“It’s paradoxical, but true,” explains J. Robert Oppenheimer welcomes the first student enrolled in his theoretical physics course at Berkeley. He talks about light and its dual nature, undulating and particle, particle and wave. This example may help Oppenheimer explain a basic principle to the young student the The basic principle of quantum physics: a thing can be both itself and something else, at the same time, under the same conditions. It also serves Nolan, for example, to explain OppenheimerThe Man and the Film: In an interview with The New York Times The director said that Opie, as his friends called him and now, was the most important and naive man of all. “It is paradoxical but true.” Thus, the same person (Oppenheimer) can be at the same time, in the same circumstances, a hero and a war criminal at the same time, and the same director (Nolan) can be at the same time, under the same conditions, an advocate and a judge .
When Nolan was a boy he was terrified of the bomb: that was England in the 1980s, and Bertrand Russell was the head of the Campaign for Nuclear Disarmament; A group of 32 women started a protest around the RAF base on Greenham Common, a protest that later became one of the largest peace movement groups in the country; Sting released the song “The Russians”, in which he sings about Oppenheimer and his “killer games”. Boy Nolan watched and listened and thought, wondering why all this fear hadn’t produced proper art and culture. He decides that sooner or later he will do what no one else has done before – perhaps it is this pioneering attitude that really explains the attraction to Oppenheimer – and that sooner or later he will be the one to tell us about the insane playmaker and the killer games. They created the world as he knew it. It took nearly fifty years, and in the meantime Nolan read a book explaining to him that Oppenheimer is the American Prometheus (that’s the title, American Prometheus(The biography on which the film is based) The world has rediscovered the dormant fear but never quite overcome the fear of Russia, of the nuclear bomb, of mutual assured destruction.
Perhaps this is how successful it is Oppenheimer, which in the month following its release in US theaters amassed a whole series of records confirming how paradoxical but true things can be. The film was released in the United States on July 21, and since that day has been the highest-grossing film about World War II at the international box office – the previous record holder: DunkirkAnd if it’s true that there are a couple of pieces of evidence to prove it, then it’s true that Nolan also has his favorite genre – and also the blockbuster that made the most money without making it to the top of the week’s most-watched list (for a whole month that spot was occupied by him). Barbie). These are minor details, but they refer to the talk of “paradoxical but true”. Why Oppenheimer It’s not a World War II movie strictly speaking, nor a blockbuster. Nolan has been criticized for not “showing” war, and for not showing audiences the scorched earth that American Prometheus gave to humanity: Hiroshima and Nagasaki are not even seen and rarely talked about, as part of the American critics said and wrote. And it was known that such observations would come, because we live in an age in which things do not exist until they are exposed.
I’m not in Oppenheimer Pictures of Hiroshima and Nagasaki, no fantasy scenes, no archival footage, that’s right. There is, however, the face of Cillian Murphy–who finally arrives at the explanation that does justice to his talent–the lines of remorse, pathological pallor, and alarming thinness added to it in the years after Hiroshima and Nagasaki. Those in which Oppenheimer is considered the “Father of the Atomic Bomb” and the leader of the global movement against its proliferation (and for general disarmament). It’s not even a blockbuster, Oppenheimer. It’s not as we understand it today, it’s not why Logan Paul leaves the theater midway through the movie, later complaining on social media that “everyone here talks and nobody does anything”. And he is right, of course: Oppenheimer It is in many respects what was once called “Meat Loaf,” a three-hour film, a fourth study of theoretical physics, a fourth reading of court documents, and a fourth report on parliamentary hearings (the parts in which the “supporters” appear) have emerged Robert Downey Jr., Matt Damon, Florence Pugh, Emily Blunt). It remains the last part, the final quarter, but nothing happens in that either. At least, not in the sense that the likes of Logan Paul would expect (claim it to be). The part of the movie that talks about the bomb It’s mostly about how and why it shouldn’t blow up.In this film Nolan completes his true masterpiece (with the invaluable collaboration of director of photography Hoyt van Hoytema and music by Ludwig Göransson), and rewrites Hitchcock’s definition of suspense on a subatomic level and on an apocalyptic scale: There’s a bomb.Under the table, the audience knows it’s going to go off, and the bomb goes off.And when the detonation happens, it’s as strong as the impression that up to that point nothing had actually happened.
Oppenheimer It’s not a World War II movie or a modern blockbuster. It is not a movie about the bomb or about all the other things we have found, are, and will find in it: pacifism as the ultimate expression (and illusion) of human culture, the totalitarian tendencies of democracies, and weapons as necessity. Evil, American exceptionalism, anti-communism, anti-Semitism, the list goes on and on. Oppenheimer It is a film about greatness and its duality: mystery. Therein lies the film’s true message, aimed at those who live in an age when adults are also expected to be the opposite of mystery: purity. As a boy, J. Robert Oppenheimer is obsessed with real yet invisible, real yet elusive worlds, which physics has shown him by allowing him to transcend the limits of the senses. He thought the same worlds explored in other ways by writers like TS Eliot, painters like Picasso, and composers like Stravinsky (in the beginning there is a scene in which Oppenheimer is reading wastelandlisten to the music Spring FestivalSee “The Woman With Crossed Arms”).
Nolan hints that he seeks this same greatness—”Can you hear the music?” asks a very young Opie, trying to make him understand what it is. truly Theoretical Physics – that Oppenheimer transcends them all and reaches the inevitable final limit of all human research: apocalypse, annihilation, apocalypse. His story is a tragedy, and the tragedy is based on contradictory but true binaries: knowledge is arrogance, and discovery is curse. And at that point, having seen “the fear in a handful of dust” with his own eyes, Oppenheimer returns desperately trying to save himself and the humanity he’s shot at, even getting complained about by the President of the United States. , which would expel him from the Oval Office claiming the superiority of him who presses the button over him who builds it, and even deprive him of the eternal penance, and thus the salvation, which belong to every Prometheus who really wants to call himself that name.
Much more than what is stated in this quote Bhagavad Gita“I have become Death, the destroyer of worlds,” Oppenheimer to Nolan is in another line by Eliot: “With these fragments I have sustained my wreckage.” The ruins of man who, even today, we cannot know whether he destroyed or saved the world, or whether he started the world war that will destroy humanity or ended the last world war. A man still so poorly understood today that his heirs have no problem with the title “Father of the Atomic Bomb” but they do not accept that there is a scene in the film in which it is suggested that, while a student at Cambridge, Oppenheimer tried to kill a hated professor by leaving them on his desk. Poisoned apple. The most mysterious man in history. “Hence the greatest,” said Nolan.
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