《 #奥本海默 》这个故事是罗伯·派汀森推荐给诺兰导演…
《 #奥本海默 》这个故事是罗伯·派汀森推荐给诺兰导演，如果你了解多一些罗伯·派汀森；而不是印象只停留在《 #暮光之城 》时期的他，就会觉得这样的“催生”是多么的理所当然，毕竟罗伯·派汀森也是怪人一个，但是是有才华的怪。
这部电影的主角“奥本海默＂本来就是有着冲突性的人设，他没打算对情感忠诚、和共产党走的很近却不是共产党员、在下属的眼中也不是多好亲近的人、也或许迷失在掌声中、真实世界的他有思觉失调的问题…这些将他形塑成瑕疵英雄。
在那场就要让他入罪的私下审判中，也看到他对发明核弹这般的杀人武器是否会内疚？也有着十分人性化的诠释，会发现…
「内疚有层次、有分别、有搞不清楚、有可能只是自怜的一厢情愿、有框架。内疚不只是内疚的如此单纯，也不一定永恒。」
另外…
这些科学家才是真实世界中的“超级英雄”，会更像《 #黑袍纠察队 》的超级英雄的那个样子，只不过更像人许多。
电影看到决定要投下核弹在日本时，我自动脑补了 #宫崎骏 的《 #萤火虫之墓 》觉得可悲到不行，只是一直来到这个世代，各国间的战略盘算不也仍在重复着这样的路数？
也只好安慰大家不要成为人类中的“分母”，尽量成为一个有用的人、能接近核心的人、成为分子的人。
我一直没想到这个作品中也会有“反派”，毕竟这是部史实为依据而改编的作品。
电影把这位反派藏的很好，但细心的观众在他被羞辱时会心中有个底。
这个坏心眼也是伴随着权势而能得逞，它不只是“小心眼爱记仇”那样的简单，毕竟…
「在权势圈里反而是“形象、名声”往往比金钱还来的重要。」
反派不也是想从分母爬到分子的努力着？
又怎能不妒嫉有着才华而“生来就是分子”的奥本海默？
电影没说的是奥本海默他本来就是富裕犹太裔的孩子，本来就赢在起跑点，电影中的毒害教授的事件，也是他家里的人花钱去摆平的。
所以如果你是导演或是制片方，略知道奥本海默他的人生事迹和世界历史，也会知道这是好卖的题材、一个好的故事。
诺兰导演在这次也是用了一个电影一半的时长、很满的对白铺陈用来迭架最终的故事高潮。
严格上来说电影如果去掉了前面的一个半小时而直攻核心故事，也会是部有着不错分数的好电影！但这种执着也才造就了Christopher Nolan，我质疑这份执着的必要性。
就好比坚持胶片拍摄（这点我能理解，这是和审美的敏锐、视觉的细节计算有关）但坚持到自行研发、制造出一台专门拍黑白电影的70mm胶片摄影机，这种执着也只有类似Nolan这个强大的IP/知名的导演办得到了。
但我不认为数字摄影设备办不到胶片拍摄所能做的事，或许这就是我的“穷人思维”吧。
总之
《奥本海默》是近期好看的电影，冲着话题是可以去看看这部电影，它没有大到一定要进电影院看，所以不追话题的观众或许也可以等等串流平台的上架再看也不迟。
"Oppenheimer" was recommended to director Christopher Nolan by Robert Pattinson. If you know more about Robert Pattinson beyond his "Twilight" days, you would find such a collaboration quite natural, as he is not just the actor from "Twilight" but also a talented and eccentric individual.
The protagonist, "Oppenheimer," in this film was intentionally crafted as a conflicted character. He is not inclined to be emotionally loyal, keeps a distance from the Communist Party without being a member, isn't particularly close to his subordinates, and may even be lost amidst the applause. In the real world, he struggles with issues of schizophrenia, which humanizes him as a flawed hero.
In the private trial that could lead to his conviction, we witness his internal conflict regarding the invention of the deadly nuclear bomb. Will he feel guilt? The portrayal offers a nuanced perspective, showing that guilt is multi-layered, subjective, and sometimes even self-pitying. It can be complex and not necessarily eternal.
Moreover, these scientists are the real-life "superheroes" in the world, akin to the characters in "The Boys," but much more human. They exemplify the complex and imperfect nature of real-life heroes.
When the decision to drop the atomic bomb on Japan was depicted in the film, it automatically brought to mind Miyazaki's "Grave of the Fireflies," a heart-wrenching portrayal. Unfortunately, throughout history, strategic calculations between nations seem to repeat such devastating paths. All we can do is console ourselves by striving not to be just a denominator in humanity's equation but to be useful individuals, getting closer to the core, and becoming a part of the solution.
It was unexpected to find an antagonist in this historical adaptation. The film cleverly conceals this character, but attentive viewers sense it when he is humiliated. His malevolence is not merely about holding grudges but also about the pursuit of power. In such circles of influence, image and reputation often carry more weight than money itself. The antagonist too seeks to climb from the denominator to the numerator. How can he not be envious of Oppenheimer, who was born with talent and was already a part of the "molecule"?
In the end, the movie delves into the complexities of human nature, ambition, and the choices that shape history.
The movie doesn't reveal that Oppenheimer originally came from a wealthy Jewish family, giving him an advantage from the start. The incident with the toxic professor in the film was handled by his family's money.
As a director or producer with some knowledge of Oppenheimer's life and world history, one would recognize this as a compelling and marketable subject, a story worth telling.
Christopher Nolan, the director, dedicates a significant portion of the film to elaborate dialogues and setup, which build up to the climax. Strictly speaking, if the movie focused solely on the core story and omitted the first hour and a half, it could still be a good film with a decent score. However, Nolan's persistence and attention to detail have shaped his unique style, making him the director he is. For example, he insists on using film shooting, which I understand, as it's related to aesthetic sensitivity and visual precision. But his unwavering dedication to developing a 70mm film camera specifically for black-and-white films seems excessive and only achievable by a prominent director like Nolan. However, I don't believe that digital cameras can't achieve what film shooting can. Perhaps, that's just my "limited budget" way of thinking.
In conclusion, "Oppenheimer" is a compelling movie worth watching, especially for its topic. While it's not a must-see in theaters, it's a film that can be enjoyed on streaming platforms at a later date for those who aren't driven by the current buzz.
※ 图片撷自thedailybeast
