War Photographer

In the "extras" on the DVD there is a short interview with Nachtwey that is perhaps as telling about him as the entire film. One of the comments he makes is that he sees himself as a conduit, and it is his monk-like dedication to being a passive photographer that I think is somewhat problematic in having a film about him.

As such, while I have profound respect for Nachtwey's efforts, his results and evidently his civility in the face of brutality, this film I think is not an essential watch. If you are like me, and feel it is important to remind yourself of how privileged your existence is from time to time, this will suffice. But not as well as an afternoon at a soup kitchen...

I think there is no doubt as to the bravery of a war photographer, in my naivete, I did not think that some folks saw them as crass profiteers until seeing this film (and reading some commentary online. "Vampirism" is addressed obliquely in the film. Well, all aspects are addressed obliquely in this film.

Back to "vampirism," again even if a person were greedy, that would not deny his/her bravery. As I write this, all I know is that Nachtwey was injured in early December along with Michael Weisskopf who allegedly was very heroic in harm's way. I've not seen many updates since the initial reports, and it's been nearly a month. At this time, I should also point out there is a jamesnachtwey.com with some of the photos from this film.

In hindsight, I would suggest viewing more photos, while reading the text of interviews with Nachtwey and skip this film.

There are some creative microcameras used to put us not only in Nachtwey's shoes, but in his lens. I found them quickly a distraction, if not an annoyance. And sometimes there would be a lengthy microcamera shot looking back at Nachtwey's brow, properly furrowed as he took in the atrocity at hand.

Images from a sulfur mine (moving from martial to capitalistic crimes?) were eerily beautiful, especially in video format. And video was another problem for me, personally I prefer it to photography. Whether for a wedding, or a war.

But video certainly in its elongation of time, rather than a snapshots snap moment, makes you wonder about the before and after of activities. We demand more from video, with photos we demand more from ourselves.

We see Palestinians with rocks, slingshots and molitov cocktails hurling blindly though smoke and over and around concrete. No story behind why they are there, and some of them seem quite young. A pet peeve of mine is why kids are allowed in harms way in such settings.

People in Jakarta are living near the train tracks, and one family is given specific focus. The message is that these people are just like you, striving to support their children...

But again the video makes me wonder about that family some more. The father has lost an arm and a leg to the trains that he now keeps his family living near by, and unlike the other families, in lean-to's off to the side of the tracks, they are shown "sleeping" right between the tracks.

These questions pop up with video, whereas I think a few photographs and Nachtwey's words voiced over or written in an article would not.

In conclusion, I feel somewhat conflicted giving this less than a 6, especially as I am more than likely aligned with the general beliefs of Nachtwey. His stated belief in the importance of one life is something that I think as individuals we have to try and assert knowing that governments and companies understand how cheap human life is.

That's a tricky balance, and one hard to put on video, possibly better left to a photo and then meditated upon by each one us. We do see many photos here, but then as they are "embedded" in video, they are tainted by that. It happens with embedding I think...the meter is running and the demands of the film must be met. Maybe I should have hit the pause button for each photo?

With hope, soon Nachtwey will be well from his wounds, and again able to document the wounds of the world for us.

5/10

Stunning, shocking and beautiful, a "Pflicht-Film" about war photography and it's leading lenser James Nachtwey.

Originally commissioned for Swiss television, this documentary by Christian Frei may be hard to track down, but it might be one of the most memorable films you will ever see. More user comments probably will say "this film is not for the squeamish," but what we see here is the real-life inferno of war and poverty. And if you have never been subject to war and poverty you HAVE to see (Nachtwey's) photography, which demonstrates what the human race is capable of and what it looks like...

This film is incredible and shows the power of one man. Nachtwey has dedicated his life to being a war photographer and shows how one man can help shape public opinion with the power of images. As was the case in Vietnam, photos can be very subversive since they show the falseness and fraud of the government's official line or 'spin' on stories.

And thus we see that in the war in Iraq the gov't is keeping a tight lid on images. Once you see pictures of a 4 year old boy in a morgue with his limbs blown off, the generals and the politicians cannot, no matter how hard they try, justify it. this is why Al Jazeera has become the boogeyman of the west.

once people see enough of these images, they cannot support war any longer. this, i believe, is Nachtwey's vision and his struggle.

Excellent film about Nachtway and photographic journalism in general.It also shows how difficult it is to work under great stress and murky ethical conditions. This film reminds us that there is a tricky line between being involved and 'being involved'. I loved the way the director sometimes takes the point of view of Nachtways camera. It turns the audience into voyeurs with the same moral and ethical questions now bestowed upon us. Nachtway dedicated his life to his work and we see glimpses of both compassion and emotional detachment in his work. I think this film most of all shows the price we pay for the news.

This film manages to show us an extraordinary slice of life, and make a significant comment on western society at the same time. The directer

remains distant-letting Nachtway and others make the point. Ingenious use of multiple cameras as well as Nachtway's "still" black and white photos make this compelling to watch as well.

Regardless of location or assignment this should be a primer for all working journalists as well as all journalism students.