The Beginning or the End

The Beginning or the End is a 1947 American drama film produced by Metro-Goldwyn-Mayer that dramatizes the development of the atomic bomb during the Manhattan Project and its use on Hiroshima and Nagasaki. Directed by Norman Taurog and written by Frank Wead, the film blends historical figures with fictionalized characters to explore the moral dilemmas faced by the scientists and military leaders involved. It was one of the first major Hollywood productions to address the dawn of the nuclear age and its profound implications for humanity.

Production and release

The project was initiated with the cooperation of the United States Department of War and several key scientists from the Manhattan Project, including Albert Einstein and J. Robert Oppenheimer, who consulted on the script. Producer Samuel Marx secured permissions from the White House and the Pentagon, with President Harry S. Truman himself requesting script changes to accurately portray his decision-making process. Filming took place at MGM Studios in Culver City, California, and on location at sites like Oak Ridge, Tennessee, with the studio aiming for a docudrama style. Upon its completion, the film had a high-profile premiere in Washington, D.C. in February 1947 before a wide national release by Loew's.

Plot summary

The narrative follows the race to build the atomic bomb, beginning with a fictionalized framing device where scientists record a message for future generations. It depicts Enrico Fermi achieving the first nuclear chain reaction at the University of Chicago, the establishment of the secret Los Alamos Laboratory under General Leslie Groves and J. Robert Oppenheimer, and the immense logistical challenges of the project. The film culminates with the Trinity test in New Mexico and the subsequent combat missions of the B-29 Superfortress Enola Gay to drop the bomb on Hiroshima, followed by the mission to Nagasaki. Subplots involve fictional characters like scientist Matt Cochran, who grapples with the weapon's ethical consequences.

Historical accuracy

While featuring authentic figures like President Franklin D. Roosevelt, Harry S. Truman, Winston Churchill, and General George C. Marshall, the film takes significant dramatic license, compressing events and creating composite characters for narrative clarity. Key consultations with Albert Einstein and J. Robert Oppenheimer were intended to lend credibility, but the final script was heavily influenced by the War Department to present a justification for the bomb's use, emphasizing the belief it saved lives by averting a costly invasion of Japan. The portrayal of the Japanese Empire's refusal to surrender and the depiction of the atomic bombings of Hiroshima and Nagasaki are presented without critical analysis, aligning with the official U.S. government position of the immediate post-war period.

Reception and legacy

Upon release, the film received mixed reviews; critics praised its ambitious scope and sober tone but noted its overly simplistic and patriotic narrative. Publications like The New York Times found it compelling yet historically sanitized. It performed modestly at the box office and was soon overshadowed by more critical examinations of the atomic age. Today, it is primarily studied as a cultural artifact of early Cold War propaganda, illustrating how Hollywood and the U.S. government collaborated to shape public memory of a contentious historical event. It stands in contrast to later, more nuanced films like Fat Man and Little Boy and *Oppenheimer*.

Cast and crew

The film was directed by veteran Norman Taurog, with a screenplay by Frank Wead. The ensemble cast featured Brian Donlevy as General Leslie Groves, Robert Walker as J. Robert Oppenheimer, and Tom Drake as the fictional scientist Matt Cochran. Notable supporting roles included Hume Cronyn as Enrico Fermi, Joseph Calleia as an Italian physicist, Godfrey Tearle as President Franklin D. Roosevelt, and John Litel as a military aide. The crew included cinematographer Ray June, composer Daniele Amfitheatrof, and editor George Boemler, all under the production oversight of Samuel Marx for Metro-Goldwyn-Mayer.

Category:1947 films Category:American drama films Category:Films about nuclear weapons Category:Metro-Goldwyn-Mayer films