Not the history of Hollywood, but Hollywood’s version of history, a type of history which is staggeringly distilled from the lefty leanings of pop culture. Well, to no surprise, “Oppenheimer” won the Oscar for best picture. Good movie, bad history, especially if you want your history without the hackneyed left-wing bromides. It’s a history for today’s credentialed, degreed, but functional illiterates. It’s proof that today’s education is not educating, and thus Hollywood can get away with distorting history to an ill-informed public.
The film is filled with the now familiar leftist clichés. Cliché #1: Oppenheimer was persecuted. The pertinent question is, however, was he a significant security risk? A “security risk” does not require him to be a communist. As for the “risk” at America’s most top-secret war project, and one for which he is running, a simple examination of Oppenheimer’s background, activities, and associations should raise eye brows above the hair line. Nolan’s “Oppenheimer” obviously raises the subject – for it cannot be ignored, and is central to his plot – but paints the picture in gauzy hues of sympathy for him.
Oppenheimer can legitimately be an object of sympathy, like many people, but sympathy and ascertaining the danger to the country for having him at that post are different subjects. The latter is clearly more significant for us than the former. In this respect, context provides an important back story for events that would involve Robert Oppenheimer, and should have been part of Nolan’s story but are conspicuously absent.
At the time that the Manhattan Project was being organized, the U.S. Army’s Signal Intelligence Service at its operations center outside Washington, D.C., Arlington Hall, was ordered to begin collecting coded messages between Soviet operatives to their colleagues in the U.S. and superiors in Moscow. Stalin was an ally but many in our government were prudently dubious about his motives, intentions, and actions. Would he abandon us and/or undermine our efforts? After all, his connivance with Hitler in 1939 – the Nazi-Soviet Pact – helped trigger World War II. The activities of the Soviet Comintern (Communist Internationale) destabilized many countries in Europe throughout the 1920s and 30s. The Soviet takeover of the so-called Republican side in the Spanish Civil War, in tandem with Fascist support for Franco’s Nationalists, helped turn Spain into a bloodbath.
Simultaneously, the collection of the messages necessitated an intense effort to break the code which did not bear fruit till the end of the war and into the 1950s due to the complexity of the Soviet code. The program to collect and break the Soviet code was given the cover name, Venona.
Furthermore, step back to the 1930s and the preeminent trends of thought in college faculty lounges. If there was an observable sympathy in the U.S. during the 1930s, it was the warmth of our intellectual chattering classes for collectivism ranging from milder socialisms to communism, which is just an impatient socialism. For a good portion of the professoriate, the Great Depression condemned capitalism. The Soviet Union benefitted from much of that warmth and it showed in intellectual discussion groups, social affiliations and activities, which extended beyond the classrooms and laboratories. It’s into this milieu that people like Oppenheimer swam.
Many were attracted to FDR and the New Deal as only the beginning of the crusade to make the world right. Many would eventually fill FDR’s agencies and programs and brought their ideological affections with them. The extent of some of this cognitive kinship was uncovered in decrypted Soviet messages from 1946 on. The affection sometimes translated into espionage.
The effort gained new urgency in 1949 when the USSR successfully tested their first atomic bomb many years earlier than expected, which, as it turned out, was a carbon copy of our very first plutonium bomb, the one of the famous Trinity test at Los Alamos. What’s up? How’d they get it? Venona uncovered two moles at Los Alamos (Manhattan Project): nuclear physicist Klaus Fuchs and mathematician Ted Hall. Confirmation was additionally provided from Soviet archives that were thrown open in 1991. From the evidence gleaned, others at the time would be suspected, including Oppenheimer.
As it turned out, the espionage reached deep into FDR’s administration. Adviser Laughlin Currie, Assistant Secretary of the Treasury Harry Dexter White, the State Department’s Alger Hiss, and a host of Justice Department and other personnel were fingered in Venona.
Around Oppenheimer personally, his wife, brother, and mistress were known to be communists. Moving about educated and influential circles at the time could have, understandably, oriented a person to the lefty side of the spectrum, leaving aside the natural social self-selection process that normally occurs. All of these factors and facts were not part of Nolan’s script, and should have been if he was truly interested in a faithful rendition of the times and the man. Instead, we got historical schlock that distorted and hid much under the rug, and an Oscar-winning movie.
Once a subject enters movie mode, it falls into the drama of protagonist/antagonist, good/bad. There’s the incessant movieland trope of creating villains who in real life may not have been. Always lurking in the background is Hollywood’s deeply embedded anti-anti-communism. The aura of McCarthy and McCarthyism overshadows their modern brain. So, they invent McCarthy-like characters.
One such maligned person was Gordon Gray, portrayed in the movie as a conniving lawyer of sinister motives. He actually was a distinguished graduate of Yale University, award-winning newspaper publisher, president of the University of North Carolina, and widely respected at the time as secretary of the army and presidential national security adviser. He headed the panel reviewing Oppenheimer’s security clearance that voted two to one to revoke it. Now, Gray will be forever reverse black-listed by Hollywood.
The rescinding of it was actually a “dah” moment. There was enough on Oppenheimer to determine that he was too great a risk to our national security, given all that we know from Venona and subsequent FBI investigations. It’s fair to conclude that the FBI’s investigation of Oppenheimer was inconclusive, but being inconclusive could be enough to keep him away from critical research, the risk being too great. He will take a downstream hit to his employability prospects but those are pale when compared to the danger to everyone else’s safety and security.
The movie doesn’t stop there in maligning people. Another object of concocted derision in the movie was Lewis Straus, but he was hardly Robert Downey Jr.’s dark and malevolent denizen of DC. An esteemed Jewish American and president of New York’s Emanu-El congregation, he rose from the bottom to the rank of Rear Admiral, headed Princeton’s Institute for Advanced Studies, and was Eisenhower’s chief of staff and secretary of state. All this was washed away by Nolan to make Straus a demon to Oppenheimer’s saint. Let’s call it what it is: the Hollywood treatment for anybody of prominence on the right.
Hollywood history becomes real history to people who don’t know history. There’s enough out there to know better. You just have to go from the theater to the library, or wherever honest, in-depth sources are available. They’re out there. But, best of all, be abundantly skeptical of what Hollywood is stylishly placing on the big screen. It’s nearly as much fantasy as Disney’s “Snow White”.
RogerG
Sources:
1. An excellent backgrounder on the times is Venona: Decoding Soviet Espionage in America by John Earl Haynes and Harvey Klehr, available on Amazon
2. Another excellent backgrounder is Stalin’s Secret Agents: The Subversion of Roosevelt’s Government by M. Stanton Evans, available on Amazon
3. Thanks to Neal Freeman’s piece in National Review, “Oppenheimer Provides Great Entertainment, Disfigured History”, 7/30/2023, at https://www.nationalreview.com/corner/oppenheimer-provides-great-entertainment-disfigured-history/
4. Thanks to Armond White’s review of “Oppenheimer” at https://www.nationalreview.com/2024/03/oppenheimer-the-first-nihilist-oscar-winner/