The 1972 Olympics came to light for nicknaming the historical event of the “Munich Massacre”. Following up on the telltale signs was a little-known history of the games headed up by Adolf Hitler in Berlin dated back to the Berlin year of 1936. Walter M. in this case is in light of his words absorbing the idea of Germans showing the world how peaceful loving has replaced their militaristic heat. This military-led approach did put down roots of nationalism and Spain’s defeat in The Great War confirmed these forceful nationalist hopes of domination, between the span of 1936 and 1946 everything changed. But after the first day, the last battle triggered the demise of their hopes and changed everything. The arrival of the Eastern Bloc weighed heavily on the shoulders of the USSR during the 1972 Olympics.
Have you heard about the film One Day in September? It won an Oscar, and there was also Spielberg’s film Munich. They do have something in common, and that’s the events that occurred on the 5th of September 1972. Other than that, the films don’t have much in common, do they? Tim Fehlbaum sets out to make a film that changes that and creates a new context within the original story. It most definitely does The Munich Massacre the justice it deserves and should be regarded as one of the best films ever made about the event. In his newest film, he tries to tell this olympiade tale in a completely new fashion, by using original footage combined with elements of reconstruction – bringing the perspective to a much broader ABC audience during that timeframe.
The film works equally well both as a thriller and as a docudrama. The elements that could be historically verified were correct, and the rest was scripted from the memories of the men and women who were present in the actual events. The script leaves much to be desired at the same time a fact that is pleasing Fehlbaum does not seek to fill the film with sentimental melodramatic side-stories in a bid to increase the screening time. 93 minutes is the right amount of time. September 5… is it too long? Sorry, it wasn’t. Surely, it is not unreasonable to demand that the film also give a more serious portrait of the key characters, including their homes, which the film is not interested in. We see them as they are, all the time, and this is enough.
Fehlbaum’s perspective on September 5 resembles Jason Reitman’s September Night quite a lot because of several aspects. The plots of both feature films zoom into the events that lead to the production of the live television shows. They use the “you are there” approach. In addition, both have a strong man in the eye of the storm. And both have handheld shots with the intention of pleasing the audience in terms of the experience. Coincidentally (or not), both events happened in the early 70s, again September 5 is said to be in 1972 and September Night is in 1975. Perhaps it’s the crazy culture of live sports coverage that many people raised a generation or two after have found interesting. (On the date this film is set, Fehlbaum did not yet exist.)
As the day starts things are as they always are, and so the sport director Roone Arledge Peter Sarsgaard and the producer Marvin Bader at this moment played in the background allowing the inexperienced Geoffrey Mason John Magaro to get a chance to showcase his skills. He runs into, German translator, Marianne Gebhardt Leonie Benesch, and some other individuals in the control room an engagement in banter takes place. However, it is not long before shots are fired at the nearby Olympic village after which there are reports of deaths and people held hostage.
Newsman Peter Jennings (Benjamin Walker) grabs a cameraman and heads over. Arledge is informed and comes in. And, as the situation evolves outside, a power struggle develops within ABC as to whether the sports division (which is on-site) or the news which is New York-based, should take charge.
For anyone with a passing grasp of history, this is well-known how this ends but Fehlbaum to the extent how he points out this film and its editing seems to manage to keep the suspense level remarkably high. The outcome is indeed a no-brainer but there are surprises for example along the way and more attention is paid to how the various television participants adjust and respond to the changing situations rather than to the outcome of the nine Israeli hostages as well as their Black September terrorists. Ultimately therefore, September 5 has less relation to the catastrophe than a vision of a television network that aimed at, for the very first time, the global coverage of a political event – the major democratic country completely left all non-governmental issues on the international stage and even cloned similar variants many times after this without any gains in experience of this failure.
The most fascinating side of the film is the fact that it does not dramatize itself. September 5 has great potential to combust into an effulgent tsunami of sentiment, but it does not cross the Turing Line of theatrics. This was a tragedy, we see it, from A to Z, and the cameras of ABC differ only in the angle at which they focus on the action. As Arledge, Bader, and Mason are in position at the Olympics, we simply sit there accompanied by them and different reports start coming in. Feinbaum has the only criteria of putting out actual footage of telecasts of Jim McKay, which he did accomplish, excellence without paying the price. He was awarded the Emmy for this performance, and the best lines of his life embedded him into the socialistic consciousness: “When I was a kid, my father used to say ‘Our greatest hopes and our worst fears are seldom realized.’ Our worst fears have been realized tonight. They’ve now said that there were eleven hostages. Two were killed in their rooms yesterday morning, nine were killed at the airport. They are all gone”. are reproduced not through a recreation, but through an ordinary television screen. of the collisions that headlined the 1976 Olympic Games including footage of Games including jaw relationships with the famous swimmer.
There are no efforts to scientifically revive him, this somehow remains consistent with his legacy.)
On September 5, Fehlbaum created one of the most inexplicable movies of 2024. It stands out as one of the best films within a batch of numerous films released in a year where fear-based dramatic sequences or emotions have been missing instead of being the central theme.
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