---
title: "J. Robert Oppenheimer"
chunk: 16/17
source: "https://en.wikipedia.org/wiki/J._Robert_Oppenheimer"
category: "reference"
tags: "science, encyclopedia"
date_saved: "2026-05-05T04:07:13.473219+00:00"
instance: "kb-cron"
---

When Oppenheimer was stripped of his political influence in 1954, he symbolized for many the folly of scientists who believed they could control the use of their research, and the dilemmas of moral responsibility presented by science in the nuclear age. The hearings were motivated by politics and personal enmities, and reflected a stark divide in the nuclear weapons community. One group passionately feared the Soviet Union as a mortal enemy, and believed having the most powerful weaponry capable of providing the most massive retaliation was the best strategy to combat that threat. The other group thought developing the H-bomb would not improve Western security and that using the weapon against large civilian populations would be genocide; they advocated instead a more flexible response to the Soviets involving tactical nuclear weapons, strengthened conventional forces, and arms control agreements. The first of these groups was the more powerful in political terms, and Oppenheimer became its target.
Rather than consistently oppose the "Red-baiting" of the late 1940s and early 1950s, Oppenheimer testified against former colleagues and students, before and during his hearing. In one incident, his damning testimony against former student Bernard Peters was selectively leaked to the press. Historians have interpreted this as an attempt by Oppenheimer to please his colleagues in the government and perhaps to divert attention from his own previous left-wing ties and those of his brother. In the end, it became a liability when it became clear Oppenheimer had really doubted Peters's loyalty, and recommending him for the Manhattan Project was reckless, or at least contradictory.
Popular depictions of Oppenheimer view his security struggles as a confrontation between right-wing militarists (represented by Teller) and left-wing intellectuals (represented by Oppenheimer) over the moral question of weapons of mass destruction. Biographers and historians have often viewed Oppenheimer's story as a tragedy. National security advisor and academic McGeorge Bundy, who worked with Oppenheimer on the State Department Panel of Consultants, wrote: "Quite aside from Oppenheimer's extraordinary rise and fall in prestige and power, his character has fully tragic dimensions in its combination of charm and arrogance, intelligence and blindness, awareness and insensitivity, and perhaps above all daring and fatalism. All these, in different ways, were turned against him in the hearings."
The question of scientists' responsibility toward humanity inspired Bertolt Brecht's drama Life of Galileo (1955), left its imprint on Friedrich Dürrenmatt's The Physicists, and is the basis of John Adams's 2005 opera Doctor Atomic, which was commissioned to portray Oppenheimer as a modern-day Faust. Heinar Kipphardt's play In the Matter of J. Robert Oppenheimer, after appearing on West German television, had its theatrical release in Berlin and Munich in October 1964. The 1967 Finnish television film Oppenheimerin tapaus (The Case of Oppenheimer) is based on the same play and produced by the Yleisradio company. Oppenheimer's objections resulted in an exchange of correspondence with Kipphardt, in which Kipphardt offered to make corrections but defended the play. It premiered in New York in 1968, with Joseph Wiseman as Oppenheimer. New York Times theater critic Clive Barnes called it an "angry play and a partisan play" that sided with Oppenheimer but portrayed him as a "tragic fool and genius." Oppenheimer had difficulty with this portrayal. After reading a transcript of Kipphardt's play soon after it began to be performed, Oppenheimer threatened to sue Kipphardt, decrying "improvisations which were contrary to history and to the nature of the people involved." Later Oppenheimer told an interviewer:

The whole damn thing [his security hearing] was a farce, and these people are trying to make a tragedy out of it. ... I had never said that I had regretted participating in a responsible way in the making of the bomb. I said that perhaps he [Kipphardt] had forgotten Guernica, Coventry, Hamburg, Dresden, Dachau, Warsaw, and Tokyo; but I had not, and that if he found it so difficult to understand, he should write a play about something else.