told Oppenheimer:
“When they’ve punished enough, they will give you salmon and salad, and tell you it’s all over.”
More than 70 years later, we can affirm that, indeed, it is all over.
I want to provide my perspective on why Nolan chose to film the life of the American Prometheus:
Because the way we handle new science and technology today mirrors how we dealt with nuclear weapons in the past.
Scientists still grapple with the same dilemma: to create or not to create, as seen in the case of AI or gene editing.
Politicians continue to face the same dilemma: to use or not to use.
Oh, we already know the answer to this one; they will almost certainly use it. And their are gonna fuck up and shit in our pants, much like the incident at the Japanese nuclear power plant and the issue of radioactive water.
So, if some new rocket technology were to emerge tomorrow, the situation would likely be no different. In a sense, a biographical film is akin to a sci-fi one.
Oppenheimer was not a morally upright individual. He was irresponsible and looked down upon others. However, he did not seek to destroy the world; he yearned for peace. Ironically, he had to create the nuclear weapon to achieve peace. Thus, his conscience was forever scorched in the fire he ignited.
Fortunately, humanity managed to navigate the Cold War without destroying the Earth.
So, perhaps, just perhaps, we do not need to look back in anger and aceept it all. As ordinary people, a touch of numbness is necessary to thrive in the modern world. Because sicentific advances that helps the Leviathan is inevitable to come.
Even if new technologies that can destroy us emerge everday and politicians will do all they can to fuck us, we might eventually be okay. Let us believe in ourselves, even if we arn’t worthy of.
Keep calm and don’t panic.
We might be blown into the air tomorrow : )