The Military Role of Nuclear Weapons, by Robert S. McNamara

McNamara, Robert S., “The Military Role of Nuclear Weapons: Perceptions and Misperceptions,” Foreign Affairs 62 (Fall 1983): 59-80.

A couple years ago, while conducting some research on the Cold War, I got a little carried away and wound up writing a complete digest of this article. I'm posting it here for whatever it might be worth to others who are exploring the same subject. Just a bit by way of introduction: Robert S. McNamara served as the Secretary of Defense under Presidents Kennedy and Johnson from 1961 to 1968. Afterwards, he was President of the World Bank from 1968 until 1981. With an appetite for facts and figures, he excelled in policy analysis. He published this article in the midst of President Ronald Reagan’s first term in office.

As McNamara explains, then Secretary of Defense Caspar Weinberger and Secretary of State Alexander Haig had recently defended the option of an early first use of nuclear weapons in Western Europe against a Soviet attack that used conventional forces. He notes that at the same time, a number of vital questions were still in the process of being answered. These included, but were not limited to, “the deployment of Pershing II and cruise missiles to Western Europe,” and “the production of the MX missile and the B-1 bomber” (60). Given that many military and political leaders had rightly expressed the horror and unprecedented destruction of a war involving nuclear weapons, McNamara proceeds by raising and responding to four questions.

The first question is, “What is NATO’s present nuclear strategy and how did it evolve?” McNamara says that early on, NATO “turned consciously to nuclear weapons as a substitute for the financial and manpower sacrifices which would have been necessary to mount an adequate conventional defense” (62). However, during his tenure as Secretary of State, an alternate policy was adopted: a policy of “flexible response,” which raised the nuclear threshold, effectively reducing the likelihood of using such weapons while depending more heavily on conventional forces (63). In effect, NATO confined the role of nuclear weapons as (a) a means of deterring a Soviet initiation of nuclear war and (b) a weapon of last resort (64). This trajectory matched up well with a changing Soviet posture that, by 1977, envisioned “a major protracted war between East and West in which nuclear weapons would not be used” (66). By 1982, Soviet Defense Minister Ustinov stated: “Only extraordinary circumstances—a direct nuclear aggression against the Soviet state or its allies—can compel us to resort to a retaliatory nuclear strike as a last means of self-defense” (66).

McNamara’s second question is, “Can NATO initiate the use of nuclear weapons, in response to a Soviet attack, with benefit to the Alliance?” Would it ever be reasonable for NATO to use its battlefield nuclear weapons in Western Europe? In response, McNamara makes the case that, by all accounts, even limited nuclear warfare conducted by NATO against an attack by the forces of the Warsaw Pact would not have the effect of defending Europe. Instead, such use would devastate Europe (67-70).

The third question reads, “Even if the ‘first use’ of nuclear weapons is not to NATO’s advantage, does not the threat of such use add to the deterrent and would not the removal of the threat increase the risk of war?” McNamara responds by pointing out that both American and Soviet executive leaders currently agreed that initiating a nuclear strike against the other was completely unacceptable. Any number of military leaders had also expressed this sentiment. When neither side has the intention—that is, if both sides are committed to never beginning a nuclear war—then the deterrent effect rendered by the presence of nuclear weapons begins to disappear. “One cannot build a credible deterrent on an incredible action” (73). However, says McNamara, the presence of battlefield and medium-range nuclear weapons in Western Europe does have at least one certain effect: it increases the likelihood of a nuclear incident that would could conceivably lead to absolute escalation. At the same time, the presence of such expensive and risky arsenals depletes funding which could otherwise be used to reinforce a conventional military presence (74-76).

McNamara then takes up his fourth question: “If it is not to NATO’s advantage to respond to a Soviet conventional attack by the use of nuclear weapons, can NATO’s conventional forces, within realistic political and financial constraints, be strengthened sufficiently to substitute for the nuclear threat as a deterrent to Soviet aggression?” He responds with a qualified, “Yes.” Such a transition is feasible mainly because of advances in the lethality, sophistication, and speed of newer conventional technologies. However, NATO-member nations would have to increase, only slightly, their contribution to the Alliance, and NATO forces would obviously have to implement the new strategy (77-79).

McNamara concludes by stating his most basic thesis: “that nuclear weapons serve no military purpose whatsoever. They are totally useless—except only to deter one’s opponent from using them” (79, emphasis his). He states that that had been his view in the early 1960s as well, and that he had recommended to Presidents Kennedy and Johnson “that they never initiate, under any circumstances, the use of nuclear weapons” (79).

In this article, McNamara declares to the current US political and military leadership that the thought of using battlefield nuclear weapons against a conventional aggression was unconscionable, and that the current proliferation of nuclear weapons was wrong-headed. It is safe to say that his experience and success in the dangerous 1960s lent considerable weight to his conclusions and recommendations.

This article reveals some of the contrast between the political and military situation of the early 1960s compared to the early 1980s.

Theology "On the Beach" (1959)

Stanley Kramer’s haunting film On the Beach takes place in the aftermath of a world-wide nuclear war. It is early 1964, and the superpowers have unloaded their atomic arsenals against each other. For reasons that the film partially explains, only Australia has been spared. But the experts who understand global wind currents predict that deadly fallout will arrive within a few short months. The movie tells a story about life lived out under conditions that are, to say the least, historically unique: humanity’s complete self-destruction.

The first sequence of the film introduces its American main character, Captain Dwight Towers (Gregory Peck). The U.S.S. Sawfish, a submarine, has survived the war. The ship was at sea during the attacks and has now made its way to the only known safe spot in the world. Captain Towers has brought the Sawfish into port and soon places the ship and its crew under the command of the Royal Australian Navy. There is no more U.S. Navy.

The captain’s Australian liaison is Lieutenant Peter Holmes (Anthony Perkins), a young married man with an infant daughter. Holmes and his pretty wife, Mary (Donna Anderson), decide to introduce Captain Towers to Moira Davidson (Ava Gardner), a beautiful rich girl who spends most of her time going from one party to the next, always drinking too much. Who better to entertain the captain and help him to not dwell on his lost wife and children? A romantic relationship begins to develop. Nonetheless, Towers continues to speak of his family as though they are still alive and that he has a future with them.

Soon an Australian admiral decides that the Sawfish should go on a mission to the North Pacific to visit the West Coast of the United States. At least some scientists are convinced that the Arctic region may be a safe environment. Only a trip there will tell. But the expedition finds that radiation levels in the Arctic Ocean are extremely high. San Francisco shows no sign of life. And a random beeping in San Diego turns out to be nothing more than a telegraph machine attached to a string on a window shade blowing in the deadly breeze. There's not one reason for hope.

Utterly dejected, the crew returns to Australia to live out their last few days. One of them, a scientist named Julian Osborne (Fred Astaire), competes in a deadly car race and takes the checkered flag. Dwight, who now accepts the loss of his family, takes Moira to a fishing resort where they spend a romantic night together. Within days, people begin to experience radiation sickness, and the public lines up outside of hospitals to receive government-issue suicide pills.

Back at home, the Australian lieutenant finds his wife beside herself. Once he is able to calm her down, the two of them share a tender moment. The crew of the Sawfish votes to return to the United States. Captain Towers would prefer to stay in Australia and die in Moira’s arms. But following the path of duty to the bitter end, he sails away with his homesick men, going down with the ship as it were.

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To the extent that it takes up religious questions, On the Beach does so in an interesting way. There's a scene near the end—which, in this movie, means the conclusion of human history—that ironically portrays listless members of the Salvation Army conducting what amounts to an End-of-the-World service. (I'm guessing they didn't take up a collection). As if to suggest that humanity will never tire of its militaristic impulse, the band is heard to play “Onward Christian Soldiers.” Above the stage, strung between two poles is a huge banner that reads, “There is Still Time . . . Brother.” But the movie takes this appeal to prepare for the hereafter, and dramatically reinterprets it.

Before he boards the Sawfish for the last time, Captain Towers stands on the dock and holds Moira who tearfully says him, “There isn’t time. No time to love . . . nothing to remember . . . nothing worth remembering.” The message is clear: the Salvation Army’s banner appeals to a traditional religious understanding of reality that no longer commands assent. To temporal, sensual, truly-alive humanity, represented by all of the main characters, there’s no time for things like making love, sharing a meal, and delighting in children. Life, which means racing cars, going to the beach, drinking port, and growing old together, is no more. The emphatic ending of the movie shows the banner once more. This time the viewer knows its true meaning. Until a nuclear war breaks out, citizens of the world still have time to do whatever they can to try to prevent it. The unmistakable message of the film is that full-scale nuclear war will unspeakably and forever end the wonder of living. This, and not God, represents the good that human beings should treat as their ultimate concern. With the arrival of nuclear technology that has the potential to destroy human life, God has been upstaged. He no longer has the whole world in his hands. We do. And your brother? That's not your co-religionist, but every other person on the planet. Because of its unique dangers, the nuclear age requires the utmost in devotion and vigilance.

Day the World Ended (1955)

I promise. This post has absolutely nothing to do with the previous one. I'm not poking fun. Not being deliberately ironic. It just happened like this.

On his way to becoming Hollywood’s king of low-budget movies, in 1955 a young Roger Corman produced and directed Day the World Ended. It was one of his earliest films. Dozens more would follow in the years to come. But in his 1998 memoir, Corman remarks that it was this movie that established him as a director in the science fiction genre (p. 31).

The film’s opening title card announces, What you are about to see may never happen. . . . but to this anxious age in which we live, it presents a fearsome warning. . . . Our Story begins with . . . . THE END!

Next we see an example of that now-familiar stock footage of an atomic explosion, and we hear the narrator, Chet Huntley. His voice has been modified to sound tinny with a bit of reverb, a convention that signals to the viewer that these words come from the Bible. (The same thing turns up in the Jule Miller evangelistic film strips). The narration interprets the nuclear holocaust with words taken from 2 Peter 3:10 according to the King James Version: . . . and the elements shall melt with fervent heat, the earth also and the works that are therein shall be burned up. (Note: This passage is often cited as biblical proof that Christian eschatology expects the fiery destruction of the created order. Few people are aware that this verse includes a notoriously difficult textual problem. In fact, the KJV rendering quoted above is not an accurate English translation of the autograph of Second Peter. In all likelihood, the original document said that the earth and everything in it would be “revealed” or “found,” not “burned up.” For a discussion of the questions raised by the various extant Greek manuscripts, see Bruce M. Metzger, A Textual Commentary on the Greek New Testament. 2d ed. [Stuttgart: Deutsche Bibelgesellschaft, 1994], 636-37).

As survivors of World War III emerge through the smoke, the narrator tells us, “Man has done his best to destroy himself. But there is a force more powerful than man. And in his infinite wisdom, he has spared a few.” Those few soon begin showing up at the home of Jim Maddison (Paul Birch). Maddison and his daughter, Louise (Lori Nelson, pictured below) are safe, at least for the time being. Their house is in a valley protected by high winds, and by hills all around that contain lead-ore. Jim, a veteran of the U.S Navy, had long suspected that the worst would eventually happen. Ten years before it did, he carefully chose where he would live and stocked everything he would need in order for his family to survive. The lovely Louise has a fiancé, but we soon discover that he is among the victims.

The survivors who take refuge at the Maddison’s include a small-time crook Tony Lamont (Touch Conners, before he became Mike Conners of Mannix fame) and his girlfriend, an aging stripper named Ruby (Adele Jergens). A geologist named Rick (Richard Denning), who carries on his shoulders a man named Radek (Paul Dubov), follows them. Nearly dead, it seems, Radek has a bad case of radiation poisoning. Finally, a crusty old gold prospector, Pete (Raymond Hatton) shows up with his burro, Diablo, in tow. Thrown together by circumstance, the group spends the next several weeks waiting for the radiation to dissipate. Everyone stays inside for the most part, except for Radek who often wanders out at night and whose high roentgen count leads Jim and Rick to wonder why he’s still alive.

Eventually, they discover that Radek is some sort of partial mutant who kills and eats contaminated game during his nighttime ventures. As Rick describes things, Radek has survived because he’s the victim of “an entirely-new set of laws that we know nothing about.” But soon, Radek the hunter becomes prey. Stalking the valley is a full-blown mutant, actually Paul Blaisdell wearing one of the cheapest, most-pathetic monster suits in cinematic history. Soon after this monster with the huge head, bird beak, three eyes, and a 34-inch waist kills Radek, some of the other characters begin to kill off themselves or each other. Having grown impatient, Pete climbs out of the valley and onto the radioactive ridge. Tony, with his sights now set on Louise, stabs the jealous Ruby and throws her body off a cliff.

But Tony isn’t the only one interested in Louise. With the monster psychically calling to her, she wanders into the woods. When Rick discovers that she’s not in the house, he goes looking and finds her in a pond just out of the reach of the mutant, which seems to be afraid of the water. When Rick fires his rifle at the mutant, he discovers that it’s bullet proof, and he is also forced to take refuge in the pond. Just then, it begins to rain for the first time since the war. Immediately the monster begins to cringe, and it quickly dies. Louise tells Rick that, for some strange reason, she feels sorry for the mutant. And since it “spoke” only to her, viewers are left wondering if the monster was in fact Louise’s fiancé! (Usually, the man turning into a monster is something that happens after the wedding, right?). At any rate, as Rick and Louise return to the house, Tony plans to kill Rick so that he can have the girl for himself. At the last moment though, Jim, lying on the couch with a fatal case of radiation poisoning, pulls a hidden pistol and kills Tony. Afterwards, Rick, Louise, and Jim try to make sense of everything that’s recently happened. Jim says of the monster, That thing was created to live in a poisoned world. The rain came, and it was pure. Louise: Man created it, but God destroyed it. He brought the rain and the fresh air. Moments later, Jim dies, leaving only Rick and Louise. The final scene shows the couple healthy and smiling as they hike out of the valley arm-in-arm.

Of all the nuclear-war films that have been made, it would be hard to find one that is more explicitly religious than Day the World Ended. As my synopsis indicates, while the story acknowledges that humans are responsible for the event that brings them to near extinction, it also firmly places this event under the sovereign power of the God of the Christian Bible. Likewise, the end clearly asserts that humanity’s ability to survive and even flourish in a newly-cleansed world is also the result of the providential care of this God. To underscore all of this, midway through, the movie includes a Bible reading. In the previous scene, Jim and Rick wander through the woods. The men are perplexed by Radek’s strange behavior and by the question of what the fallout might have done to the environment. Jim asks his new friend, “What can we do, Rick?” An earlier scene revealed that Rick’s brother, who was instantly killed in the nuclear attack, was planning to become a minister. Rick replies to Jim’s question, My brother believed that the Bible gave strength and revealed a plan for everything. Jim responds, Then I hope I find it before I lose my mind. Back at his home, Jim holds a Bible and reads to the group:

. . . for I am with thee to save thee and to deliver thee, saith the Lord. And I will deliver thee out of the hand of the wicked, and I will redeem thee out of the hand of the terrible (Jeremiah 15:20b-21).

This raises a number of unanswered questions. Why has Jim made his way to the end of Jeremiah 15? Who does he assume that “the wicked” and “the terrible” might be? What sorts of applications is the viewer expected make? My last question leads back to Lou Rusoff, the author of the screenplay. But it’s really not that complicated. According to the story, Jim just happens to have found and read a passage that promises him—or at least his descendants through Louise—eventual rescue from radioactive monsters and nuclear fallout, not to mention Tony. Yes, it is a greeting-card understanding of the Bible. It’s also a very popular approach in Christian history and American culture.

In these ways, then, Day the World Ended assumes the existence and benevolent care of the God of the Christian Bible. Consequently, in this movie although humanity is responsible for World War III and the near extinction of life on Earth, the providence of God ensures that there are survivors. It also provides for a natural cleansing of the planet so that survivors then have the prospect of repopulating the world.

Some Sources:

Corman, Roger. How I Made a Hundred Movies in Hollywood and Never Lost a Dime. New York: Da Capo Press, 1998.

Kaufman, Gordon D. “Nuclear Eschatology and the Study of Religion,” Journal of the American Academy of Religion 51 (March 1983): 3-14.

Metzger, Bruce M. A Textual Commentary on the Greek New Testament. 2d ed., Stuttgart: Deutsche Bibelgesellschaft, 1994.