Filmmaker Tim Fehlbaum’s “September 5” delves into a pivotal moment in media history, set against the backdrop of the 1972 Munich Summer Olympics. The film recounts the tragic events when members of the Black September, a group linked to the Palestine Liberation Organization, took Israeli athletes hostage, demanding the release of 236 Palestinian prisoners held in Israel. Starring Peter Sarsgaard, John Magaro, Ben Chaplin, and Leonie Benesch, the narrative focuses on the ABC Sports broadcasters who made the groundbreaking decision to transition from sports reportage to live coverage of the unfolding hostage crisis. Fehlbaum emphasizes the significance of this event, noting that it marked Germany’s first opportunity to showcase its evolving liberal identity to the world. The film highlights how the Olympics were designed for optimal television broadcasting, inadvertently setting the stage for one of television’s most harrowing moments.
The film primarily unfolds within ABC Sports’ control room, where the staff must respond swiftly to the shocking reports of gunfire at the Olympic Village. Roone Arledge, played by Sarsgaard, emerges as a pivotal figure, advocating for the sports team to lead the coverage amidst chaos. Geoffrey Mason, portrayed by John Magaro, finds himself at the center of decision-making, making immediate calls on how to handle the escalating situation. Meanwhile, local journalist Marianne Gebhardt, played by Benesch, becomes an essential asset to the team, overcoming underestimation by her male colleagues. Fehlbaum aims to recreate a documentary style that not only captures the time period’s essence but also highlights the technological accuracy crucial for a film centered on media. The director’s intention is to immerse the audience in the experience of broadcasting, presenting the story as if viewed through the lens of a crew navigating a breaking news scenario.
“September 5” effectively conveys the chaotic energy characteristic of a live broadcast control room during a crisis. Fehlbaum vividly portrays the intense pressure felt by the team, emphasizing the ethical dilemmas they face as they rapidly make decisions about how to cover a complex and tragic event. Viewers are invited to feel the tension and urgency of the situation, resembling the claustrophobic atmosphere that typically envelops those working in high-stress broadcasting environments. As the characters communicate and sometimes clash under pressure, the film captures the overwhelming sense of urgency akin to a “constant ticking clock,” which creates an immersive experience, drawing the audience deeply into the narrative’s high-stakes environment.
The plot primarily hinges on Geoffrey Mason’s journey as he strives to impress his superiors at ABC, adding a personal narrative to the overarching historical context. The audience becomes invested in Mason’s character, hoping he can navigate the fraught atmosphere of the control room and excel in his role amidst the turmoil. The film’s pacing enhances this tension, compelling viewers to root for Mason while simultaneously acknowledging the critical ethical decisions presented during the hostage crisis. The visual style reflects the era, contributing to the film’s thriller elements, plunging viewers back to 1972 and building a palpable sense of urgency over its concise 94-minute runtime.
While “September 5” does not delve into the broader political implications of the Munich incident, it inevitably invites viewers to reflect on contemporary events, particularly in light of the ongoing Israel-Hamas conflict. The film’s exploration of media representation during crises urges an examination of how news coverage can shape public perceptions of historical moments. Ultimately, the movie centers around the journalistic process, illustrating that the choice to broadcast or withhold information during a live event can have significant and far-reaching consequences in shaping societal narratives.
Though “September 5” is particularly resonant for journalists and broadcast enthusiasts, it also provides a critical perspective on a moment that changed media history. It offers insights into the volatile interplay between sports, ethics, and news broadcasting, encapsulating how an extraordinary event can redefine public discourse and expectations of media coverage. As the film premieres in select theaters, its upcoming wider release on January 17 will bring this poignant reflection on the past to a broader audience, reinforcing the continued relevance of its themes in today’s fast-paced information landscape.
