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Finally, we have white on black sanserif OPPENHEIMER. Plus muted UNIVERSAL/ Comcast. With no other credits or actors. I'm guessing this is to suggest it's all true, not to be confused with 'Hollywood' crap. There's just an irrelevant orange fiery fireball apparently from space; a modern digital effect, not seen in life. Plus what looks like a waxball', as used in H-bomb fake films.
It took me some time to work out the chronology here: there are color-coded bits, oldest stuff in near black-and-white, allowing scenes to be mixed up in chaos mode, giving the dupes something to work on. In a faintly similar way, their ancestors gawped as the puzzling rituals of Mass, or performances in arenas and circuses.
Anyway, we have "Oppenheimer an' security for the American people". Jews always like to make up this sort of fake appeal. Oppenheimer testifying. There seem to be two hearings, one Congressional, the other 'security'. As always, there are scene-setting items: press, radio, early TV, chatter. Here we have a helpful commentary: "Oppenheimer still divides America". We are told that Eisenhower asked him to be in the cabinet. (I think that was the word). The dates throughout are unclear, except for 1 Sept 1939. I couldn't detect any errors in chronology; it's standard Jewish presentation of factoids, as I suppose Nolan was instructed. There are so many Jewish psyops that there must have been many meetings with 'experts' to decide what to include. I was half-expecting Oppenheimer to be shown as black, or wearing a skirt, but no. I was surprised to see explicit mentions of Jews, though.
Anyway, we have a review of his life. As part of the scene-setting, he has to be described as brilliant, with accompanying detail to satisfy to plebs; either linguistic, or mysterious and technical-sounding. We see (or hear—visuals are too difficult) Cambridge and Blackett; Bohr (acted by Kenneth Branagh—how lucky that the English language has collected a range of accents). Then Göttingen. It's already clear they use heavy make-up; Edward Teller (later) especially. I wonder if they include little bits to give a gritty texture? Maybe it's to give past times an artificially grubby appearance, as part of the process of fading out the past?
There's nothing on the 'Great War', the First World War, which did so much to install Jews more firmly. Oppenheimer was a rich Jew when much of Europe had been harmed, though increase in air power made it seem small-scale. The Versailles 'Treaty' is of course not mentioned, nor the Jews there. Jews in the newly -formed USSR started their butchery years before the Oppenheimer enquiries. Russian Jews ran the death machinery, and were backed by Jews in America—no wonder Americans wondered where their taxes went. And Jews in Latvia, Lithuania, Estonia, Hungary, Czechoslovakia.
Britain was omitted, even Churchill and Lindemann. Poor old Wells isn't there. There was a glance at T S Eliot, but he wasn't British—it's Mathis's Law, that only Jews get mentioned.
Oppenheimer is shown in the Netherlands—he learned Dutch in six weeks, the script says, but doesn't speak Yiddish much. One of I think two Jewish references. There's nothing cultural—no synagogues, no ritual cursing of goyeem, no oaths.
These are the days before some modern architectural features. The Institute of Advances Studies has polished parquet flooring, dark-stained wood panelling, wood-framed tall windows, wooden chairs.
Heisenberg (of the much-garbled 'uncertainty principle;) gets a mention. But ... he worked for the Nazzies. The invention of Hitler is not part of this film, and in fact is not part of any official Jewish narrative. So there's a constant tension as to how to not mention Jews. But control of dialogue gives an unbreachable barrier, keeping out anything intelligent.
Then Caltech and Berkeley - and a cyclotron lab. Something to do with fast-moving particles, or at least things, and something to do with the speed of light which to this day is misunderstood.
Now we have a soup of popular science phrases seasoned with crypto-Jewish politics—crypto because they will not discuss it to goyeem—I write that to emphasize the pronunciation.
Interesting interlude here, with the attempted formation of a union for technical workers, UEPCE or something. The suggestion to me (not in the film) is that Jews wanted Jew-run unions, so that workers told (e.g.) to ship torture stuff to Stalin wouldn't stop it. Or actors' unions could stop their members appearing in Jew-realist productions. Hilaire Belloc noted Jews in unions. For some reason this didn't work, or if it did it's downplayed.
September 1 1939: some excited person refers to a news headline, and says "the world will remember". The USA was not in the war at the time. Why not?—here's an answer by someone from France. Who seems to know his stuff.
The 'Atomic Energy Commission' was there somewhere; it must have been invented about that time. It's expanded into another huge Jew fraud.
About this time the actor who reminds me of another actor turns up as Groves, famous for hading out huge expenses, while living on a salary which by today's figure must have seemed derisory. He says he built the Pentagon, which looks a typo in the script to me. But at the time working on Oak Ridge, Tennessee, where there was supposed to be a centrifuge process using fluorine to separate U<235. This wasn't shown in any way.
Now I think of it, the 'New Deal' wasn't mentioned. Maybe it was too ridiculous a memory. The 'Great Depression' was engineered, to the point where people were overjoyed to work huge shifts making weapons. Part of this process was demonisarion of Germany, helped by the Jewish actor (he went to school with Wittgenstein) presented as a prime mover on his own vs "our Communist allies", the Jews in eastern Europe.
I wondered if parts of the script were taken from Congressional Records to try to provide authenticity. Maybe. Anyway, here's Charles Fuchs described as a 'British scientist'. Spying is introduced; part of the mythology, to pretend they had a nuclear bomb, was to pretend important secrets had been handed out. There is a half-truth here: many American scientific secrets were just handed over to Jews. For that matter, many German patents were simply grabbed by 'Americans', no doubt usually Jews.
I wondered if the movie was commissioned partly because of Putin, inheritor of Jewish mass murders, and Ukraine.
There's a scene/time-shift to Edward Teller, on 'hydrogen bombs' Teller is famous for being a phony, his 'bomb' being tested at sunrise.
I'd guess the 'Trinity' scene was the most expensive; though really there wasn't much beyond a desert area, a few trucks, wind and rain effects. Some of this mimics atomic test films made at the time at Lookout Mountain. See Lookout Mountain Studios (2013). By chance. the studios came up for sale during the life of the short-lived forum.
Anyway; we have a scene of 'the detonator charging'. Dark goggles put on, as shown in cinema newsreels all that time back. Sweaty signs of stress. Big red button.
More uncritical stuff follows: Truman told Stalin "we have a powerful new weapon". To my surprise, absolutely nothing was shown of the supposed bombings (or even the real fire-bombings). I'd expected Oppenheimer posing beside a mushroom cloud, in fact two pillars of smoke, would have been shown; or the film of the supposed bomb, impossible as the times were different. Not even the supposed photos; all we see is the Oppenheimer actor slumped in a seat while a voice talks of shirt patterns being burnt onto skin. I really hadn't expected this extreme—but prudent— coyness.
We return to hearings (I think; by now my notes were sketchy). A cover of Time (a jewfish propaganda publication, with pictures showing Oppenheimer in oddly mixed-race shades; I haven't checked how accurate that was. McCarthy, of McCarthyism, got a mention, but his assertions about Jews had to be evaded. Then there were spies, of whom quite a few have been wheeled out, all fakes. Blackett was implicated in some way with something. Downey's character is shown prattling along. The word "thermonukular" gets aired.
Written and produced by Christopher Nolan. The audience filed out; I was almost last. For some reason there was almost no conversation. Theatrical crowds are much more animated; I have no idea why. I asked the bloke next to me what he thought, and he was a true believer in all the rubbish. Probably Nolan delivered what he was asked. I missed the credits; not being able to read the white on black lettering. A window into the deathly soul of Jewry.
And why not look at the conserved forum, at nukelies.org in which ten or so people, all males, worldwide, discuss nuclear issues, and other remotely related issues such as world population figures, distortions of world history, religions, and 'nuclear power'.
It occurs to me to add a script for a talk on nukes, which I never gave. They seemed a bit amateurish. Chronology of Hiroshima in Open Office format. It's unchanged and unedited, but gives some idea of what serious history should be like.
Added later: Here's my one-act play on faking 'nukes' based in 1945, 1945-groves-sachs-spaatz-oppenheimer-slotin for a bit of realism!
Rae West big-lies.org 3 Aug 2023
The 'wavicle' idea is accompanies by a plangent violin plus synthetic loud bass, possibly to suggest European culture. There's a lot of very loud sound in here; sudden sounds have a biological warning effect, which I suppose is intended to be associated with and enhance the weak images. A Sousaphone march as a substitute for thought. I've just noticed I reviewed an unimpressive book by, or attributed to, Oppenheimer,
"Doctor" Oppenheimer gets in—I think he virtually purchased a PhD after World War 1—and we have a suggestion of gravity stopping light; and black holes. Sounds later to me. On Marx as inventing another Jewish psy-op, without the Jewish god, see this piece on Flavians and Rome. Anyway, Oppenheimer read all 3 vols of Marx 'in the original German'—even if he had no idea about Bauer—in conversation with Jewish woman in the USA interested in sex. There are brief conversations on fascists and communists, and going to Spain—the so-called 'Spanish Civil War' was a Jewish cause of the time, and in fact still is.
Then we have 'the Germans' splitting the atom, a catchphrase of the time. The uranium atom. In Britain, this is attributed to Rutherford. I've always assumed he really was a New Zealander, but maybe he was another Jew, it strikes me.
Then we have Emily Blunt as a biologist, usurping the original Mrs Oppenheimer who provides the only sex scenes, with the Irish actor being somewhat naked too. Emily was cast as a dissatisfied type, not liking her kids very much; probably this is part of the anti-white attitude of Jews. I thought her role was a bit disappointing, like Malik of Freddie Mercury, who handed out leaflets.
And a scene on solids in fact being mostly empty space, which may have been copied from Bertie Russell. My own view is that these things are too small to be interpreted by usual human senses. But I accept that collapsed atoms would give objects so dense they would fall through ordinary floors etc.
We see an Oppenheimer ranch in New Mexico. There is (of course) nothing on his family wealth. Jews like to pretend such people came from nothing.
Then more on Spain. Jews invented Islam, then helped Moslems invade Spain. It's a sort of proprietary thing.
Then Einstein and Szilard. and 'herding my people into camps'. Concentration camps in Germany were the safest places to be, apart from Jews in the army, National Socialists, etc. The 'herding' reference applies to the Holocaust, later attributed to Jews, not Dead Russian. Einstein was played by Tom Conti, with the same intonation as his Greek waiter in Shirley Valentine. Maybe to make people say "looks like miscasting".
I recognised Robert Downey, not looking very junior. I looked up his character: Spatz? Sachs? But apparently Lewis Strauss, one of these Jews on whom assurance was placed by the Federal Reserve. Commenting somewhere on Jews in the shadow, without using that word. Possibly something like Baruch. In a sense it hardly matters with these identikit cut-outs, whose whole lives are an ancient script, eerily echoing an actorial life, but with scripts generated by their internal artificial intelligence programming.
Note of course that China was involved too. And indeed Japan—the best and newest article known to me on Japan is a pdf file (apparently) by a Briton, nicknamed Lestrade, hosted on Miles Mathis's site, and saved here.
Anyway, the next bit, and really the only significant outdoor part of the film, is based on Los Alamos —I'm unsure if the name was manufactured&Mdash;and the so-called Trinity 'test'. Los Alamos was shown as mid-point of 4 other places. It was isolated; it reminds me of Bletchley Park in southern England in that sense. Both places remain mysterious. As far as I remember, the whole chunk was in color, to symbolise being here-and-now.
Lookout Mountain. Forgery Factory
We see Tom Conti in a white wig; throwing stones into a lake, or perhaps feeding birds; maybe there was a confusion with Tesla. He professes a 'disdain for mathematics' which amused me—he couldn't do it.
There was synthetic concern of the Jewish type over blowing up the world and radiation. Not much was known about it but it was handily invisible and not easily detectable. Later in Japan, all deaths were put down as due to radiation—which may remind you of the COVID fraud.
We see Fermi in Chicago; with an image of an atomic pile, large chunks of metal, which looked a green screen effect to me. It was not a proper experiment, like all this crap. Incidentally Italy had its own holocaust fake; and had its own fascists atrocity town, as usual miles from anywhere.
We have the usual actorial stuff: "The Russians have a bomb" style, when of course the 'Russians' were Jews.
Maybe heavily-made up men reinforce the image. Who knows what trends are in professional make-up circles. My scribbled notes at this point say "very extreme liberal background" showing yet another euphemism.
At this point there was a sex scenes with the Commie Jewish woman and the unappetizingly naked (as far as the scenes allowed) Oppenheimer. Appropriately Freudian.
Another unexpected aside was someone called Parch or something like that, the son of a Russian Orthodox bishop who "killed Bolsheviks with his own hands." wonderful inversion.
"Hitler blew his brains out in the bunker. Japan fights on." The worst dialogue has the advantage of fictional cover. I didn't check to see if there was the usual disclaimer at the end; probably. "Roosevelt wants the boys back home" "Pearl Harbor buys a lot a time from the American public" "Couldn't we give the Japanese a demonstration?" illustrates the uneasy propaganda mix.
The 'explosion' combined instant flashes, as the theories suggested—they couldn't be slow! John Pilger wrote ignorantly on this. But there are other images, one on my home page, of a sort of tower of flame and burning, and Nolan used both with lots of orange smoke or flame—who'd have thought desert sand was inflammable! Then Oppenheimer's prepared speech on the sun. Reminiscent of whoever read out the 'Greatest step for mankind' speech. There's similar smoke effects in the TV ad for the Jew Lyndon Johnson's election, though it was inverted presumably to look sinister.
His 'security clearance' was said to be turned down by 2 votes to 1. Nothing about security and war in Israel, or security of the USA from Jews.
Why not watch Lords of the Nukes - it's a bit longer than Oppenheimer, but infinitely more informative. No actors, unless you count my spiffing voice.