Oppenheimer reflections
Jul. 30th, 2023 12:24 pmI saw Oppenheimer the other day. I found it absorbing—a three-hour movie that seemed much shorter. I won’t write a review, but I have some reflections.
I feel as if I have family connections to the story of J Robert Oppenheimer. They date, I suppose, to 1945-46, my dad’s senior year at the University of New Hampshire, when he decided to become a nuclear physicist. He was partly inspired to do so because at that moment, physics was exciting, front-page news. The Bomb was being hailed as the technological wonder that had Brought The Boys Home, and Oppenheimer, as its architect, was being hailed as a national hero. Dad even started smoking a pipe at this time, in part because Oppenheimer did—and because Albert Einstein, Neils Bohr, and Enrico Fermi did as well. (Fortunately for Dad’s health, he eventually quit smoking.) In 1954, the same year the government revoked Oppenheimer’s security clearance, Dad was awarded his Ph.D. in physics from Purdue. Like nearly all other U.S. physicists, he was outraged by what the government had done to Oppenheimer, whom he saw as a martyr to McCarthyism and militarism. Over the course of Dad’s career, he got to know most of the physicists who worked on the Manhattan Project, many of them directly with Oppenheimer at Los Alamos. In 1959, when he joined the faculty at MIT, many of these men became his colleagues.
This is why, in the 1960s, we had a cat we named “Oppie” (a regal black and white shorthair). It’s also why, in 1980, when the BBC dramatized Oppenheimer’s story in a miniseries, with Sam Waterston in the title role, my family made a point to watch it.
The new movie gives several physicists my father knew significant roles (e.g., Isador Rabi is an important secondary character), but the physicists that he knew best, at MIT, are not mentioned or are background characters. Dad was good friends, for example, with Phil Morrison. In 1945, Phil was the guy who drove the plutonium core to the Trinity Test site in the back of his car, and then he helped arm the Hiroshima and Nagasaki bombs (later, he became a champion of nuclear non-proliferation). In the movie, he is played by a young actor named Harrison Gilbertson, but I don’t recall that Gilberston gets to speak a single line.
Despite this, I can say, as someone who grew up with physics lore, that I was pleased to see it scattered through the movie. Probably my favorite of these “Easter eggs” comes from a non-historical scene: Oppenheimer, in the throes of working on the Bomb, travels unannounced from Los Alamos to Princeton to consult with Einstein about a critical calculation. The encounter is key to the screenplay (it is referred to in the final scene of the film), but it never happened, and for many reasons could never have happened. Nonetheless, I liked that when Oppenheimer finds Einstein, Einstein is taking a walk with Kurt Gödel—something that the historical Einstein did in fact do almost daily at the Institute for Advanced Study. I see no reason for the filmmakers to include Gödel in their movie except to delight the nerdy. Yet I think the film missed an opportunity for similar nerdy delight by failing to show Richard Feynman, at Los Alamos, pull a practical joke. Feynman is in fact a character in the film, played by Jack Quaid, but like the Morrison character, he is in the background and (as I recall) speaks no lines.
What I came away with from the movie, however, was something I did not expect. I found myself thinking about Lawrence of Arabia (1962).
Why did I connect a movie about the Arab Revolt to one about the Manhattan Project? Obviously, both films are male-dominated historical epics, best seen on big screens, and in each, the protagonist is played by a slender actor of Irish descent, impossibly blue eyes, and impossibly high cheekbones. Yet just as obviously, Lawrence is an action movie, mostly set outdoors, that offers a mostly linear narrative of events, while Oppenheimer focuses on interpersonal drama, is mostly set indoors, and offers a non-linear narrative, weaving together different threads of story taking place in different years. Oppenheimer is also a more visually elaborate movie than Lawrence, with scenes shot in black and white as well as in color, and with a few dreamlike, surreal sequences representing Oppenheimer’s thoughts and feelings. Moreover, Oppenheimer, unlike Lawrence, gives its hero a nemesis (the businessman/bureaucrat Lewis Strauss), around whom a large part of the story is framed.
Nonetheless, I kept seeing deep parallels between the films. In both, the protagonist (T.E. Lawrence/ Oppenheimer), is presented as brilliant, charismatic, and idealistic, but complicated and morally flawed. In both, he leads a group of heroes (Arab warriors/nuclear physicists) into the desert (Arabian/New Mexican) during a world war (First/Second), where they accomplish astonishing things and help his imperial nation (Britain/U.S.) achieve victory. In both, the protagonist becomes a media star and politically influential. Yet his wartime achievements are marred by the taking of innocent lives, and eventually his own political leaders betray the ideals for which he had professed, at least, to fight (although in both movies, the sincerity of his professions is called into question). He is eventually pushed aside as no longer politically useful. In the end, he realizes that while he has succeeded in changing the world, it is not for the better.
So I don’t think a comparison of this new epic to that classic one is implausible. In fact, if a theater could set aside enough time to pair Lawrence, a three-and-a-half-hour movie, with Oppenheimer, a three-hour one, I think that would be a very thought-provoking double feature.
I feel as if I have family connections to the story of J Robert Oppenheimer. They date, I suppose, to 1945-46, my dad’s senior year at the University of New Hampshire, when he decided to become a nuclear physicist. He was partly inspired to do so because at that moment, physics was exciting, front-page news. The Bomb was being hailed as the technological wonder that had Brought The Boys Home, and Oppenheimer, as its architect, was being hailed as a national hero. Dad even started smoking a pipe at this time, in part because Oppenheimer did—and because Albert Einstein, Neils Bohr, and Enrico Fermi did as well. (Fortunately for Dad’s health, he eventually quit smoking.) In 1954, the same year the government revoked Oppenheimer’s security clearance, Dad was awarded his Ph.D. in physics from Purdue. Like nearly all other U.S. physicists, he was outraged by what the government had done to Oppenheimer, whom he saw as a martyr to McCarthyism and militarism. Over the course of Dad’s career, he got to know most of the physicists who worked on the Manhattan Project, many of them directly with Oppenheimer at Los Alamos. In 1959, when he joined the faculty at MIT, many of these men became his colleagues.
This is why, in the 1960s, we had a cat we named “Oppie” (a regal black and white shorthair). It’s also why, in 1980, when the BBC dramatized Oppenheimer’s story in a miniseries, with Sam Waterston in the title role, my family made a point to watch it.
The new movie gives several physicists my father knew significant roles (e.g., Isador Rabi is an important secondary character), but the physicists that he knew best, at MIT, are not mentioned or are background characters. Dad was good friends, for example, with Phil Morrison. In 1945, Phil was the guy who drove the plutonium core to the Trinity Test site in the back of his car, and then he helped arm the Hiroshima and Nagasaki bombs (later, he became a champion of nuclear non-proliferation). In the movie, he is played by a young actor named Harrison Gilbertson, but I don’t recall that Gilberston gets to speak a single line.
Despite this, I can say, as someone who grew up with physics lore, that I was pleased to see it scattered through the movie. Probably my favorite of these “Easter eggs” comes from a non-historical scene: Oppenheimer, in the throes of working on the Bomb, travels unannounced from Los Alamos to Princeton to consult with Einstein about a critical calculation. The encounter is key to the screenplay (it is referred to in the final scene of the film), but it never happened, and for many reasons could never have happened. Nonetheless, I liked that when Oppenheimer finds Einstein, Einstein is taking a walk with Kurt Gödel—something that the historical Einstein did in fact do almost daily at the Institute for Advanced Study. I see no reason for the filmmakers to include Gödel in their movie except to delight the nerdy. Yet I think the film missed an opportunity for similar nerdy delight by failing to show Richard Feynman, at Los Alamos, pull a practical joke. Feynman is in fact a character in the film, played by Jack Quaid, but like the Morrison character, he is in the background and (as I recall) speaks no lines.
What I came away with from the movie, however, was something I did not expect. I found myself thinking about Lawrence of Arabia (1962).
Why did I connect a movie about the Arab Revolt to one about the Manhattan Project? Obviously, both films are male-dominated historical epics, best seen on big screens, and in each, the protagonist is played by a slender actor of Irish descent, impossibly blue eyes, and impossibly high cheekbones. Yet just as obviously, Lawrence is an action movie, mostly set outdoors, that offers a mostly linear narrative of events, while Oppenheimer focuses on interpersonal drama, is mostly set indoors, and offers a non-linear narrative, weaving together different threads of story taking place in different years. Oppenheimer is also a more visually elaborate movie than Lawrence, with scenes shot in black and white as well as in color, and with a few dreamlike, surreal sequences representing Oppenheimer’s thoughts and feelings. Moreover, Oppenheimer, unlike Lawrence, gives its hero a nemesis (the businessman/bureaucrat Lewis Strauss), around whom a large part of the story is framed.
Nonetheless, I kept seeing deep parallels between the films. In both, the protagonist (T.E. Lawrence/ Oppenheimer), is presented as brilliant, charismatic, and idealistic, but complicated and morally flawed. In both, he leads a group of heroes (Arab warriors/nuclear physicists) into the desert (Arabian/New Mexican) during a world war (First/Second), where they accomplish astonishing things and help his imperial nation (Britain/U.S.) achieve victory. In both, the protagonist becomes a media star and politically influential. Yet his wartime achievements are marred by the taking of innocent lives, and eventually his own political leaders betray the ideals for which he had professed, at least, to fight (although in both movies, the sincerity of his professions is called into question). He is eventually pushed aside as no longer politically useful. In the end, he realizes that while he has succeeded in changing the world, it is not for the better.
So I don’t think a comparison of this new epic to that classic one is implausible. In fact, if a theater could set aside enough time to pair Lawrence, a three-and-a-half-hour movie, with Oppenheimer, a three-hour one, I think that would be a very thought-provoking double feature.