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Movie Name: September 5
Directed by: Tim Fehlbaum
Starring: Peter Sarsgaard, John Magaro, Ben Chaplin, Leonie Benesch, Zinedine Soualem, Georgina Rich, Corey Johnson, Marcus Rutherford, Daniel Adeosun, Benjamin Walker, Ferdinand Dörfler
Genre: History, Thriller
Running Time: 94 Minutes
Release Date: 29 November, 2024
Rating:
Production Companies: BerghausWöbke Filmproduktion, Projected Picture Works, Constantin Film, Edgar Reitz Filmproduktion
During the 1972 Munich Olympics, an American sports broadcasting crew finds itself thrust into covering the hostage crisis involving Israeli athletes.
September 5: Movie Overview
September 5 is a 2024 historical drama film co-written and directed by Tim Fehlbaum. The film recounts the 1972 Munich Olympic hostage crisis from the perspective of the ABC Sports crew and their coverage of the events.
The film had its world premiere at the 81st Venice International Film Festival on 29 August 2024, and is scheduled to be released in select theaters on 29 November 2024 before expanding on 13 December, by Paramount Pictures.
The film makes extensive use of archival footage from ABC’s coverage of the 1972 Summer Olympics and the hostage crisis. Fehlbaum and his team spent months researching the events, and worked with a production design team to create an authentic replica of the broadcasting facility used by ABC Sports on that day.
The film premiered on 29 August 2024, as the opening film at the 81st Venice International Film Festival in the Orizzonti Extra section. A few days before being announced as part of the Venice slate, Paramount Pictures’ Republic Pictures acquired worldwide sales rights outside Germany, Austria and Switzerland to the film. Following an overwhelmingly positive response at Venice and Telluride, Paramount decided it was best to keep the film with them, with the main studio opting to officially acquire distribution rights. Originally scheduling it for a wide release on November 27, 2024, Paramount later pivoted to a limited theatrical release on November 29, expanding wide two weeks later on December 13. According to The Hollywood Reporter, the Toronto International Film Festival rejected the film “ostensibly because it might generate controversy related to the Israeli-Palestinian conflict”, despite screening the documentary Russians at War, whose portrayal of the Russian invasion of Ukraine “did result in protests of such a scale that the fest ended up pulling the film.”
Movie Trailer:
Movie Review:
Taut Media-Critical Control-Room Drama Reveals How a Hostage Crisis Forever Changed TV News
Peter Sarsgaard and John Magaro play members of an American TV crew covering the 1972 Olympic Games who rose to the challenge of a real-world terrorist attack.
On Sept. 5, 1972, millions watched a tense international hostage situation unfold live on ABC television, as members of a militant Palestinian faction calling itself Black September infiltrated the Olympic Village in Munich and held the Israeli team hostage. In “September 5,” we watch the sports crew of an American TV network step up to the challenge of covering such a monumental event. For better or worse (be assured, the movie leaves room for debate), their decisions made history, as the incident fed on media attention, and ABC became the first network to broadcast an act of terrorism on live TV.
Even those who weren’t alive at the time likely have a pretty good idea of what happened, thanks in part to Steven Spielberg, whose film “Munich” opens with a reenactment of the same massacre. In the nerve-racking opening minutes of that movie, Spielberg established a core reason that Swiss director Tim Fehlbaum’s focus on the media makes sense here: ABC’s live television coverage was so thorough that both the terrorists and the hostages’ families were able to follow along in real time, learning what the authorities were doing via the broadcast.
Such consequences raise important ethical questions that still echo today, as countless crises have since demanded similarly tricky on-the-fly journalistic judgment calls — though none has yielded the record 29 Emmys (a mix of sports and news trophies) that ABC collected for its coverage. Those awards celebrate the achievement, but skip over some of the pricklier philosophical aspects of the control-room scramble, which Fehlbaum weaves throughout his economical 94-minute docudrama. The film’s relevance is also boosted by the ongoing conflict between Israel and Palestine, as the repercussions of last year’s Oct. 7 attack continue to unfold.
Fehlbaum’s brusque, no-nonsense treatment, which he co-wrote with Munich-born Moritz Binder, doesn’t concern itself with the politics of the massacre. In fact, those interested in what happened (hoping for a more “Munich”-like approach, perhaps) may be surprised to find that the film’s reenactments don’t depict Black September actions at all, but rather what the ABC Sports team was doing throughout. The Spielberg film this most resembles is “The Post,” in its flurry of trying to act responsibly amid the incredible pressures of a breaking-news environment.
The seasoned shot-caller here is Roone Arledge (Peter Sarsgaard), who springs into action the moment gunshots are fired off-screen, insisting, “We’re not giving this story to News. … Sports is keeping it.” Thirty years later, in its obituary, The New York Times described Arledge as “the most important behind-the-scenes figure in the television coverage of the major events of the last half century, from the Olympics to the boxing matches of Muhammad Ali in the 1960’s to the Iranian hostage crisis of 1979-80.”
“September 5” takes us behind the scenes of the 17-hour ordeal to see why that is true, beginning shortly before the attack and cataloging key decisions until just after the tragic finale, when “Wide World of Sports” host Jim McKay famously confirmed the chilling news, “They’re all gone,” on air. Still, as an in-the-trenches account of how ABC Sports approached the story, the film focuses primarily on a young, ambitious producer (played by a period-appropriate-looking John Magaro), based on veteran sports broadcaster Geoffrey Mason’s memory of events.
The ABC Sports team is tiny and entirely male, with the exception of a German-speaking crew member named Marianne (“The Teacher’s Lounge” star Leonie Benesch) who plays an important role throughout. The way she’s treated — and underestimated — on account of her gender brings yet another layer of critique to the movie’s complex power dynamics, which reach upward to the more cautious corporate players, like operations manager Marvin Bader (Ben Chaplin).
ABC Sports may have gotten the story, but it also got it wrong, prematurely repeating an unconfirmed report that the hostages were recovered safely. Moritz and Fehlbaum’s matter-of-fact script lacks the punchy pressure-cooker sparring quality of inside-baseball series such as “The Morning Show” or Aaron Sorkin’s “Sports Night,” which can leave one feeling like the real story is happening elsewhere — and it is, since there’s only so much that news crews can extrapolate from telephoto lenses trained on a faraway balcony.
When shocking incidents happen live, our imaginations tend to fill in what can’t be seen with the worst. In this case, revisiting it half a century later, knowing what happened doesn’t preclude us from wanting to get a better understanding of the specifics. But this movie’s insights are limited to the newsroom, focusing on such minutiae as TV hosts using the words “as we’re hearing,” versus the reality of what transpired during the climactic disaster at Fürstenfeldbruck Air Base.
Multiple well-told accounts exist of the Munich massacre, including Kevin Macdonald’s excellent, Oscar-winning doc “One Day in September,” which makes the movie’s blind spots fairly easy to forgive. Stylistically, Fehlbaum presents this almost like a documentary, using handheld camerawork (and digital post-production that suggests it was shot on vintage high-contrast 16mm film stock) to inject a sense of slightly manufactured realism. Not all the cast members got the memo; some of the performances seem stilted opposite Sarsgaard and Magaro, whose characters are torn between fear of uncertainty and a desire for accuracy at every moment. They’re in uncharted territory here, facing tough calls at every turn, like “Can we show someone being shot on live television?”
“This isn’t a competition,” the higher-ups remind, but it’s hard to convince the Sports division of it. This is the Olympics, after all, where everyone’s bent on winning and the rules are being written as they go.
