Where to Stream: Armed Only with a Camera – The Life and Death of Brent Renaud

Many might recognize the image known as “Horror of War,” often referred to as “Napalm Girl.” This poignant photo from the Vietnam War captures a naked Vietnamese girl, severely burned, running amidst chaos with other children. The documentary Stringer is currently available on Netflix and questions the long-held notion of its authorship. Originally credited to AP photographer Nick Ut, filmmakers Bao Nguyen and Gary Knight suggest that a freelance photographer named Nguyen Thanh Nghe might actually be the true creator. It’s a compelling documentary encouraging viewers to form their own opinions.

Key points: On June 8, 1972, a tragic misjudgment occurred when a South Vietnamese pilot mistakenly attacked civilians and soldiers with napalm in Trang Bang. In the aftermath, a group of children fled the scene, one being 9-year-old Kim Phuc, who suffered catastrophic burns. Journalists were there, both capturing video and stills of the scene. One frame, showing the napalm girl, was submitted to AP by various local photographers, many of whom were paid immediately. AP photo editor Carl Robinson recalls his supervisor, a daunting figure named Horst Firth, insisting that the credit go to Ut, despite knowing the photo wasn’t his. Robinson, conflicted, ultimately complied.

Years later, Robinson expressed regret for not challenging that directive. He reached out to Knight, a seasoned war photographer and founder of the VII Photo Agency, to share his concerns. Knight found Robinson’s story credible and, believing he had nothing to gain from the truth, began a lengthy investigation to uncover the true photographer’s identity. This revelation could reshape a significant part of journalistic history, especially given the Pulitzer Prize awarded to Ut for the image in 1973.

Knight emphasizes the responsibility of journalists to pursue the truth, even if it means reevaluating their own beliefs. He interviewed those present during the incident, including surviving victims and other journalists, eventually locating Nguyen Tan Nghe, who lives in California and claims he was the one paid by an AP editor for the infamous shot. His children recollect seeing the print at home, and his wife, displeased, destroyed it, thus eliminating potential evidence. Knight also engaged forensic experts to investigate the details of the fateful day, creating 3D reconstructions that bolstered Ge’s stance. Notably, Ut chose not to participate in the documentary.

Movie Comparison: HBO’s Armed Only with a Camera similarly pays tribute to wartime photographers and explores deeply emotional themes.

Featured Performance: The testimonies from Ge and his family are impactful yet may be met with skepticism. Some might question the authenticity of the narrative presented in Stringer.

Sex and Skin: None.

Our View: If what Knight and Nguyen present is accurate, it complicates the narrative surrounding photojournalism and the dynamics at play. The title suggests underlying power struggles in journalism, highlighting the contrast between full-time staff and freelance photographers, who often have less security and fewer resources. The story touches upon deeper issues, including racism and classism, as some editors have historically favored photographers with higher status over freelancers.

Knight plays a pivotal role in this investigation, navigating the intricate facets of ethical journalism while remaining objective. Stringer effectively brings attention to the complex power dynamics in the industry, while the pursuit of truth remains paramount. A witness suggests it’s best to leave the past behind, yet in this case, seeking the truth seems crucial for those impacted by these historic events.

Our Call: Stringer is an engaging watch, especially intriguing for those interested in history and journalism. I’d definitely recommend streaming it.

This text is brought to you by a freelance film critic based in Grand Rapids, Michigan, who once received a hug from Werner Herzog.