Hiroshima Cover-up Exposed

In the weeks following the atomic attacks on Japan almost 60 years ago, and then for decades afterward, the United States engaged in airtight suppression of all film shot in Hiroshima and Nagasaki after the bombings. This included footage shot by U.S. military crews and Japanese newsreel teams. In addition, for many years all but a handful of newspaper photographs were seized or prohibited.

The public did not see any of the newsreel footage for 25 years, and the U.S. military film remained hidden for nearly four decades.

The full story of this atomic cover-up is told fully for the first time at Editor & Publisher, as the 60th anniversary of the atomic bombings approaches later this week. Some of the long-suppressed footage will be aired on television this Saturday.

Six weeks ago, E&P broke the story that articles written by famed Chicago Daily News war correspondent George Weller about the effects of the atomic bomb dropped on Nagasaki were finally published, in Japan, almost six decades after they had been spiked by U.S. officials. This drew national attention, but suppressing film footage shot in Hiroshima and Nagasaki was even more significant, as this country rushed into the nuclear age with its citizens having neither a true understanding of the effects of the bomb on human beings, nor why the atomic attacks drew condemnation around the world.

As editor of Nuclear Times magazine in the 1980s, I met Herbert Sussan, one of the members of the U.S. military film crew, and Erik Barnouw, the famed documentarian who first showed some of the Japanese footage on American TV in 1970. In fact, that newsreel footage might have disappeared forever if the Japanese filmmakers had not hidden one print from the Americans in a ceiling.

The color U.S. military footage would remain hidden until the early 1980s, and has never been fully aired. It rests today at the National Archives in College Park, Md., in the form of 90,000 feet of raw footage labeled #342 USAF.

When that footage finally emerged, I corresponded and spoke with the man at the center of this drama: Lt. Col. (Ret.) Daniel A. McGovern, who directed the U.S. military filmmakers in 1945-1946, managed the Japanese footage, and then kept watch on all of the top-secret material for decades.

"I always had the sense," McGovern told me, "that people in the Atomic Energy Commission were sorry we had dropped the bomb. The Air Force -- it was also sorry. I was told by people in the Pentagon that they didn't want those [film] 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. We didn't want the material out because ... we were sorry for our sins."

Sussan, meanwhile, struggled for years to get some of the American footage aired on national TV, taking his request as high as President Truman, Robert F. Kennedy and Edward R. Murrow, to no avail.

More recently, McGovern declared that Americans should have seen the damage wrought by the bomb. "The main reason it was classified was ... because of the horror, the devastation," he said. Because the footage shot in Hiroshima and Nagasaki was hidden for so long, the atomic bombings quickly sank, unconfronted and unresolved, into the deeper recesses of American awareness, as a costly nuclear arms race, and nuclear proliferation, accelerated.

The atomic cover-up also reveals what can happen in any country that carries out deadly attacks on civilians in any war and then keeps images of what occurred from its own people.

Ten years ago, I co-authored (with Robert Jay Lifton) the book "Hiroshima in America," and new material has emerged since. On Aug. 6, and on following days, the Sundance cable channel will air "Original Child Bomb," a prize-winning documentary on which I worked. The film includes some of the once-censored footage -- along with home movies filmed by McGovern in Hiroshima and Nagasaki.