Few moments in modern history captured the minds because of the way they were covered by the media. On top of the head we can think of the 1986 Challenger tragedy, the OJ verdict and of course more recently the September 11th attack on the World Trade Center. When referencing the latter, the 9/11 event, we can easily understand that it was a cornerstone of the turn of the century that has forever transformed the way we look at the world. It was an event that reshaped live media coverage and the nature of professional journalism, among the myriad of things that changed because of that day.

One event however, which bears some sinister similarities, had captured the world’s attention for the audacity and brutality decades earlier. Munich had all the reasons to celebrate. It was chosen to be the city that would host the 1972 Summer Olympic Games. It was Germany’s first opportunity to show the world it had moved on from the last time it had hosted a games, the infamous 1938 games, which was nothing more than an opportunistic display for the Nazi regime. What was billed as the serene Olympics was soon turned into one of the most dramatic and bloody moments in contemporary times. The resulting standoff would see 5 of the assailants killed off and the entire team murdered.

In the film September 5, writer-director Tim Fehlbaum delivers a taut and riveting depiction of the 1972 Munich Olympics hostage crisis, uniquely framed through the lens of the ABC Sports broadcasting team, which is thrust from covering athletic triumphs to televising a global tragedy in real-time. The film is a compelling exploration of journalistic ethics, the immense pressure of live news, and the dawning of a new era where terrorism unfolded on television screens worldwide.

Anchored by strong performances and a palpable sense of urgency, “September 5” largely confines its action to the chaotic, smoke-filled confines of the ABC control room. This claustrophobic setting effectively immerses the audience in the minute-by-minute decisions and escalating tension faced by the unprepared sports journalists.
Peter Sarsgaard delivers a commanding performance as Roone Arledge, the visionary head of ABC Sports, alongside a compelling John Magaro as the on-the-ground producer Geoffrey Mason and a noteworthy Leonie Benesch as the resourceful translator Marianne Gebhardt. The ensemble cast effectively portrays the dedication, compromises, and human fallibility of a news team grappling with an unprecedented event.

Fehlbaum masterfully builds suspense, even for those familiar with the tragic outcome of the Munich massacre. The film’s strength lies in its meticulous recreation of the 1970s broadcast environment, complete with period technology and the innovative, sometimes ethically fraught, efforts to get the story on air. The integration of actual archival footage further grounds the film in its harrowing reality. “September 5” excels as a procedural thriller, highlighting the raw, unfiltered nature of live television in an era before 24/7 news cycles became the norm. It raises pertinent questions about the media’s responsibility in a crisis, the potential for coverage to influence events, and the emotional toll on those tasked with reporting horrific truths. While the film’s tight focus on the newsroom perspective is a key strength, some may find it leaves less room for a broader exploration of the geopolitical context or the perspectives of the victims and perpetrators. This important omission seems vital to understanding today’s situation in the Middle East.

However, by maintaining this specific vantage point, “September 5” offers a fresh and intense insight into a pivotal moment in media history. In doing so, it comes across as more authentic than the historically flawed 2005 film Munich by Steven Spielberg. Overall, “September 5” is a well-crafted and impactful historical drama. Its brisk minute-by-minute pacing, strong assured performances, and intelligent exploration of media ethics make it a gripping and thought-provoking cinematic experience. It stands as a stark reminder of the day the world watched in horror and the profound impact of those events on both global politics and the very nature of news broadcasting.