September 5 Review: The Day Journalism Changed Forever

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Dec 29

Tim Fehlbaum’s September 5 crafts a tense and ethically charged depiction of the Munich Olympics tragedy, examining how journalism transformed live television into a global spectacle.

Tim Fehlbaum’s September 5 delivers an intense, meticulously crafted portrayal of the transformative day when journalism and live television became forever entwined. Focusing on the media’s response to the 1972 Munich Olympics terrorist attack, the film eschews sensationalism for a nuanced exploration of ethics, ambition, and the human cost of breaking news.

The film opens with the chilling prelude to the tragedy: eight members of Black September scaling the perimeter fence of the Olympic Village and taking 11 Israeli athletes hostage. While this historical event anchors the narrative, Fehlbaum’s story centers on the journalists and production crew at ABC Sports who unexpectedly found themselves broadcasting a global tragedy.

At the heart of the film is Roone Arledge, played masterfully by Peter Sarsgaard. As the president of ABC Sports, Arledge is a man balancing ambition with moral responsibility, refusing to relinquish the story to the news division while grappling with the ethical weight of his decisions. Sarsgaard brings a quiet intensity to the role, portraying Arledge as both a visionary and a man deeply aware of the consequences of his choices.

John Magaro delivers an equally compelling performance as Geoff, a young producer thrust into the role of de facto leader in the newsroom. Magaro captures Geoff’s evolving confidence and moral conflict as he navigates the chaotic newsroom dynamics. His portrayal is layered and empathetic, grounding the film’s philosophical questions in deeply personal stakes.

The supporting cast is exceptional. Ben Chaplin shines as Marvin, a seasoned producer who embodies the pragmatism and occasional cynicism of veteran journalism. Leonie Benesch as Marianne, a German translator, and Zinedine Soualem as Jacques, a French-Algerian engineer, provide poignant perspectives on the multinational collaboration required to bring the story to air. Their contributions highlight the unsung heroes of journalism—the technicians, translators, and support staff working behind the scenes.

Fehlbaum’s direction is sharp and kinetic, capturing the frenetic energy of the newsroom with precision. Benjamin Kracun’s cinematography immerses viewers in the analog world of rotary phones, grainy monitors, and hurried note-passing, creating a tactile sense of urgency. The film’s visuals oscillate between the dimly lit control rooms and the stark daylight of the Olympic Village, emphasizing the stark contrast between the reporters’ environment and the unfolding tragedy.

The screenplay by Fehlbaum, Moritz Binder, and Alex David is both incisive and restrained. While the film doesn’t shy away from the horrors of the event, its focus remains firmly on the ethical dilemmas faced by the journalists. The dialogue crackles with tension, particularly in scenes where Arledge and Geoff debate the boundaries of responsible reporting. These exchanges serve as the film’s moral backbone, asking viewers to reflect on their own consumption of news and the complicity of audiences in the commodification of tragedy.

One of the film’s standout achievements is its ability to maintain tension while exploring complex themes. September 5 examines the birth of live television journalism, the pressures of corporate decision-making, and the fine line between informing the public and exploiting tragedy. Fehlbaum doesn’t offer easy answers but instead invites viewers to grapple with the implications of turning human suffering into a media event.

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The pacing is relentless, mirroring the ticking clock of the unfolding crisis. The film’s 95-minute runtime feels both compact and expansive, with no wasted moments. Each scene contributes to the growing sense of unease, culminating in a climax that is as emotionally devastating as it is intellectually satisfying.

Ultimately, September 5 is a powerful meditation on the responsibilities and limitations of journalism. By focusing on the individuals behind the cameras, Fehlbaum humanizes the profession while critically examining its role in shaping public perception. It’s a film that resonates deeply in an age where the line between news and spectacle has become increasingly blurred.

September 5 is more than a historical drama; it’s a tribute to the journalists who navigate the ethical minefields of their profession and a call to viewers to consider the impact of their gaze. Fehlbaum’s film is as much about the creation of modern media as it is about the people who made it possible, offering a gripping, thought-provoking experience that lingers long after the credits roll.