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Inside a new documentary’s provocative allegations about a famed Vietnam War photo

BBG News

In Park City, Utah, on Saturday evening, the documentary “The Stringer” had its first showing. This film challenges the authenticity of one of the most recognized photographs in history. Directed by Bao Nguyen, this documentary proposes that the photograph taken on June 8, 1972, depicting a nine-year-old girl named Phan Thi Kim Phuc fleeing a napalm attack in the Vietnamese village of Trảng Bàng, was not captured by Nick Ut, the Associated Press photographer who is typically given credit for it.

Known as “Napalm Girl” informally, but officially titled “The Terror of War,” this photograph earned Ut a Pulitzer Prize and significantly contributed to his career until his retirement from the Associated Press in 2017. It was at Trảng Bàng that the event occurred when he was just 21 years old.

According to the claim, it was actually Nguyen Thanh Nghe, a driver for an NBC news team on that day, who took the photo, not “The Stringer” as previously suggested. Nghe’s photos were acquired by the AP as freelance work.

The basis for the claim portrayed in the movie stems from Carl Robinson, who was an AP photo editor stationed in Saigon at that time. In the film, Robinson states that Horst Faas, the head of photos in Saigon, told him to “ensure it’s Nick Ut” and to mistakenly attribute a photograph, which would soon be globally recognized due to its historical significance, to someone else other than the actual photographer.

In the movie, the production team embarked on a self-conducted two-year probe that eventually uncovered Nguyen Thanh Nghe as the photographer who claims to have taken the depicted image. During an encounter with Ut, Nghe did not discuss the photograph’s origin, and in the film, he expressed frustration by saying, “I put a lot of effort into it, but he ended up taking all the credit.

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The cities of Boulder, Cincinnati, as well as a joint bid from Salt Lake City and Park City, are contending for the opportunity to host the upcoming Sundance Film Festival. Let’s take a look at the details of each city’s proposal.

On a Saturday afternoon, just before our documentary’s grand debut, Director Nguyen and esteemed Executive Producer Gary Knight, a seasoned photojournalist with a presence in the film itself, graciously agreed to share insights during an interview held in Park City. We discussed the powerful documentary and its thought-provoking claims.

Knight stated that this tale questions the norms and accepted facts within his field, and as such, we must be exceptionally careful to ensure accuracy. The resistance we anticipated from the profession is indeed robust, as it should be.

Knight mentioned that Bao is a well-known Vietnamese American filmmaker who shares the same community as both the stringer and Nick. Since we are all deeply involved in this project, it was crucial for us to be careful, thoughtful, respectful, and ensure accuracy. Essentially, we all have a personal stake in the story being told correctly.

Prior to the premiere of the movie, AP undertook an independent six-month investigation into the source of the photograph. This involved speaking with seven individuals who were present at Trảng Bàng on that specific day and had witnessed the events, as well as staff from AP’s Saigon bureau where the picture was processed and printed. However, none of these witnesses appeared on camera for the film. Without having watched the movie, the AP report states, “In the absence of fresh, compelling proof suggesting otherwise, AP finds no reason to doubt that Ut was the one who took the photograph.

According to the internal report, AP assured they will thoroughly investigate any concerns about the photo, and if it’s found that the credit was wrong, they will promptly address the issue appropriately.

Apart from being a knight, Nguyen additionally serves as the co-founder and CEO of the VII Foundation, an organization dedicated to promoting journalism, education, and advocacy on a nonprofit basis. Notably, Nguyen’s past work encompasses documentaries such as “The Greatest Night in Pop,” which focuses on the creation of the song “We Are the World,” and “Be Water,” a biographical portrait of Bruce Lee. Both of these documentaries were initially screened at Sundance as well.

In expressing my admiration, I’d rephrase Nguyen’s statement as follows: “When refugees and immigrants leave their familiar lives to start anew in unfamiliar places, there’s often an assumption that they can share their stories and narratives with the same ease as before. However, this is not always the case.” This film, in many ways, grapples with this assumption, asking questions like, “If Nghe had been holding onto a truth for so long, why didn’t he speak up sooner?

As a movie enthusiast, I find myself contemplating about the situation of an individual who ventures into an unfamiliar culture, a new environment, striving to support their loved ones. This person encounters a system they barely comprehend, one they feel does not embrace them. Nguyen emphasizes that documentaries, in particular, hold a significant responsibility: we must strive to recognize and address the misrepresentations and systems that have been perpetuated in the past.

The AP report states that in a 2005 oral history recording for their corporate archives, Robinson did not mention any mistake regarding the photo identification and showed no signs of doubt as to whether Ut took the picture. Additionally, there’s no evidence of Robinson’s claims about the incident in his own book on his Vietnam experiences. However, in the movie, he admits feeling remorse for not including this detail in his account.

According to Knight, this story doesn’t rely heavily on Carl’s involvement. They interviewed 55 individuals, 45 of whom were on camera, conducted forensic research, and tested the findings. Therefore, their documentary doesn’t solely depend on Carl’s account. Instead, it serves as a starting point for their investigation. Whether Associated Press decides to focus on Carl as a disgruntled employee or not, it does not necessarily make him an unreliable witness. Many whistleblowers face similar circumstances. Consequently, they wouldn’t have produced the film based solely on one man’s allegations. That approach is not typical of journalism.

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This year’s film selection is brimming with intriguing near-experimental documentaries and stories that seem destined to become tomorrow’s award-winning gems. As a film enthusiast, I can’t wait to explore them all!

Over the weekend, I had a chat on the phone with James Hornstein, an attorney representing Ut (who hasn’t watched the movie yet). In relation to Robinson, he passionately expressed his viewpoint: “It’s unbelievable that the VII Foundation is giving voice to someone who undeniably harbors a grudge that’s been brewing for over half a century.” As a cinephile, I can only imagine the drama and tension that film must hold!

Kim Phuc, who doesn’t recall the events of that day, declared through Hornstein, “I have chosen not to be part of this unjust and misleading criticism against Nick Ut instigated by Mr. Robinson over the years… I would never collaborate on the Gary Knight film as I believe it is fabricated.

The movie presents a strong case by arranging a chronological sequence using every relevant photo and film footage, which places Ut in an inconsistent position when compared to where the “Terror of War” image should have been taken, while Nghe is correctly positioned.

Knight endorsed both the research findings and the forensic analysis. He believes that among all individuals, Nghe was likely the one present at the right location to capture that specific image.

According to an AP report, they constructed a visual timeline using existing data, yet the findings provide minimal proof concerning the origin of the photograph. Furthermore, the images, combined with Ut’s extensive work from that day, depict a situation where Ut, moving actively around the scene, had plenty of chances to take the picture.

Although everyone associated with the documentary agrees on the undeniable impact of the photograph’s content, questioning its origin and author raises a significant aspect that could potentially alter lives.

Hornstein stated that the allegations against Ut in this film are deeply distressing to him on both a personal and emotional level. This project might be the most significant piece of his career, given the recognition his photograph has received. To be accused of dishonesty about it is heartbreaking.

For Nguyen, the film comes down to finally telling a story that has up to now been unheard.

In a nutshell, Nguyen expressed that the movie holds a special significance to him as it revolves around uncovering the truth. He found it inspiring to see Nghe, a 53-year-old man who carried a heavy burden for much of his life, finally finding relief through this journey. Moreover, he pointed out that the stories of numerous Vietnamese and Vietnamese American journalists have been overlooked for many years as depicted in the movie.

According to Nguyen, Nick’s account had largely been based on his previous interviews with minimal alterations. Essentially, it was kept true to how he had always presented it. The focus then shifts to another aspect of the story that has remained obscure for a long time.

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2025-01-26 08:02

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