Oppenheimer, Part One: A War of Religions
In Christopher Nolan's masterpiece, while World War Two rages, American scientists, American soldiers, and American politicians engage in a battle of conflicting worldviews.
Contrary to popular opinion, no — not all religions are the same. Christopher Nolan’s Oppenheimer is a movie about very religious men, and we can see just what a difference their chosen religions make — for themselves, for their communities, for the world.
Before I go on, I should clarify my terms. When I refer to “religion” in this review, I’m talking about the beliefs that shapes a believer’s values, guide their decisions, and influence their practices and routines. As Bob Dylan famously sings, “You gotta serve somebody.” The choices that you and I are making this year, this week, this hour — they are influenced by what (and by who) we hold sacred. As my friend and counselor David Dark has wisely said,
We reveal our religion in so many ways every day. It’s in the way we drive during rush hour. The way we dispose of a plastic bottle. The decisions we make about who we date, who we marry, and how we treat them. The way we respond when someone of a different culture moves into the house next door. The way we choose some sources of news over others. The measures we take — or don’t — during a pandemic. The way we spend our time when no one is watching.
The future of the world can turn on one person’s choice in a moment of crisis. In those moments, that person’s beliefs really matter. Do we serve our egos, reputations, and legacies, or do we serve those who are vulnerable and in need? Do we love power, or do we love Love — the “Greater Good”?
I’m speculating here, but David Dark might think of Oppenheimer as an audit — or at least a study — of J. Robert Oppenheimer’s receipts.
Oppenheimer is an unconventionally complex biopic. Of course it is — it’s written and directed by the man responsible for the mind-bending architecture of Memento, Dunkirk, and Tenet.
And it focuses on a complicated genius who struggles with life-and-death matters while his work is complicated by slippery and scheming nemeses. Of course it does — it’s written and directed by the man responsible for the clashes between flawed heroes and devious egomaniacs in Insomnia and The Dark Knight.
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