'September 5' (2024)

Recounting the events of the 1972 Summer Olympics in Munich, Germany, ‘September 5’ depicts the Munich massacre of 1972 as seen from the perspective of the ABC Sports broadcasting crew.

Following Geoffrey Mason (John Magaro) head of the ABC control room as he begins his day at the broadcasting center, the film transposes its viewers back in time to that ill-fated event. With period accurate set design, the story unfolds nestled in long forgotten technology and broadcasting techniques.

As the uneventful games wear on, the crew hear gunshots in the distance, originating from the Olympic Village. Mason sees this as an opportunity for a more compelling story and follows the hostage taking situation instead of focusing on the games.

With the executive decision made, the crew now focus their attention on capturing the terrorist attack. Limited technologically, Mason finds a way for the footage to reach viewers as Roone Arledge (Peter Sarsgaard) works on the other end with the network in order to try and secure satellite feed of the developing story to viewers in the US.

Thwarted and slowed by the equipment available to the crew at the time, the struggle to deliver the unfolding story to the viewers is painful and felt along every step of the way, making one appreciate the effort invested in delivering the story.

Capturing the intensity with which the first ever terrorist act was broadcast live, ‘September 5’ imbues new life into the events that had transpire over 50 years ago, allowing people to rediscover a flash-point in television broadcasting history that may have been forgotten.

The film also invites criticism regarding the current state of media. Namely that exploring the events of 5th September 1972, the film presents a sense of journalistic integrity. Albeit some of the choices made in the control room may be fueled by preconceived prejudices and in the heat of the moment, there remains a sense of integrity to reporting the news throughout.

Making one question the over-saturated and less than trustworthy sources of information available to viewers today, ‘September 5’ relays an event which was presented to viewers as it developed, retaining at least a modicum of professionalism, focusing on reporting the event rather than finding a way to spin the situation into something else.

With the aid of fictitious character Marianne Gebhardt (Leonie Benesch), the local German woman works as the crew’s translator, aiding them as she listens and helps translate local TV, radio and even police scanner transmissions.

Not entirely focused only on the events of the massacre however, the film finds nooks and crannies for other pertinent issues at the time. Focusing more closely on Benesch’s Marianne, the issue of the games being held in Germany crops up, with Ben Chaplin’s Marvin Bader expressing his dismay towards the preceding generation and their joint culpability in WWII.

Standing her ground and expressing that she cannot be blamed for the actions of the previous generations, the film finds a quick and concise way of covering the hurt feelings and the long way to recovery in that regard.

A further instance of sexism towards Marianne is also quickly resolved when the film leans heavily on the important part she plays in the crew and helping cover the story timeously. An isolated incident and effective resolution, the film quickly addresses the issue and speeds swiftly onward to re-focus on its main objective.

Fast paced, exciting and nerve wracking, ‘September 5’ re-tells of a time in history that may seem mundane in today’s world and media. Helmed by Tim Fehlbaum, the film operates to re-deliver history infused with high tension, emotional ups and downs and a seemingly ceaseless string of surprises as the events are recreated. With a tasteful and strategic use of historic figures and archival footage, ‘September 5’ is a worth while investment in rediscovering a monumental moment in media history.

Score: 4/4