The film is largely linear outside of that, but many facts are presented in passing before shown in detail. Anachronic Order: As typical for a Christopher Nolan film, though slightly more traditional via the use of a Framing Device involving multiple hearings and closed-doors interrogations set in the 50's when Oppenheimers' security clearance was being reviewed.How much of Strauss's persecution of Oppenheimer was typical academia getting butthurt and petty (in this case, getting snubbed by Einstein and feeling insulted by Oppenheimer's joke about isotopes at a hearing) and how much of it was genuine hatred of the man's cowardice, hypocrisy, and the fact he was ultimately responsible for unleashing death and destruction on an untold scale while worsening world politics? While Strauss's council and the hearing take the former position, the film points out that Oppenheimer was heavily criticised for his deeds, and in real life, Strauss was one of the few US politicians against the bombing of Japan.Was it really suicide? Or murder? Did the FBI silence her due to his involvement with the Manhattan project, or did Oppenheimer see himself as the murderer for turning his back on Jean when she needed him? One of which shows a gloved set of hands thrust her head into the water. Oppenheimer briefly imagines Jean's suicide from various moments.Strauss quickly dismisses this, citing his numerous explicit affiliations with Jewish organizations. When Strauss corrects Oppenheimer on the Anglicanized pronunciation of his surname, Oppenheimer accuses him of trying to confuse Gentiles in order to fit in better with the WASP power structure. Ambiguously Jewish: Invoked by Oppenheimer during his first meeting with Strauss.
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