One of the most iconic images from the 20th century features a young girl, visibly distressed and running naked from a napalm attack during the Vietnam War. Decades later, a new documentary is raising questions about the legitimacy of the photograph’s attribution. The retired Associated Press photographer, Nick Ut, who has long been recognized as the creator of this powerful image, stands by his claim, while his employer asserts that there is no supporting evidence suggesting anyone else captured the moment.
The documentary titled “The Stringer,” which investigates the Pulitzer Prize-winning photograph, is set to debut at the Sundance Film Festival next week. Both the photographer and the Associated Press (AP) vehemently contest the film’s assertions, with Ut’s legal counsel working to halt its release. Following a thorough six-month investigation, the AP concluded that it has “no reason to believe anyone other than Ut took the photo.”
Taken on June 8, 1972, this particular photograph features Kim Phuc fleeing down a road in Trang Bang, her clothes burned off from the napalm, and has since become emblematic of the wartime suffering endured during the Vietnam conflict. Ut, who was only 21 years old at the time and a staff member in AP’s Saigon bureau, received a Pulitzer Prize a year later. Now, at 73, he resides in California after spending four decades with the AP, retiring in 2017.
The film’s claims introduce a controversial perspective on an image that became globally recognized mere hours after it was captured. Although the filmmakers primarily challenge the question of who clicked the shutter, they do not dispute the authenticity of the image itself. The filmmakers describe the scenario as a “scandal” surrounding one of history’s most recognized photographs, positioning themselves against Ut, whose career was shaped by his work that day. They find themselves at odds with the AP, an organization built on the core principle of journalistic accuracy.
The impetus behind the scrutiny of the photograph’s origins lies in a growing counter-narrative suggesting it was taken by another individual affiliated with NBC News, who has since moved to California. This person reportedly submitted his film to the AFP as a “stringer,” a freelance contributor to news organizations.
The documentary is spearheaded by Gary Knight, a founding member of the VII Foundation, and producer Fiona Turner. Knight describes the film as a narrative some prefer to keep under wraps, stating that it explores complex themes of authorship, racial inequality, and ethical practices within journalism while acknowledging the critical yet often unrecognized role of local freelancers.
Communication between the filmmakers and the AP initiated last June, but the news organization opted not to sign a non-disclosure agreement before examining the filmmakers’ evidence. This decision hampered the AP’s investigation, further complicated by the loss of records from the war, including many important documents lost during the fall of Saigon. Key figures involved in the original picture are now deceased, complicating the inquiry.
Despite these difficulties, the AP has committed to releasing its findings ahead of the film, asserting a readiness to evaluate any substantial evidence that might validate the filmmakers’ claims. The news organization conducted interviews with seven eyewitnesses present in Trang Bang that day, all affirming their belief in Ut’s role as the photographer.
Among those contacted was Fox Butterfield, an esteemed journalist who stated that while he shared his recollections with Turner, the filmmakers proceeded with their portrayal regardless. David Burnett, a photographer who witnessed the scene, also confirmed Ut and another freelance photographer taking images amidst the chaos.
Carl Robinson, then a photo editor in Saigon, had initially objected to the use of Ut’s photograph due to concerns over nudity, but upper management ultimately overruled him, deciding to publish the image due to its strong depiction of the atrocity of war. Robinson has been more reticent, having signed an NDA with the filmmakers and opting to speak only off the record.
While Ut maintains his authenticity as the photographer, some doubt has emerged regarding Robinson and the motivations behind his claims. The AP prompts further scrutiny by referencing Robinson’s previous reluctance to dismantle Ut’s credibility during the tenure of influential figures like Horst Faas, who passed away in 2012.
Furthermore, Ut’s ally, Kim Phuc, recalled that although she cannot remember the specifics of that frightening day, her uncle consistently affirmed Ut’s role behind the camera. She also shared Ut’s kindness in escorting her to the nearest medical facility after the photo was taken.
As the documentary prepares for its release amidst fierce debate, its impact on the legacy of the photograph and the credibility of the claims made therein remains uncertain. This revelation not only weighs heavily on the individuals involved but also raises profound questions about the intricacies surrounding authorship and historical narrative within the realm of journalism.
