September 5 Is Almost Nauseatingly Suspenseful

As a seasoned viewer who has witnessed countless films recounting historical events, I must admit that “September 5” stands out as a unique and captivating take on a well-trodden topic. Tim Fehlbaum’s film is a testament to the power of storytelling, focusing on the unsung heroes – the sports journalists who were thrust into the midst of one of history’s most dramatic events.

In a taut and almost overwhelmingly tense manner reminiscent of a drum, Tim Fehlbaum’s work titled “September 5” offers an unanticipated perspective on a well-known occurrence. The intense siege during the 1972 Munich Olympics, where the Palestinian terror group Black September seized a number of Israeli athletes as hostages – an event that led to the tragic loss of all the hostages and many of the assailants – has been extensively portrayed on screen, with Steven Spielberg’s Academy Award-nominated 2005 film Munich being a notable example. However, Fehlbaum focuses on the event from a unique vantage point: the ABC sports team that was providing continuous live coverage of the Olympics that year, only to find themselves in one of the most significant and dramatic news events of its time.

This method is riddled with risks, yet it’s akin to an inspiring tale underdogs might face – sports enthusiasts and light-hearted commentators proving themselves beyond expectations when granted the chance. Overemphasizing it, though, detracts from the seriousness of the matter at hand. Initially, network executives suggest that ABC Sports Chief Roone Arledge (Peter Sarsgaard) delegates this to the news team; however, he firmly declines, arguing that his team discovered the story, has access to the satellite link, and are physically present on the scene. Sarsgaard, who delivered a remarkable performance over two decades ago in the true-life drama “Shattered Glass“, replicates the suitable tone for this role – a calm determination that can swiftly transform into indignation or confusion as circumstances require. One can easily envision this man, with his gentle yet piercing eyes, commanding a newsroom. (Notably, the actor, who received the Volpi Cup at Venice last year for “Memory“, is arguably due more recognition these days as one of our finest talents.)

The film primarily takes place within a meticulously replicated ABC studio in Munich, where the story unfolds. The dimly lit, confined hallways and control rooms echo the ominous atmosphere outside, making every action seem like a matter of life and death, despite it often being journalists and technicians manipulating equipment. The tension is built through the creative ways the studio crew, headed by Geoffrey Mason (John Magaro) and Marvin Bader (Ben Chaplin), navigate covering the evolving story – from tuning into police radio frequencies to disguising a team member as an athlete to smuggle film in and out of the sealed-off Olympic Village. Despite its 94-minute runtime, the movie moves swiftly, yet it also showcases a deep interest and respect for the process – capturing the hum of tape reels, the knot of cables, the hefty feel of cameras – which intensifies the suspense. By zeroing in on this specific group of people reporting on this larger event, Fehlbaum gives fresh perspective to an otherwise predictable narrative. Even though we know the events that transpired at Munich, the film manages to make us experience them as if their outcome was still undecided.

The movie not only has an eerie feel of magic but also stays true to reality. Fehlbaum skillfully blends authentic, contemporary television footage from the time with modern-day reenactments. This way, the actors seem to be engaging with images from the era. When they converse with legendary sportscaster Jim McKay (who passed away in 2008), we perceive him as if he’s responding live; when an Israeli athlete who escaped the kidnappers appears for an interview, we see the genuine individual. This technique might seem ordinary at first glance, but its consistent and extensive use gives the film a sense of communicating with history. In essence, it feels like a dialogue with the past. It’s important to remember that the participation of Israeli athletes in Munich was significant in 1972, as it was just a few decades after World War II, when the Holocaust’s shadow still hung heavily over the world.

Absolutely, September 5th is a topic that often finds its way into discussions about the ongoing situation in Palestine. The film underscores the tragic reality that civilians have lost their lives on both sides of this conflict for many years now. It’s crucial to remember that no one, regardless of location, holds a monopoly on innocent lives being taken. Although September 5th was produced before the October 7 incidents and Israel’s subsequent strike on Gaza and beyond, the filmmakers were well aware of the complexity of the Middle East conflict, which may fade from the headlines, particularly in the U.S., but has been a longstanding issue for most of our lives.

Fehlbaum’s film appears to be airtight, making it challenging to interpret its connection to modern politics – or perhaps it encourages personal interpretation. However, this perspective might unveil the political dynamics at play during the historical event itself. In the heated context of the movie, we witness how perspectives and vocabulary get standardized. At one instance, there’s a private discussion about whether to label the Black September captors as “terrorists,” a term we know led to a particular outcome. Just like September 5, Munich, and No Other Land, this film underscores that it’s the accumulation of minor choices and actions that shape our perception, interpretation, and comprehension of history.

2024-12-13 22:54

September 5 Is Almost Nauseatingly Suspenseful

Read More

Minority Mindset