Hiroshima and Nagasaki: Five reasons why President Truman made the right decision

Introductory photo

The bombing of Hiroshima and Nagasaki was apocalyptically awful. 70 years ago today, an estimated 90,000 people were immediately killed when Little Boy detonated 1,950ft above Hiroshima – 50,000 more would die by the end of the year. Two days later, Nagasaki was struck by ‘Fat Man’, killing approximately 80,000 people. It was, as the Allies threatened during the Potsdam Conference, ‘prompt and utter destruction’.

Just four months into his presidency, President Harry Truman was tasked with making one of the most important decisions in human history. He chose to put an atomic full stop on six long years of unprecedentedly bloody conflict – here are five reasons why he made the right decision.

To continue reading, please follow this link: www.warhistoryonline.com/guest-bloggers/hiroshima-and-nagasaki-five-reasons-why-president-truman-made-the-right-decision.html

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Baraka (1992)

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I can’t see how someone couldn’t like this film.

A bold statement certainly, however Baraka has an immense beauty that is surely universal in appeal. It is a documentary that’s without  narrative or narration, it captures a veritable plethora of imagery that reminds us that Earth is indeed a baraka, which is Arabic and Hebrew for ‘blessing’.

Any attempt to derive meaning or identify connection becomes merely incidental as you’re presented with the hypnotic scenery that Ron Fricke and his team have captured; it must have been difficult for them to cut their glorious footage down to 97 minutes. The film traverses verdant jungles, epic mountain ranges, sweeping temple complexes, arid deserts,  imposing cityscapes and haunting landmarks of evil such as Auschwitz and the Cambodian S-21 prison. Its human subjects are of all colours and creeds, with much of the film focusing on those who are less fortunate and sometimes utterly destitute. It is a sensational and occasionally disturbing cross-section of the planet’s landscapes, cultures and history.

The stunning wide shots and time lapses are scored with heady ambient music by Michael Stearns. His music is a cacophony of tribal chants, chimes and drums that’s vital in creating Baraka’s truly sensory immersion. My favourite piece is Baraka Theme, its broad, sonorous notes create a vast scope that perfectly accompanies the boundless panoramas.

There are so many moments I could talk about, I could throw effusive adjectives at almost every frame, however I feel mere words can’t do it justice. Baraka is a purely cinematic experience that’s somewhat futile to describe.

However, one memorable sequence I will mention is the factory processing of chicks that’s interspersed with the frenetic pace of Tokyo railway commuters; it is fascinating and ultimately quite unpleasant as the birds’ destiny in battery cages is revealed after having their beaks burnt. The camera offers insights into an array of factories, showcasing their subjects’ perfectly rehearsed skills in computer hardware assembly, textiles and poultry.

It is a film that demands to be shown on good equipment, a film that serves as a benchmark for one’s TV or projector. Apparently, it was the first film to receive an 8K transfer, what an awesome experience that must be, most likely better than real life!

When Baraka sadly finishes, you eventually move your eyes away from the screen for the first time in 97 minutes and realise that you’ve been dead still the whole time as you check your watch, surprised to see that many hours haven’t passed. It is a triumph that the moving image alone can achieve such engrossment.

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