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.

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.

Review
Comment
Culture
Death & life
5 min read

'Do you guys ever think about dying...?' - Barbie

Pat Allerton reflects on the Barbie movie, the societal questions that it answers and the existential question that it doesn't.

Pat is vicar of St Peter’s Notting Hill and author of A Pocketful of Hope

Margot Robbie as Barbie in Greta Gerwig's Box-Office smash hit movie

So I’ve just got home from watching the brand new and much acclaimed ‘Barbie’ at the cinema (don’t worry, I also watched ‘Oppenheimer’ last week). It’s 11pm, my wife and our 8.5 month old daughter are asleep upstairs and despite having church in the morning, I feel stirred to write some thoughts.

First and foremost, huge congratulations to Margot Robbie, Ryan Gosling, the whole cast, crew and team. It’s an absolute belter! Full of laughs from beginning to end. I thoroughly enjoyed myself and would encourage anyone else to go and see it.

But secondly, far from being the shallow, plastic cliché that you might expect, what you actually get is an intelligent, searing critique, albeit somehow gently done, of the world we live in and what’s predominantly wrong with it. Which is, you guessed it, men. Or more specifically, patriarchy.

The film begins in ‘Barbieland’ where everything is seemingly perfect, as encapsulated by Barbie when she describes the day we first meet her as, ‘the best day ever. So was yesterday, and so is tomorrow, and every day from now until forever.’ That is, until we meet Ken (played by the excellent Gosling). It is here that the first inkling of imperfection or wrinkle in their world is detected. As the narrator (voiced by Dame Helen Mirren) makes clear, ‘Barbie has a great day every day, but Ken only has a great day if Barbie looks at him.’ (We’ve all been there guys). His niggling insecurity and consequent competitiveness towards other Kens however, still aren’t enough to wake Barbie from her dream-like state and reveal that all is not well in paradise.

Issues of equality, respect, independence and identity are addressed in a way that left this 'pale, stale male' challenged but not condemned. 

That moment arrives unexpectedly, during what appears to be a standard evening with ‘a giant blowout party with all the Barbies, and planned choreography and a bespoke song’ to which Ken is told he should ‘stop by’. The dance is breathtaking, the happiness palpable, and yet suddenly, as if from nowhere, Barbie blurts out the pivotal line in the film, the hinge on which the whole (Barbie) world turns, ‘do you guys ever think about dying?’ Cue the DJ’s vinyl record screeching to a halt, the choreography closing down, the dancers looking at her in disbelief, and the general sense of a serious buzz-kill. ‘Dying to dance’, she disingenuously adds, desperate to keep the party going, to shrieks of relieved delight and Dua-Lipa's return. Disaster averted, reality restored.

Except it’s not, it’s simply avoided. Avoided by everyone that is, bar Barbie. Something has changed for her, she knows it, and she must somehow find out why. That wrinkle in her world (along with the wrinkle on her thigh) turns out to be caused by a tear in the fabric separating her plastic world from the real one.

Long-story short, avoiding spoilers where I can, Barbie and Ken then embark on an eye-opening, perspective-shattering, journey from their world to the real world in order to find out where such unnerving questions (and cellulite) were coming from. Major issues with (or norms within) our world are encountered, from the objectification of women (Barbie receives immediate unwanted attention from all kinds of men), to the totally unmerited respect of any man (with someone even asking Ken if he had ‘the time’). They each go on an existential journey of discovery, with Ken delighted to learn that in the real world, men rule the roost (except for a brief time when he thought that horses did). Inspired with fresh vision, he quickly returns home in order to make some fundamental changes to and establish much of the best practice that he’s witnessed in patriarchal L.A.

I won’t say how things end up, but suffice it to say, issues of equality, respect, independence and identity are addressed in a way that left this ‘pale, stale male’ feeling both challenged but not condemned. Kudos to the team for getting that balance right! However, as big and important as these issues are, and as satisfying an ending as was reached from a social justice warrior’s point-of-view, it struck me that the biggest elephant of all was still left there in the room, or at least charging around on the beach. Because the very question that began her journey, the deepest one that woke her up, is the very one that’s just left hanging, unaddressed and ungrappled with.

The music stops and that is it. And yet don't our hearts long for more?

It’s almost as if that moment of existential angst on the dancefloor (and who hasn’t had one of them), realising the fragility of our own mortality, did nothing more than focus Barbie on the need to lay hold of everything she can in this life, rather than exploring the reality (or not) of the next. Our culture has a word for it. YOLO, if you didn’t know, standing for ‘you only live once’. Which of course is true, whether you’ve got faith or not. But the Christian worldview would go further, saying that whilst indeed you only live once, the Scriptures tell us that you also live forever (or YALF, to coin a phrase). Which sounds ridiculous on the face of it (the concept, not the phrase, although granted, YALF might not catch on). After all, as the creator of Barbie, Ruth Handler, tells us in the film, ‘ideas live forever, humans not so much.’

Unless, of course, they do, or can, which only our creator could possibly make possible. And so Ruth’s appearance raises another interesting question, if she made Barbie, who made Ruth? Only when we’re dealing with questions of this nature can we be positioned to take on the big mama (I was tempted to say ‘daddy’) question of, ‘do you guys ever think about dying?’ Which, of course, every one of us does. You can’t be human and avoid doing so. You’d have to be a doll in a made-up world.

But it’s a frightening thing to do, whether in Barbieland, in England’s green and pleasant land or anywhere for that matter. Because it all just looks so final. Like the music stops and that is it. And yet don’t our hearts long for there to be more? For one more song, for the beat to continue? Dare we hope for resurrection where life and light beat death and darkness? Because as beautiful as this life is, with all its opportunity for growth and freedom, be it in self-revelation and actualisation like Ken (the film ends with him wearing a hoodie that says, ‘I am Kenough’), or greater progress and equality on a socio-political level, experience tells us that until we have an answer for Barbie’s first and biggest question, then our own days here on earth, however good, happy and choreographed, will always be rudely interrupted by the reality of death and its long shadow. Find an answer for that... and let the DJ’s music play.