September 5 movie review: Tim Fehlbaum’s September 5 takes audiences into the heart of a newsroom grappling with an unprecedented crisis: the 1972 Munich Olympics hostage tragedy. With 11 Israeli athletes taken hostage and eventually killed by the Palestinian group Black September, this event has been the subject of many films. However, September 5 stands out by focusing on the chaotic newsroom of ABC’s sports division, which inadvertently became the world’s window to the crisis. The film transforms the tragedy into a taut, media-driven procedural that underscores the tension, inexperience, and moral dilemmas faced by broadcasters covering real-time, life-and-death events.
September 5 movie review
On September 5, 1972, eight members of Black September stormed the Olympic Village, killing two Israeli athletes and taking nine others hostage. For 22 hours, the situation unfolded live, with the world glued to their televisions. ABC’s sports division found itself thrust into the role of breaking news reporters, despite lacking the experience or infrastructure for such a monumental event.
Fehlbaum’s film zeroes in on the newsroom chaos, portraying how the team scrambled to adapt. Cameras were wheeled into position to capture the unfolding tragedy, and decisions were made in real-time, often with incomplete or erroneous information. The film’s strength lies in its moment-by-moment reconstruction, showcasing the harried decision-making process of Geoffrey Mason (played by John Magaro), a 28-year-old producer running the control room for the first time. Mason’s journey—from coordinating minor league baseball games to managing one of the most critical live broadcasts in history—is the emotional core of the narrative.
SEPTEMBER 5 – Official Trailer
September 5 thrives as a media procedural, offering a behind-the-scenes look at the ethical quandaries and logistical hurdles faced by journalists. The film does not shy away from portraying the mistakes made by ABC’s team. For instance, their live broadcast of the German police’s rooftop operation inadvertently alerted the terrorists, compromising the mission. Later, the newsroom prematurely reported the hostages’ release based on secondhand information, a devastating error that underscores the perils of real-time reporting.
These moments reveal the fragility of live journalism and the immense pressure to balance speed with accuracy. Fehlbaum’s direction captures the claustrophobic atmosphere of the newsroom, where split-second decisions can have far-reaching consequences. The film’s depiction of antiquated technology, such as manually adding text to screens and coordinating via walkie-talkies, further immerses viewers in the era.
At its core, September 5 is a human story about individuals navigating an extraordinary situation. The film highlights the moral dilemmas faced by the newsroom team: How do you report on a crisis without becoming part of it? Should journalists prioritize accuracy over speed, or vice versa? These questions resonate deeply in today’s media landscape, making the film both timely and timeless.
One of the film’s standout characters is Marianne Gebhardt. As the only German-speaking member of the team, she becomes a bridge between cultures, providing critical context and insight. Her presence also serves as a reminder of Germany’s efforts to rehabilitate its global image in the wake of World War II. This layered characterization enriches the narrative, adding depth to the ensemble cast.
Unlike Steven Spielberg’s Munich, which delves into the aftermath of the tragedy, September 5 stays firmly rooted in the present. By confining the story to the newsroom, the film avoids getting bogged down in historical or political commentary. Instead, it focuses on the immediate challenges faced by the journalists, allowing audiences to experience the tension and uncertainty of the moment.
This restrained approach is both a strength and a limitation. While the film’s laser focus on the newsroom creates a compelling narrative, some viewers may find its lack of broader context frustrating. However, Fehlbaum’s decision to prioritize the human and procedural aspects over the political implications gives the film a unique identity.
Fehlbaum’s meticulous attention to detail brings the 1970s to life. The newsroom is recreated with an eye for authenticity, from the clunky equipment to the cigarette-filled air. The film’s aesthetic—a mix of archival footage and fictionalized reenactments—blends seamlessly, creating an immersive experience.
The cinematography captures the chaos and urgency of the newsroom, with tight frames and rapid cuts mirroring the frenetic energy of the unfolding crisis. The use of real footage, including glimpses of British journalist Trevor McDonald, grounds the film in reality, heightening its emotional impact.
At a time when trust in the media is at an all-time low, September 5 serves as a poignant reminder of the humanity behind the headlines. The film portrays journalists not as faceless entities but as individuals grappling with immense pressure and limited information. It humanizes the profession, showcasing both its triumphs and its pitfalls.
The film also underscores the unintended consequences of media coverage. The team’s realization that their broadcast was being watched by the terrorists—potentially altering the course of events—is a chilling moment that speaks to the power and responsibility of journalism. These themes make September 5 a thought-provoking watch, inviting audiences to reflect on the role of media in shaping history.
Summary
September 5 is a masterfully crafted film that captures the tension, chaos, and humanity of a newsroom navigating an unprecedented crisis. While it may lack the emotional resonance of Spielberg’s Munich or the comprehensive analysis of Kevin Macdonald’s documentary One Day in September, Fehlbaum’s film carves out its own niche as a gripping media procedural.
With stellar performances, meticulous attention to detail, and a thought-provoking narrative, September 5 is a must-watch for history buffs, journalism enthusiasts, and anyone interested in the intersection of media and real-world events. It’s a film that not only revisits a tragic chapter in history but also sheds light on the ethical and practical challenges of live journalism.
Top Rotten Tomatoes Reviews
While the logistics of coverage are impressively and thrillingly managed, and the actors are good to the last drop of sweat, the ethical problems that give “September 5” its dramatic snap and contemporary relevance are harder to wrangle – Peter Howell, Toronto Star
Modern audiences may feel the contemporary context makes it naive or obtuse. But it’s a muscular, well-made picture with the tang of cold sweat – Peter Bradshaw, Guardian
That “September 5” manages to picture the madness through fresh eyes and make you feel like you’re in the thick of it is a remarkable achievement – Matt Zoller Seitz, RogerEbert.com
The issues the film raises about journalistic integrity and broadcast morality make September 5 the most rivetingly responsible film about journalism since Steven Spielberg’s The Post – Rex Reed, Observer
Fantasy properly earns a lot of praise in movies, but this one shows how effective they can be at re-creating a gut-punch of reality. September 5 is tough, rough, messy and gritty – Kyle Smith, Wall Street Journal
Top Movie Ratings
| IMDb | 7.1/10 |
| Rotten Tomatoes | 91% |
| Metacritic | 77% |
Latest Release Movie:
- Carry-On movie review & film summary (2024)
- Nickel Boys movie review & film summary (2024)
- A Complete Unknown movie review (2024)
