Oppenheimer is a 'movie where the Japanese people are relegated to basically a historical footnote. As a reflection of Oppenheimer’s mind, the film cannot help but be morally half-formed,” says Paul Ham, the author of “Hiroshima Nagasaki.”
Diving into an explosive episode of 20th century history that launched the nuclear age, director Christopher Nolan unleashes the most ambitious film of his career.
“It will, in that way, create a limit on public consciousness and concern,” Shimoda says. “‘Oppenheimer’ reinforces, in the guise of false nuance, the tired and ultimately distracting debate of whether or not the mass murder and the incineration of over 100,000 civilians in an instant was justified.”
“I wasn’t expecting any type of representation of the Japanese side of the story because [Oppenheimer] wasn’t the kind of figure who actually went to Japan or had a connection to Japan,” says Morimoto, who also facilitates, an undergraduate program that highlights the under-acknowledged effects of the university’s nuclear science on Native Americans.
“The only vision of the victims of the bomb were Americans, who were dying and their skin was peeling off and their bodies were disappearing in front of us,” says Ham. “But that was in Oppenheimer’s mind. When he said to Truman, ‘I’ve got blood on my hands,’ he was thinking about“If they were to talk about [the effect of bombings],” Morimoto says, “they should have made an effort to show the actual image when they had an opportunity.
After attending a press screening of the film ahead of its release, Li Lai, founder and editor in chief of“People seem to love ‘Oppenheimer’ but I’ll just say it,” she posted. “I was uncomfy watching yet another movie about tortured white male genius when the victims of the atrocities glossed over by the script — Japanese people, interned Japanese Americans, and Native Americans — had no voice.”
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