Tim Fehlbaum’s September 5 is a riveting exploration of one of the darkest days in Olympic history, brought to life through the lens of the media team that covered it. With its intense focus on ethical journalism and the human cost of breaking news, the film delivers a powerful narrative that is as thought-provoking as it is emotionally resonant. September 5 transports viewers to the control room of ABC Sports during the 1972 Munich Olympics, where the real-life tragedy of the Munich massacre unfolds. Palestinian militant group Black September’s attack on Israeli athletes became the focal point, not just for the athletes involved but for the entire world as the event was broadcast live.
The film’s choice to remain primarily confined to the control room intensifies the narrative, emphasizing the claustrophobic tension experienced by the broadcasting team. This decision also highlights the monumental role of media in shaping public perception during moments of crisis. With its analog equipment and palpable air of urgency, the control room becomes a character in its own right, mirroring the chaos and pressure of the unfolding tragedy.
At the heart of the film is John Magaro’s gripping performance as Geoff Mason, the head of the control room. Magaro embodies Mason with authority and vulnerability, portraying a man grappling with the ethical dilemmas of broadcasting such a harrowing event. His portrayal captures the weight of responsibility on those who must decide what the world should see. He is the voice of reason, advocating for sensitivity and accuracy. It’s easily the best performance audiences have seen thus far from him after making a quiet but astounding turn in 2023’s Past Lives.
Supporting performances from Peter Sarsgaard as president of AMC Sports Roone Arledge and Ben Chaplin as Head of Operations Marvin Bader add depth to the story. While Chaplin’s Bader represents the pragmatic side of the operation, focused on maintaining the flow of the broadcast, Sarsgaard’s Arledge grapples with how the story should be unveiled to the world in the most ethical way possible. Could his team show someone being shot on live television? Let alone, would the terrorists be willing to do this with cameras watching them? These are the questions Arledge has to deal with, and Sarsgaard captures his divided mindset thoroughly. Leonie Benesch’s portrayal of Marianne Gebhardt, a translator caught in the middle of the crisis, adds an emotional layer, grounding the story in human vulnerability.
One of September 5’s greatest strengths is its commitment to authenticity. Fehlbaum’s direction seamlessly integrates archival footage with meticulously crafted reenactments, blurring the line between documentary and drama. This approach enhances the film’s realism and poignantly reminds viewers of the tragedy’s historical significance. From the set design to the costumes, everything feels authentic to the 1970s. The analog technology of the control room, with its dials and knobs, becomes a visual metaphor for the painstaking effort required to deliver live news in an era before digital conveniences.
The film delves deep into the ethical quandaries journalists face during a live crisis. Should the focus be on delivering unvarnished truth, or should sensitivity take precedence? As the team debates whether to broadcast specific images and information, the film raises questions about the balance between public interest and human decency. This exploration of journalistic ethics is more relevant than ever in today’s age of 24/7 news cycles and social media. September 5 doesn’t offer easy answers, inviting viewers to grapple with the complexities of these decisions alongside the characters. The film also humanizes the people behind the cameras, showing their personal struggles and the emotional toll of their work. The weight of responsibility, the fear of making the wrong call, and the moral burden of their choices are palpable throughout the narrative.

While September 5 is a remarkable film, it is not without its flaws. While effective in building tension, the confined setting may feel limiting to some viewers. The intense focus on the control room means that the perspectives of the athletes and hostages are mainly absent, which might leave audiences yearning for a fuller picture of the event. Furthermore, some of the characters are seen only at the surface level. The cause of this issue mainly lies in the movie’s 94-minute runtime. It doesn’t lose momentum at any point whatsoever, but it limits certain elements.
The film's emotional impact is undeniable. It’s impossible to watch without reflecting on the role of media in our lives and the ethical responsibilities of those who shape our understanding of the world. September 5 is more than just a historical drama; it’s a meditation on the power and responsibility of journalism. By focusing on the human side of the story, the film offers a unique perspective on a tragic event that forever changed the world of sports and media.
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