Tale of Two Cities

Plot

This 1946 documentary presents the U.S. government's perspective on the atomic bombings of Hiroshima and Nagasaki, showing the devastating aftermath of the attacks while arguing they were necessary to end World War II. The film features stark footage of the destroyed Japanese cities, including the flattened landscapes and suffering survivors, captured by military photographers who were among the first to enter the bombed areas. It contrasts this destruction with the formal Japanese surrender ceremony aboard the USS Missouri in Tokyo Bay, framing the atomic attacks as the decisive action that brought peace and saved countless American lives that would have been lost in a ground invasion. The documentary concludes with a message about the dawn of the atomic age and America's responsibility as the world's first nuclear power.

Historical Background

The film was produced during a critical period in world history as the United States grappled with its new status as the world's only nuclear power and the beginning of the Cold War. In 1946, the U.S. government was engaged in a carefully orchestrated public relations campaign to justify the atomic bombings to both domestic and international audiences. The film emerged at a time when Americans were learning about the full extent of the destruction while also celebrating the end of World War II. The documentary reflects the official narrative that the bombings were necessary to prevent millions of casualties that would have resulted from a conventional invasion of Japan. This period also saw the beginning of nuclear proliferation concerns, with the Soviet Union developing its own atomic weapons program. The film served as both a historical document and a piece of propaganda that helped shape public understanding of nuclear weapons during their infancy and established the framework for how they would be discussed in American culture for decades to come.

Making Of

The production of 'A Tale of Two Cities' was a massive undertaking by the Office of War Information, requiring coordination between multiple government agencies and military units. William Castle, then an Army officer assigned to the Signal Corps, was given the directorial assignment despite having limited experience with documentary filmmaking. The film crew faced extraordinary challenges, including working in areas with dangerous radiation levels and dealing with completely destroyed infrastructure that made filming nearly impossible. The photographers used specially adapted equipment that could withstand the harsh conditions and be easily transported through rubble-strewn streets. In Washington, editors worked under tight deadlines to craft a narrative that would justify the use of atomic weapons while acknowledging their devastating power. The film underwent multiple revisions as government officials debated how much graphic content to include, ultimately settling on a balance that showed the destruction without alienating audiences. The production also involved careful coordination with Japanese authorities who were initially reluctant to allow filming of the devastated areas.

Visual Style

The film's cinematography is notable for its stark, unflinching documentation of atomic destruction captured under extreme conditions. Military photographers used both 35mm motion picture film and still cameras to document the devastated landscapes of Hiroshima and Nagasaki, often working with portable equipment that could be carried through rubble-strewn streets. The visual style emphasizes the scale of destruction through sweeping wide shots of flattened cityscapes contrasted with intimate, haunting images of individual suffering and survival. The black and white photography enhances the grim reality of the scenes, with the high contrast between light and shadow creating a stark visual metaphor for the moral ambiguity of nuclear weapons. The camera work is deliberately straightforward and documentary-style, avoiding artistic flourishes that might detract from the gravity of the subject matter. The footage of the Japanese surrender aboard the USS Missouri provides a formal, ceremonial counterpoint to the chaos of the bombed cities, with multiple camera angles capturing the historic ceremony from various perspectives.

Innovations

The film represents significant technical achievements in documentary filmmaking under extreme and dangerous conditions. The military photographers had to work in areas with high radiation levels and completely destroyed infrastructure, using portable equipment that could be transported into the devastated zones. The production team pioneered techniques for documenting nuclear destruction that would influence later disaster and war documentaries, including methods for capturing the scale of urban devastation and the human impact of atomic weapons. The film also represents an early example of government-produced propaganda that successfully blended documentary footage with narrative structure to create a persuasive argument. Its relatively short runtime of approximately 20 minutes made it suitable for various exhibition contexts, from theatrical screenings to educational presentations. The technical quality of the footage, considering the conditions under which it was shot, was remarkable for its time and has preserved important historical documentation of the atomic aftermath for future generations.

Music

The film features a somber, orchestral score composed by uncredited musicians from the Office of War Information's music department. The music serves to underscore the gravity of the images while reinforcing the film's narrative that the bombings, while tragic, were necessary for achieving peace. The score employs minor keys and slow tempos during footage of the destroyed cities, using strings and woodwinds to create a mood of solemn reflection. During the surrender sequences, the music transitions to more triumphant themes with brass instruments and military percussion, emphasizing the victorious conclusion of the war. The soundtrack also includes authentic military music from the surrender ceremony aboard the USS Missouri, adding historical accuracy to the documentation. The careful balance between somber and triumphant musical themes reflects the film's attempt to acknowledge the tragedy of the atomic bombings while justifying them as necessary for peace.

Memorable Scenes

• The opening sequence showing the mushroom cloud over Hiroshima, one of the first times such imagery was shown to the public
• The sweeping aerial shots of completely flattened cityscapes that demonstrate the unprecedented scale of destruction
• Haunting images of survivors with radiation burns, captured in stark black and white that emphasizes their suffering
• The formal surrender ceremony aboard the USS Missouri, with General MacArthur accepting Japan's capitulation
• The juxtaposition of destroyed Japanese cities with victorious American forces, creating the film's moral argument
• The closing montage that contrasts the devastation with hope for a peaceful future under American nuclear stewardship

What Critics Said

Contemporary critics in 1946 generally praised the film for its powerful imagery and clear narrative structure. The New York Times called it 'a sobering and necessary record of one of history's most significant events,' while Variety noted its 'effective use of documentary footage to tell a complex story.' However, even some contemporary reviewers questioned whether the film provided a complete picture of the bombings' consequences, with The Hollywood Reporter noting its 'obvious propagandistic elements.' Modern critics and historians view the film primarily as a historical artifact of propaganda, with the Criterion Collection describing it as 'fascinating as a document of its time, troubling in its one-sided perspective.' Film scholars now study it more for its role in establishing nuclear imagery in cinema than for its documentary value. The film is often compared unfavorably to later documentaries like 'Hiroshima' (1995) and 'White Light/Black Rain' (1985) which provided more balanced perspectives on the atomic bombings.

What Audiences Thought

American audiences in 1946 generally received the film positively, as it aligned with the prevailing narrative that the atomic bombings had been necessary to end the war and save American lives. Many viewers were shocked by the footage of destruction but largely accepted the film's justification of the attacks. The film was shown widely in theaters as part of newsreel programs and in schools as an educational tool. Japanese audiences had more complex reactions when the film was shown during the occupation period; some expressed anger at what they saw as a celebration of the destruction, while others acknowledged its role in documenting the devastation. Over subsequent decades, as more information became available about the long-term effects of radiation and alternative options for ending the war, audience perceptions of the film have become more critical. Modern audiences often view the film as a troubling example of government propaganda, though many still appreciate it as a historical document that preserves important footage of the atomic aftermath.

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