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Morality
5 min read

Oppenheimer, my father, and the bomb

One week after its release, Christopher Nolan's latest blockbuster has left Luke Bretherton pondering an un-resolved disagreement with his late father and the theology of Oppenheimer's creation.

Luke Bretherton is a Professor of Moral and Political Theology and senior fellow of the Kenan Institute for Ethics at Duke University in Durham, North Carolina.

IMAGE

I went to see the film Oppenheimer on its opening night at my local, community run cinema in Acton in west London. It was packed. The event felt more like going to church than to the movies. The film itself is a biopic of scientist Robert J. Oppenheimer who was a pivotal figure in leading the development of nuclear weapons during World War II.

Reflecting on the film afterwards it brought to mind a difficult and never resolved argument with my late father. In the aftermath of watching the film, I realised I was still haunted by our dispute.

Our argument centred not on whether it was right to drop the bomb. Our argument was about whether it was Christian.

My father was 18 in 1945 when atomic bombs were detonated over the Japanese cities of Hiroshima and Nagasaki, killing over 200,000 souls. He was conscripted into the British Army that year and stationed in India. If the war had not ended, he would have been among those deployed to invade Japan.

Our argument was not just about whether it was right to drop the bomb. It was also about whether it was Christian. My father was an ardent believer who converted to Christianity in the 1950s. His Christian commitments deeply shaped every aspect of his life and work. I followed in his footsteps, and at the time of our argument I was doing a PhD in moral philosophy and theology. In part I was trying to make sense of what it meant to be a Christian in the aftermath of events like the Holocaust and the dropping of nuclear weapons over Hiroshima and Nagasaki, events in which it seemed Christian beliefs and practices played a key part. In the film, this is marked by the stark symbolism of Oppenheimer naming the first test of the prototype nuclear weapon “Trinity” – an often used and key way in which Christian name God.

I had been learning about just war theory when the argument with my father erupted. I was having dinner with my mum and dad at their house. To give a bit of context, my father and I had a long history of sometimes bitter arguments over political matters. These began in the 1980s when I was a teenager. He thought Mrs Thatcher a hero. I did not.

I was telling them about just war theory and its history in Christian thought and practice. As with most of our arguments, we stumbled into it. I made a throwaway remark about how, in the light of just war theory, nuclear weapons were immoral and that their use in 1945 was wrong. And yes, I was probably being pompous and annoying like all those possessed of a little new knowledge and a lot of self-righteous certitude and fervour.

My dad replied with anger that I did not know what I was talking about. Didn’t I realize that if the bombs hadn’t been dropped many more would have died, including him, which meant I would not exist. Something like this argument was used in the film and was often used by Oppenheimer to justify his own involvement in developing atomic weapons.

At the time, I replied with a procedural point that nuclear weapons do not distinguish between combatants and non-combatants, a key distinction in determining the morality or otherwise of targets in war. To use nuclear weapons is to deliberately intend the indiscriminate killing of the innocent. This constitutes murder and not, as the euphemism has it, unintended collateral damage. I added insult to injury by declaring that my dad’s argument was also deeply unchristian as it was a version of the ends justify the means. Was it ever right to do evil even if good might be the result? This upset my father still further. For him it was personal. It was existential. The bombs saved his life. The bombs made our life possible.

The meal, like the argument, did not end well. We had both upset my mother. She banned us from ever talking politics at the family dinner table again. It was a lifetime ban.

What dawned on me was that the question of whether it was moral to possess, let alone use, nuclear weapons was also an existential question for me. 

Afterwards I thought more about our row. I replayed the script in my head, trying to think of what I should have said. In my immaturity, I never thought to consider how I should have said it.

What dawned on me was that the question of whether it was moral to possess, let alone use nuclear weapons was also an existential question for me. It was a question of what kind of existence warranted anyone possessing nuclear weapons. To use the language of the Cold War of which I was a child: was it better to be red than dead? Was it better to be invaded and taken over by Communists and see capitalism abolished and the British nation subordinated to a foreign power or to deter this possibility by possessing nuclear weapons, weapons that threatened to destroy all life on this planet? In other words, was my way of life really worth the threat of nuclear annihilation. Was any way of life or ideology or commitment or abstract principle worth that? I concluded that it was not and promptly joined the Campaign for Nuclear Disarmament (CND).

I have not attended a CND rally for many years. And what happened in 1945 is more complicated than I used to think. But I still disagree with my dad and think Oppenheimer was deeply misguided. And what happened after 1945 with the advent of the nuclear arms race is not complicated. The film portrays Oppenheimer as anticipating and trying to forestall the process of one-upmanship that developing the A-bomb and then the H-bomb set in motion. He was right to do what he could to stop the arms race, even though, as the film portrays, the authorities tried to silence and marginalize him for his efforts.

Today, if my father and I were able to have the argument again, I would approach it very differently. I hope I would be less pompous, annoying, and self-righteous. But mostly, I would be more theological. I would ask him whether he thought Jesus would drop a nuclear bomb to save a life, or whether Jesus’s own life, death, and resurrection pointed in a different direction. And then see where that conversation took us.

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Paganism
Sport
8 min read

Paris 2024 and Christianity’s opening ceremony

A subversive Olympic opening relies on Christianity’s own beginnings.

Tim is an associate vicar of King’s Cross Church (KXC), a London-based Anglican church.

A painting of the Last supper showing Christ and the disciples at a table.
da Vinci's Last Supper.
Public domain, via Wikimedia Commons.

The opening ceremony of the 2024 Paris Olympic Games, held on the River Seine, has unsurprisingly caused controversy. Such moments, where one nation through pageantry and spectacle performs itself to all others, never fail to draw comment. The 2024 ceremony has drawn various detractors, not least those claiming the ceremony was an “attack on Christianity.” 

You might remember the masterful opening to the London 2012 games. Director Danny Boyle’s theatrical spectacle told a symbolic story of nationhood. By depicting the bucolic, the industrial, and the NHS, he considered the UK in both dark moments and at its brightest. With a great exhibition of British humour, James Bond appeared to parachute out of a helicopter with HRH Queen Elizabeth II, while Mr Bean entertained the whole wordlessly through sardonic single-finger piano playing.  

Widely held to be a creative triumph, Boyle was preceded by the Beijing Olympics where its opening ceremony, CGI fireworks put to one side, wowed the world with unprecedented size and scale, reminding us that we live in an era of Chinese power. 

Tokyo 2021, delayed by a year due to the Covid-19 pandemic, involved 1,800 drones filling the skies – a faultless demonstration of a technological age where Japanese engineering has been indispensable. 

The sporting side of things was easily forgotten as we witnessed an emphatically kitsch depiction of French history and culture. 

In 2024 Paris, the weather was perhaps the greatest focus of attention, which suited the British commentary perfectly. We Brits surely are the world experts in making light-entrainment out of describing rain. Soggy athletes sailed the Seine on a variety of uninspiring looking barges. Sanguine but soaked, the athletes dutifully waved and smiled; adorned not in gold, silver or bronze but flimsy ill-fitting plastic ponchos. 

Overshadowing this athletes’ parade were the creations of theatre director Thomas Jolly, mastermind of the whole ceremony. Boldly deciding to choose the city as a stage, rather than make use of the conventional choice of a stadium, the sporting side of things was easily forgotten as we witnessed an emphatically kitsch depiction of French history and culture.  

Although the weather somewhat thwarted proceedings, it was the content of the performance that drew criticism.  

Far-right politicians decried Jolly’s offering as a violation of French nationhood. Conservative pundits focused their criticism on Jolly’s elevation of LGBTQIA+ culture. 

Christian commentators have, with various degrees of rancour, condemned a strange scene where Leonardo da Vinci’s famous painting of the Last Supper was subverted by a pastiche of ostentatiously queer characters. At the centre of which was not Jesus Christ but a robust-looking figure resembling Lady Liberty.  

Elon Musk spoke up in protest too, posting that it was ‘extremely disrespectful to Christians.’ Full-throttled cries of blasphemy resound, and probably for good reason. What we witnessed was Christ being usurped and replaced by the insurgency of self-expression and the currently sacred idea of diversity and inclusion. 

Ahead of the ceremony, Jolly told British Vogue about the heart behind his creation: “there is room for everyone in Paris. Maybe it’s a little chaotic, it’s true, but that allows everyone to find a place for themselves.” The opening ceremony will be a success, Jolly says, “if everyone feels represented in it.”  

I guess this isn’t the case for the thirty per cent of the world who would identify as Christian. That’s because every family and flavour of Christianity would recognise that Holy Communion, the central act of Christian Worship for 2000 years, the institution of which is depicted in da Vinci painting, was being publicly and globally vandalised.

When Christianity becomes moral wallpaper to an entire civilisation and its culture, it unsurprisingly becomes a target for satire. 

How can we make sense of this moment? Is there anything more for the Christian to contribute other than indignation or outrage?   

Whenever something like this occurs it reminds me of the central role Christianity has played in Western culture. The intelligibility of the ceremony’s controversial scene rests on the idea that da Vinci’s painting is a globally recognised symbol. Otherwise, we would have just been watching a really strange dinner party with no food. But with Da Vinci’s famous painting in our mind the subversive power of Jolly’s scene hits hard.  

The view, popularised by the historian Tom Holland among others, would go as far as to suggest that Christianity’s effect on Western culture is so pervasive that even moments of protest and subversion, as we saw in the Paris ceremony, are cultural phenomena inherited from the Protestant Reformation.  Regardless of how far you agree with Holland’s thesis, Jolly's subversion only makes sense because of the dominant role Christianity has played in shaping the western imagination, and that is a position of latent power that should cause pause for reflection. 

I’ve read half a dozen articles from a certain sort of right-wing journalist who parrot thoughts like, “they wouldn’t do that with the Quran”. That might be right, but it fundamentally misses the point. Blasphemy, let’s say, in Iran, would certainly not involve the Last Supper.  

The scene made sense only because of Christianity’s now diminishing position of power but it's a position of power, nonetheless. When you align Jesus Christ with the status quo, with the corridors of power, when Christianity becomes moral wallpaper to an entire civilisation and its culture, it unsurprisingly becomes a target for satire. Especially for anyone or any group that feels persecuted or marginalised. I’m not for a moment defending what Jolly did but trying to understand why it happened. 

The last supper, the meal Jesus shared with his friends the night before his crucifixion, was the opening ceremony of Christianity.

The kind of cultural power Christianity has had in the West comes at the cost of clarity because Christianity was itself originally a counterculture. Crucifixion, a supreme act of imperial domination, became the foundation of Christian thought and ultimately its greatest symbol. The original Christian movement was seen itself to be blasphemous for contradictory reasons by both the Jewish and Roman religious leaders of the time.  

The fundamental difference between Christianity and merely holding conservative values that should not be transgressed, is God. It was genuine belief in Jesus Christ as the long-awaited messiah of the Jewish people and the Saviour of the whole world - a belief that led his first bedraggled and bewildered disciples to live in such radical and counter-cultural ways that many were killed by the Roman Empire.  

It is right for his followers today to speak up and say how wrong it is when the special and sacred things he did for them are yet again trampled on in public, but it's also worth remembering that’s how the story started - with Jesus’ body brutalised and broken. That somehow, in moments like this, we miss the power of Jesus when we simply defend him on grounds of “decency” and “respect.” Instead, if we return to the original events themselves, Jolly’s depiction, in its mockery and subversion, actually reveals the power of The Last Supper.  

Da Vinci’s painting was not intended for a gallery but was originally painted on the wall of a fairly obscure monastery, transported to a gallery years later to become primarily art, it is more a foundational aid to the faithful to remember the original events Da Vinci is depicting.  

The last supper, the meal Jesus shared with his friends the night before his crucifixion, was the opening ceremony of Christianity. Every time a Christian takes Holy Communion - the central act of Christian worship for over 2,000 years - they remember the opening ceremony where: 

“Jesus took bread, and when he had given thanks, he broke it and gave it to his disciples, saying, “Take and eat; this is my body.” Then he took a cup, and when he had given thanks, he gave it to them, saying, “Drink from it, all of you. This is my blood of the covenant, which is poured out for many for the forgiveness of sins”  

The most peculiar part of the opening ceremony of Christianity - more peculiar than any sight we saw last night - is the presence of Judas. The biblical accounts describe Jesus’ knowledge of Judas’ intentions to betray him to the Romans, and yet Judas is still welcome to the table. If there’s space for Judas, then there is space for all of us. The opening ceremony Christianity cannot be remembered without the presence of Judas the betrayer, and Peter the coward or Thomas the doubter.  The great irony and the big mystery of the Christian Faith is that you can’t out-sin grace. You can mock it and subvert it, but Christ died for the ungodly.   

Last night’s scene doesn’t come close to the original events. Not only was Jesus betrayed by his friends, he was then tortured, humiliated and executed publicly in just about the most excruciating way humans have devised. That was blasphemy of another level, but it was also victory because God was choosing to love inclusively beyond any human metric.  

Tom Holland may be right that no part of western culture has escaped Christian influence, but I want more than a little downstream influence. 

This means that there’s nothing more inclusive than the opening ceremony of Christianity and yet, at the same time, nothing more exclusive. It is not us who provide the food but God. In Jolly’s performance, the Last Supper scene was concluded by the French actor Philippe Katerine, emerging painted head to toe in blue. Whilst this bearded smurf caused baffled sniggers across the planet, Katherine was apparently representing Dionysius, The Greek god associated with wild drunken parties. The food on offer by Jolly is wild desire and self-expression. In Christianity the food is God himself, his body and his blood. God’s love is given not simply expressed, even to those who will betray him.  

Moments like this will become harder for Christians to navigate. It feels like just as a wave of secular liberalism wants to finally vanquish the power position Christianity has painted for centuries, a new conservative vanguard of resistance is rising to protect or enrol it for its own means. From the mouth of Modi or in Trump’s tirades, a new religiously armed populism is raging. Tom Holland may be right that no part of western culture has escaped Christian influence, but I want more than a little downstream influence.  

Take us back to the opening ceremony, to the foundation of Christian faith. Take us to the waterfall, where the torrent flows straight down from the mountain, and save us from the slow-moving sludge of the wide river downstream. Take me back to the opening ceremony of Christianity. To the table where God welcomes a Judas like me, to the meal where the master became a servant and washed his followers' feet. Take me back to eat food I could never afford and wine I could not create.