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Though “Oppenheimer” features stars such as Emily Blunt and Matt Damon, the sombre story is not obviously a crowd-pleaser.
雖然《奧本海默》有艾米麗·布朗特和馬特·達蒙等明星出演，但這個陰郁的故事顯然不能取悅大眾。
That it has also been made with a large budget of $100m reflects the faith that studios have in certain film-makers and the risks they allow them to take.
這部電影也有1億美元的大額預算，表明電影公司對某些電影制作人有信心，以及允許這些電影制作人冒一定的風險。
“There have been films previously about the development of the atomic bomb in the 1940s and 1950s, and they haven’t been box-office successes,” says Sheldon Hall, a film historian and co-author of the book “Epics, Spectacles and Blockbusters: A Hollywood History”.
“以前有過關于20世紀40年代和50年代原子彈發展的電影，但票房并不成功?！彪娪皻v史學家、《史詩、奇觀和大片：好萊塢歷史》一書的合著者謝爾頓·霍爾說。
“This film is being hinged on Nolan’s reputation,” he adds.
“這部電影靠的是諾蘭的聲譽?！彼a充道。
The “Barbenheimer” rivalry brings a more serious question for the public: whether to favour realism or escapism.
“芭本海默”式的對決給公眾帶來了一個更嚴肅的問題：是支持現實主義還是逃避主義？
As war rages on in Europe, and countries including North Korea continue to develop their nuclear arsenals, the origin story of these weapons of mass destruction may feel too real and raw.
隨著歐洲戰火肆虐，朝鮮等國繼續發展核武器庫，這些大規模殺傷性武器的起源故事可能會讓人感覺太過真實和直白。
“Oppenheimer” is not a film that will ease viewers’ anxieties.
《奧本海默》不是能夠緩解觀眾焦慮的電影。
It explores the physicist’s concerns about the horrifying power of his weapon and other bombs; it also shows how the American government attempted to silence him when those opinions became politically unpopular.
它探討了這位物理學家對他的武器和其他炸彈的可怕力量的擔憂，它還展示了當這些觀點在政治上不受歡迎時，美國政府如何試圖讓他無法發聲。
Oppenheimer has disturbing visions of the bomb’s victims in excruciating pain, their skin peeling.
《奧本海默》中有令人不安的景象：炸彈受害者痛苦不堪，皮膚脫落。
“Some people leave the movie absolutely devastated,” Mr Nolan has said. “They can’t speak.”
“有些人看完這部電影時感到非常痛苦?！敝Z蘭說，“他們說不出話了?！?/p>
Ms Gerwig’s production is much more playful.
葛韋格的作品則要有趣得多。
She has described the set—which contributed to a global shortage of pink paint—as “a dopamine generator”.
她將電影的布景--導致了全球粉色油漆短缺--描述為“多巴胺生成器”。
The film’s tone is witty and slyly self-referential: it pokes fun at Mattel, here run by a team of men, and the vexed history of the toys.
這部電影的基調是機智詼諧和狡猾的自我指涉：它取笑美泰，電影中美泰由一群男人掌管，也取笑玩具的惱人歷史。
(The Barbies mistakenly assume that all women revere them as role models.)
(芭比們錯誤地認為所有女性都把她們視為榜樣而尊重她們。)
It has the kind of plot that only makes sense if a viewer does not think about it deeply.
《芭比》的情節只有在觀眾沒有深入思考的情況下才有道理。
“Barbie” recognises the alluring comfort of dream worlds.
《芭比》認可了夢幻世界誘人的舒適。
At one point Weird Barbie, a doll that has been handed around and mistreated, offers Barbie a choice, symbolised by a high heel and a clunky Birkenstock sandal: “You can go back to your regular life, or you can know the truth about the universe.”
在某一刻，怪人芭比（一個被傳來傳去和玩壞了的娃娃）給了芭比一個選擇，由高跟鞋和笨重的勃肯涼鞋作為象征：“你可以回到原本的生活，或者你可以去了解宇宙的真相?！?/p>
Barbie chooses the stiletto and is quickly chastised.
芭比選擇了高跟鞋，很快就受到了批評。
“You have to want to know, OK? Do it again.”
“你必須想去了解真相，好嗎？再選一次?！?/p>
“Barbie” and “Oppenheimer” offer another version of the Birkenstock-stiletto dilemma.
《芭比》和《奧本海默》提供了另一個版本的“勃肯涼鞋-高跟鞋”困境。
History suggests more viewers will opt for escapism.
歷史表明，更多的觀眾會選擇逃避現實。
During the Great Depression, many of the highest-grossing films were musicals or historical epics.
在大蕭條期間，許多票房最高的電影都是音樂劇或史詩電影。
The same was true during the second world war.
第二次世界大戰期間也是如此。
Movies that did broach the subject of conflict, including “Gone with the Wind” and “Sergeant York”, were often set in the past; those that were contemporaneous, such as “Casablanca”, tended to tell love stories rather than tales of grisly combat.
《亂世佳人》和《約克中士》等觸及沖突主題的電影，往往是以過去為背景的，那些以當代為背景的電影，如《卡薩布蘭卡》，往往講述的是愛情故事，而不是恐怖的戰斗。
In 1968, at the height of the Vietnam war, the biggest movie in America was “Funny Girl”.
1968年，在越南戰爭最激烈的時候，美國最熱門的電影是《妙女郎》。
In 2007, during the financial crisis, it was a film from the “Pirates of the Caribbean” franchise.
2007年，在金融危機期間，最熱門的是《加勒比海盜》系列的一部電影。
David Thomson, another film historian and author, reckons that, at a time of economic strain, war and populism, viewers will not want to see a serious film as much as they will want to see a frivolous one.
另一位電影歷史學家和作家大衛·湯姆森認為，在經濟緊張、有戰爭和民粹主義的時代，比起嚴肅的電影，觀眾更想看淺薄的電影。
“Comedies have always done well at the movies,” he says, because they do “something that the movies were made for, which is to reassure people and give them a couple of hours of escape from pretty big problems.
他說“喜劇片在電影中的表現一直很好，因為喜劇片做到了“電影最初被發明時要做的事，那就是讓人們感到安心，讓他們有幾個小時的時間去逃避大問題?！?/p>
Who wants reality when life in plastic is so fantastic?
當塑料世界如此美好，誰還想要現實世界呢？
