by Greg Mitchell
“A Hole in American History”
Dozens of hours of film footage shot in Hiroshima and Nagasaki in the fall and winter of 1945-1946 by an elite U.S. military unit was hidden for decades and almost no one could see it. The raw footage, in striking color, languished in obscurity. As the writer Mary McCarthy observed, the atomic bombing of Japan nearly fell into “a hole in human history.”
As our nuclear arms race with the Soviet Union escalated, all that most Americans saw of Hiroshima and Nagasaki were the same black-and-white images: a mushroom cloud, a panorama of emptiness, a battered building topped with the skeleton of a dome—mainly devoid of people.
Once top secret, the shocking images now carry an “unrestricted” label. You have, quite possibly, seen a few seconds of clips on television or in film documentaries. If so, those images may be burned into your mind. Yet no one was allowed to view them when the horror they captured might have prevented more horror by slowing down or even halting the nuclear arms race.
Compounding the cover-up, the American military seized all of the black-and-white footage of the cities shot by the Japanese in the immediate aftermath of the bombings. They hid the film away for many years. It was known in Japan as the maboroshi, or “phantom,” film. It, too, rests in the National Archives today.
“Never again.” At least not with outmoded bombs.
To find out how and why all of this historic footage was suppressed for so long, I tracked down the man who oversaw the handling of both the Japanese and American film. His name is Lt. Col. (Ret.) Daniel A. McGovern he told me that high officials in the Pentagon “didn’t want those images out because,
“…they showed effects on man, woman and child...They didn’t want the general public to know what their weapons had done—at a time they were planning on more bomb tests.”
Not incidentally, those planned tests were designed to help the U.S. military build bigger and better nuclear bombs.
McGovern also said, “We didn’t want the material out because…we were sorry for our sins.”
The secret color footage (see some of the footage below) was finally shown to the public, however limited, on June 2, 1982. The New York City screening coincided with the high point of the antinuclear movement.
In response to an escalating arms race stoked by a new president, Ronald Reagan, who said a nuclear war with the Soviets was “winnable”—a “nuclear freeze” campaign had been organized in hundreds of cities and towns. It captured the imagination of the media and a massive anti-nuclear march in Manhattan was set for June 12.
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