“Ready, camera one.”
The story of the Munich Olympics has already been told. At least, that’s the line most people will use as an excuse to justify not seeing September 5, co-writer/director Tim Fehlbaum’s retelling of the events. Yes, we’ve seen the powerful job Steven Spielberg did with Munich and the way that the story was thoughtfully spotlighted in the Tom Hanks-produced CNN docuseries, The 70s. Yet, the point of view that September 5 takes is a different one. Through the lens of the television media, the film presents this tragedy in a way that makes us not only temporarily forget previous retellings, but makes us feel as if we’re witnessing the events in real time, giving a case for multiple perspectives when it comes to the act of storytelling while forcing us to hold our breath all the way through.
Based on the true story of the 1972 Munich Olympics, September 5 recounts the seizing of Israeli athletes by a terrorist group. Amidst the chaos and uncertainty, the American television crew led by Producers Roone Arledge (Peter Sarsgaard), Geoffrey Mason (John Magaro), and Marvin Bader (Ben Chaplin) sent to cover the games instead ended up documenting one of the most horrific events of the 20th century.
September 5 may be the most technically sound film of the year with its frenetic camera movements and the way its creators make the behind-the-scenes space of a small German TV studio feel like an all-encompassing world unto its own. There’s a tremendous sense of place within the film that’s bolstered by the fierce intensity and desperation running through the physical space. Most of this is exemplified by the people who occupy room in that world, all of whom guard their roles with such unwavering protection. The tight staginess of the environment itself is apparent, but September 5 maintains its cinematic pedigree through some adrenaline-filled action that matches the quickness and pacing of the film, which includes some expert mixing in of vintage footage. If all of this makes it sound like Fehlbaum’s film gives its audience very little time to breathe, rest assured, a carefully measured amount of moments are given to allow everyone to stop to take in the astounding events taking place.
As heart-pounding as September 5 can be, it isn’t lost on the filmmakers, or the audience, just how monumental of a moment this was in the world of live television. Much like this year’s Civil War was a love letter to photojournalists, September 5 proves itself to be a similar testament to television crews. The film gives such an insight into the mental workings required to exist in that world, specifically the agility, instinct, and resourcefulness needed to get something out to the public and get it out first. We see several innovative techniques take shape during the film such as physically inserting the ABC logo into the frame when CBS insists they share footage with the former and sneaking reporter Peter Jennings (Benjamin Walker) into the compound not too far from where the hostages are being held. Meanwhile, an emotional and ethical side offered by the film provides key characters with the question: How much is too much to show the world?
What helps September 5 succeed to the level that it does is the fact there is not a movie star to be seen. While a high profile actor might have taken hold of the piece and fashioned it to suit their screen persona, the collection of character actors assembles all give themselves to the material with total abandon. The trio of Sarsgaard, Magaro, and Chaplin all work so well together as a unit, displaying an invaluable shorthand that helps give the movie its unique speed. At the same time, each one is given their own moments to show their character’s struggle with how to handle the history that’s unfolding in front of their eyes. Also turning in stellar work is Marianne Gebhardt (Leonie Benesch), a German TV assistant who manages an unforgettable emotional journey of her own.
Once September 5 is finally over, everyone watching will finally be allowed the chance to exhale along with the characters after an incredible and life-changing 90 minutes. Once everyone can breathe normally again, we’re finally able to sit with what we’ve watched and note either again, or for the first time, just how much of a history-making shift these events were. The tragedy that took place represented a turning point in the rise of terrorism with the instigators realizing that there was a global audience waiting for just them. It’s been reported that more than 900 million people watched the events unfold. September 5 brilliantly reminds us that the Munich Olympics weren’t just something that happened, but rather that they were a signal that the world would never be the same again.
