The spotlight of the Sundance Film Festival was recently captured by a new documentary, 'The Stringer', which challenges the long-credited origins of one of the 20th century's most iconic photographs. The film, premiered in Park City, Utah, reignites debate over the famous 'napalm girl' picture taken during the Vietnam War, depicting a young girl fleeing a napalm attack.
Nguyen Thanh Nghe, a previously unknown freelance photographer from Vietnam, has stepped forward after decades of silence to claim that he was the one who captured the award-winning and harrowing photograph of Kim Phuc on June 8, 1972. This photograph, historically credited to Nick Ut of the Associated Press (AP), earned global recognition and a Pulitzer Prize for its profound impact.
During the post-screening Q&A, Nghe asserted through a translator, I took the photo, stirring the crowd into enthusiastic applause. The claim has added layers of complexity to what was believed to be settled history. Despite this new allegation, the AP maintains that its internal investigation provides no evidence to refute Ut's credit for the photograph.
Nghe explained his actions on that day, claiming he was present in Trang Bang as a driver for an NBC news crew. He stated that he sold the striking image to the AP for $20 at the time, a figure that pales in comparison to the photograph's monumental historical significance.
The film, directed by Vietnamese American filmmaker Bao Nguyen, has drawn attention to these competing claims. Apco-founder Gary Knight and producer Fiona Turner spearheaded the investigation, which, according to the filmmakers, employed forensic analysis to bolster Nghe's assertions. Nonetheless, the AP has called on the filmmakers to release their evidence and lift non-disclosure agreements to facilitate a more transparent examination of the truth.
The controversy deepens as Carl Robinson, a former AP photo editor, recounts his recollection of the incident in the film. Robinson claims that he was overruled by Horst Faas, AP's then Saigon chief of photos, which allegedly led to the decision to credit Ut with the photograph. Sadly, individuals such as Faas and Yuichi 'Jackson' Ishizaki, who developed the original film, are no longer alive to offer their testimonies.
The documentary's filmmakers assert that the French forensic team, INDEX, concluded it highly improbable that Ut, renowned for his quick reflexes and composure under pressure, captured the photograph. Despite this, Ut's legal representation stands firm, promising to 'right this wrong in a courtroom' in defense of Ut's reputation.
As noted by Gary Knight during the film's premiere, Our story is here, and it’s here for you all to see. His statement underlines the filmmakers' belief that storytelling, even when controversial, is vital to understanding history.
The complexity and controversy surrounding the true origin of the 'napalm girl' photo underscore the broader issues of memory, authorship, and historical truth. While 'The Stringer' awaits distribution, it has already sparked important discussions about truth in journalism and the narratives we accept about our past.