Essay
Comment
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.

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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.

Column
Comment
Film & TV
4 min read

Why we watch dark drama

Reviewing The Reckoning, and the reviewing cycle, leads George Pitcher to change his mind on whether to watch such darker dramas and documentaries.

George is a visiting fellow at the London School of Economics and an Anglican priest.

A man in a tracksuit sits in an arm chair smoking a cigar while looking towards a curtained window.
BBC.

The BBC’s four-part drama-documentary about the life and crimes of Jimmy Savile, The Reckoning, concluded. And the media caravan moves on. 

Its reviews have been mixed, to say the least. You may have got the gist of them: Steve Coogan was brilliant as Savile. But why would he do it? Other actors around him were equally good, if not better. The BBC was either brutally honest or self-exculpatory about its enablement of the monster. I particularly noticed a review line that emerged which hoped the BBC would concentrate on its safeguarding, rather than gather material for its drama department

There’s a case for taking a breath after the television reviewers have completed their work, of asking what we are left with after all this and whether there is a bigger picture than the one our television screens contained. 

The first window I want to look through is the church one forever stained by the hideous image of child sexual abuse. Those priests who over recent years have been exposed for these heinous crimes were not, unlike Savile, celebrities. They weren’t as often, like him, committing them in plain sight. But all child abusers, as adults, occupy a position of trust, either as family members, teachers, people of power or as priests, and they abuse that trust as they abuse their victims. 

I have had direct experience, as a parish priest, of two instances of child sexual abuse. In both instances, the clergy who abused are long dead. It may go without saying, but in both cases I have witnessed how the victims, now in late middle-age, have had their lives ruined as a consequence, how nothing can really be healed as such, but how we can only help them to manage. 

As for the perpetrators, they’re dead. As with Savile, the knowledge of this leaves a feeling that they got away with it and that justice has not been done, nor importantly seen to be done. 

The BBC’s depiction of him had him being tortured, to some degree at least, by his Roman Catholic faith, that he faced consignment to hell for his crimes and that his charitable works were an effort to compensate for his moral turpitude and get him to heaven. This was portrayed partly in a tentative fumbling for absolution in the confessional box.  

There’s no way to know whether that’s an accurate telling, but it’s not consistent with my memory of the conduct of his final years, nor with that of the period after his death in 2011, as evidence of his crimes emerged. That time was characterised more by intimidation of journalists with lawyers and calling in favours from police. Being in denial seems to have been more likely than being in the confessional space. 

That may have been true of abusive priests too. But it’s axiomatic also of a means to evade justice. One can only hope that they have faced divine judgement. But, then, who throws the first stone? 

I refused to watch it on the grounds that I feared it fell into a TV category that could bear the file name “true-crime titillation” 

I want to turn to another aspect of the reviewing cycle of The Reckoning: Should it have been made at all? This is not the question of whether it should have been made by the BBC, which harboured Savile’s career, but whether drama should be made out of the most atrocious of crimes. 

A very little over a year ago, Channel 5 screened Maxine, a three-part drama miniseries based on the murders of 10-year-olds Holly Wells and Jessica Chapman in Soham at the hands of Ian Huntley, ostensibly from the viewpoint of his girlfriend Maxine Carr, unwittingly coerced into his attempted cover-up.  

I refused to watch it on the grounds that I feared it fell into a TV category that could bear the file name “true-crime titillation”. I also felt that the twentieth anniversary of the murders was too soon for these events to be revisited for dramatic purposes. 

I want to re-visit those opinions now, in light of The Reckoning. Savile was not a murderer, but he destroyed children's lives. It’s important, ultimately, that we know about him and of what he was capable. I have written recently, with regard to a documentary screened on Channel 4 about the Holocaust in Ukraine, that we don’t have the moral option nor the luxury of looking away. 

So this: Hats off to broadcast journalists and dramatists who face up to the darkest of crimes and human nature. Journalists show us (or should try to) that it’s really there. And it’s valid territory for drama producers, because it makes us think about it, if not understand it. That’s what drama does, or is supposed to. 

Finally, we acknowledge from dramatised events, perhaps, that no one is defined by a single aspect of the lives they lead. From this, we might pray that they (and we) may be forgiven somehow, by someone, simply because we can’t.