Ronald Bergan ponders why American films are so reluctant to depict the Hiroshima bombing.
In the opening dialogue of Alain Resnais’s masterful Hiroshima Mon Amour (1959), the reference to which all other films on the subject must incline, a French actor in Hiroshima for a film, tells her Japanese lover that she has seen everything in Hiroshima – the exhibits in the museum, the news footage of the injured and dying. However, he keeps insisting, “You saw nothing in Hiroshima. Nothing.”
American cinema has seen nothing in Hiroshima. Nor has it ever tried.
Read the full article on The Guardian.