J. Robert Oppenheimer, the brilliant but troubled physicist who oversaw the development of the first atomic bomb during World War II, is the subject of the famous film Oppenheimer.
As per Koimoi, although Nolan is praised for his skill as a filmmaker and his capacity to transform difficult concepts into gripping narratives, the biopic's surprising connection to traditional Indian knowledge—the Bhagavad Gita—gives it an even greater advantage.
Oppenheimer was drawn to the Gita on an intellectual and philosophical level, in contrast to many who approach it through faith. As he struggled with the moral ramifications of the atomic bomb, the scripture became his constant companion. For him, the Gita was not a religious text, but a manual of clarity in moments of crushing doubt.
In the Gita, the warrior prince Arjuna is paralysed on the battlefield of Kurukshetra, faced with the terrible prospect of fighting against his own kin. Overcome with fear and moral confusion, he is counselled by his charioteer Krishna, who urges him to rise above his despair and fulfil his duty — or dharma — without attachment to the results.
The similarities were too obvious for Oppenheimer, who was about to unleash a weapon of unheard-of devastation. His conflict was framed by the Gita: was it his responsibility as a citizen and scientist to finish the weapon despite its potentially disastrous consequences?
When the atomic bomb was first tested in the desert of New Mexico on 16 July 1945 — the event known as the Trinity Test — Oppenheimer’s mind turned immediately to the Gita. Watching the blinding flash and towering mushroom cloud, he recalled Krishna’s words to Arjuna:
“Now I become Death, the destroyer of worlds.”
In that moment, Oppenheimer felt the weight of his creation as a moral disaster as well as a scientific advance. The words expressed both wonder at the extent of human ingenuity and fear at the destruction it might bring about.
For the remainder of his life, Oppenheimer's thoughts on the bomb remained mixed. He seemed determined in public. “I never regretted, and do not regret now, having done my part of the job,” he once told The Times.
Yet in private, the burden of guilt was evident. He reportedly angered President Truman by admitting, “I have blood on my hands.” Truman, dismissive of such honesty, labelled him a “cry-baby scientist.”
As writer Alok A. Khurana observed, “The rightness and wrongness of the government’s terrible decision have been debated endlessly and to my thinking, is not, even today, fully measurable.”
This duality — pride in his work, but anguish at its consequences — echoed Arjuna’s own moral struggle in the Gita.
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It is still uncertain how explicitly Nolan weaves the Bhagavad Gita into his film. However, given Oppenheimer’s own repeated references to the text, its presence looms large over the story.
Even if Nolan refrains from quoting the Gita directly, its influence underpins the themes: the weight of power, the loneliness of decision-making, and the eternal question of whether ends justify means.
The Bhagavad Gita’s resonance lies in its timeless relevance. It speaks of dilemmas that are not confined to ancient battlefields but reappear in every era — including ours. Oppenheimer found in it both justification and torment as he helped create the bomb.
The Gita’s reminder is stark: life’s greatest battles are internal, fought within the heart and conscience.
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