At the Sundance Film Festival on Saturday night, audiences were stunned by the world premiere of "The Stringer," a documentary by Bao Nguyen investigating the origins of the iconic photograph known as "Napalm Girl." This image, depicting the horrific aftermath of napalm bombing during the Vietnam War, shows a naked, terrified 9-year-old girl, Phan Thi Kim Phuc, fleeing the destruction of her village, Trảng Bàng. For nearly five decades, the photograph has been attributed to Associated Press photographer Nick Ut, but "The Stringer" claims the real photographer was instead Nguyen Thanh Nghe, who was working as a stringer for NBC on the day of the incident.
On June 8, 1972, South Vietnamese pilots mistakenly dropped bombs on Trảng Bàng during the Vietnam War, resulting in numerous civilian casualties and severe injuries, particularly to children. The moment captured by Nghe would go on to be known as one of the most renowned images of the war, winning Nick Ut the Pulitzer Prize. The documentary claims this narrative is fundamentally misleading.
According to "The Stringer," the story of Nghe's authorship began to materialize during discussions among journalists. Carl Robinson, then AP’s photo editor stationed in Saigon, expressed remorse for misattributing the photograph. "I didn’t want to die before this story came out," Robinson said during the Q&A session following the film screening. "I wanted to say sorry [to Nghe]." His admission, alongside interviews conducted by Nguyen and his team, led to this poignant investigation revisiting the events of 1972.
Nghe, who was present during the bombing and had the necessary training as a photographer, asserted his claim as the true author of the picture. "I took the photo," he stated at the premiere, introducing himself to the audience as the historical narrator of his own life’s work. The documentary was not just about Nghe's words; it also featured forensic analysis and visual timelines to validate the claims made, seeking new perspectives on the well-documented event.
The ethical quandaries surrounding photojournalism, especially concerning authorship, reverberate through the film’s narrative. It raises important questions about recognition and credit within the predominantly Western-led media environment of the time. Gary Knight, the film's executive producer, emphasized responsibility within journalism, stating, "This story challenges my profession and established truth. We owe it to our profession to be very diligent and to get this right." It highlights how freelancers like Nghe, often overlooked by major news organizations, were integral to the very fabric of media storytelling.
While AP produced its investigation six months prior to the documentary’s release, interviewing witnesses and analyzing evidence, it concluded without supporting the claims made by "The Stringer." The wire service insisted it had no reason to doubt Ut’s authorship, reaffirming its commitment to accuracy and transparency.
Among those responding to Robinson’s allegations was James Hornstein, Ut’s attorney, who defended his client vigorously. “I think it is outrageous,” Hornstein asserted, referring to the claims made by Robinson, describing the film as fostering unjust narratives against Ut. Ut himself was noted to have not engaged with the filmmakers, opting to remain on the sidelines of the mounting controversy.
Kim Phuc, who has embraced her identity as the "Napalm Girl" and now serves as an ambassador for peace, commented indirectly on the uproar generated by the documentary. She declined participation, citing her refusal to engage with what she deemed outrageous claims against Ut, emphasizing her belief in his integral role during her time of need. "I would never participate in the Gary Knight film because I know it is false," she stated.
Nguyen's film is not only about the photograph and its misattributed authorship; it is also about the legacies of conflict and the narratives we choose to accept or challenge. The documentary suggests these voices of local photographers like Nghe have been routinely sidelined, reflecting broader discriminatory practices within media organizations.
Robinson expressed his reflections on how corporate decisions impacted individual lives, stating his internal struggle with the responsibilities of editors versus those of photographers. He indicated he was simply doing as instructed when Faas directed him to attribute the photograph to Nick Ut, explaining, "I just did it. I wasn’t courageous enough." This admission hinges on the emotional weight carried by those involved, now grappling with decades of missed recognition.
Visually, "The Stringer" employs innovative techniques such as forensic reconstruction of events to place key players where they were during the shooting of this pivotal image. Director Bao Nguyen strives to pull the veils from personal histories, giving voice to marginalized individuals often lost within larger narratives.
Through careful investigative work and emotional truths, "The Stringer" challenges viewers to reconsider what they know of this renowned image and the men behind the camera. The documentary emphasizes the contextual importance of authorship, agency, and the urgency to redefine what is seen as historical truth—an endeavor still facing significant resistance from those benefiting from established narratives.
While some may dismiss "The Stringer" as merely questioning long-accepted truth, it instead offers a respectful interrogation of the past, aiming to vindicate overlooked contributors and reassert the value of diverse perspectives within journalistic endeavors. The photograph of Phan Thi Kim Phuc remains haunting, yet the discourse surrounding its authorship ignites deep conversations about justice, acknowledgment, and the very nature of history itself.
Whether the debate over the photograph's authorship will lead to official recognition or change remains to be seen. But what is certain is the impact of Nguyen's work, which serves as both a reflection on the past and a clarion call to address injustices today within the world of media and photojournalism.