It has been announced that the next film James Cameron plans to work on after wrapping up the next two Avatar films is the historical epic The Last Train from Hiroshima. The film will tell the story of Tsutomu Yamaguchi, the only man to survive both atomic bomb attacks on Hiroshima and Nagasaki. This will be Cameron’s first solo project—a non-Avatar film—since Titanic, meaning by the time the Avatar films are finally finished, it will have been over 30 years since his last non-Avatar film, a truly staggering fact.
There’s no doubt about the power behind this story. It’s one that deserves to be told and carries incredible emotional weight. Usually, when talking about the bombings, people tend to focus on the bomb itself—the spectacle, the marvel of the weapon of mass destruction. But rarely do we see the effect on the people, at least not from a Western perspective. Films like Barefoot Gen offer a foot-on-the-ground view—an animated horror story from the point of view of a child.
The backing for this film undoubtedly stems from the incredible success of Oppenheimer, which focused both on the man and the bomb but not on the victims. To have the opportunity to tell such a devastating story of survival, chance, and terror to a wide audience, by one of the most marketable and successful directors ever seen, is extraordinary. However, that raises another question: Why should it be Cameron?
The story of Yamaguchi is unquestionably a Japanese one. So why not have a Japanese director at the helm? Someone in touch with the culture, someone who has lived within it. Hideaki Anno, with his experience in nuclear-driven narratives in Shin Godzilla (2016), and his ability to explore complex character psyches in Evangelion, could be a potential choice. Ryusuke Hamaguchi, who recently gained acclaim in the Western market with Drive My Car, also released Evil Does Not Exist earlier this year. The latter especially showcased his talent for telling human stories confronted by overwhelming external forces. With a larger budget, Hamaguchi could likely capture the core of Yamaguchi’s story. However, one might wonder how he would handle depicting the bomb.
Even in the West, there are several other directors who could seemingly better connect with the emotional heart of this story. But rather than focusing on the negatives, we should consider why Cameron might actually be the best option. For starters, every film he makes is almost guaranteed to be a success. No matter how over-budget or lengthy the production, Cameron often emerges victorious.
It’s foolish to bet against him. He has experience with historical epics, he knows how to craft compelling plots, and he’s created numerous memorable characters. His films boast some of the most visually stunning, mind-blowing action set pieces we’ve ever seen. From a business and action standpoint, Cameron is the man. If you want all possible resources thrown toward this story, look no further than James Cameron.
However, this brings up ethical questions. Do we really want something so heartfelt and devastating to become an action spectacle, built primarily to generate profit? Or is this one truly coming from Cameron’s heart?
It’s worth noting that James Cameron personally met Tsutomu Yamaguchi shortly before his death in 2010. During that meeting, Yamaguchi stated, “He [Cameron] was passing the baton to us.” This makes it clear that Yamaguchi gave his permission for Cameron to tell his story, giving Cameron an undeniable reason to pursue the project. It becomes Cameron’s duty, his responsibility, to bring Yamaguchi’s story to the screen.
If this permission came directly from Yamaguchi, who are we to question Cameron’s right to make the film? We’ll likely be waiting another decade before hearing about the film’s release, and we can only hope for news of its production in the years to come. For now, time will tell its own story. Much can happen in the meantime, and a change in direction is always possible, even with Cameron still involved. Perhaps he will step back to focus on producing, leaving the directorial reins to someone else. But for now, this is all speculation. We can only hope The Last Train from Hiroshima finds its way to the silver screen.
Jack Yates has an exceptional talent for delving into the nuances of East Asian cinema, bringing a unique perspective that’s both insightful and captivating. A lifelong movie lover, his deep appreciation for film extends beyond the screen, particularly when it comes to the intricate storytelling of Paul Thomas Anderson, which resonates with his profound understanding of the human condition. Jack’s passion also extends to the world of anime, where his admiration for Neon Genesis Evangelion and the visionary work of Hideaki Anno adds another layer to his distinct voice in cinematic commentary. Whether it’s dissecting the subtle emotions in a film or exploring the complexities of Anno’s universe, Jack Yates brings a thoughtful and engaging approach to every piece he writes.