September 5 – Film Review
by Brian Merriman

Director: Tim Fehlbaum
Writers: Moritz Binder, Tim Fehlbaum, Alex David
Starring: Peter Sarsgaard,  John Magaro, Ben Chaplin, Leone Benesh

‘September 5’ refers to the day the 20th Olympic Games village in Munich was subject to attack (5th September 1972). These games were a statement of post-war Germany’s celebration of modernity and inclusivity. They pushed the boat out technologically to show a new Germany to the world. It was a new beginning for all. Mark Spitz set records in the swimming pool. There was hope and optimism.

Halfway through the Games, gunshots rang out in the defenceless village and over the next few hours, this haven of celebration of the best of us is gripped by terror. Sports commentators turned into newshounds, as the world held its breath, hoping for a better outcome for the defenceless athletes and coaches.

We meet an ABC (US television station) crowded TV sports production room, working through the night to bring daytime coverage of the Games to the US, though Germany was hours ahead. It was also broadcasting in colour.

We are so technologically savvy today, that major challenges to source footage and confirmation are almost instant. In 1972, it was a huge challenge and responsibility that didn’t always go right. Our sports team were in situ at the Olympic Village and refused to hand over their story to the News teams in the US and faced calls on journalistic issues not previously in their repertoire.

Writers Binder, Fehlbaum and David give us a deep insight into the overcrowded sports room. The absence of language and the deliberate omission of translation draws us into a world where a major news story is breaking on-site and no one speaks the language. It works as well as it baffles.

The sexism of the time is laid out in the treatment of the young translator ‘Marianne Gebhardt’, (an excellent Leonie Benesch) often ignored by ambitious men.  But as the tense scenarios unfurl, her capabilities and ability to take initiative way beyond her role, are a pivotal demonstration of why the intellects and skill sets of women were finally acknowledged in the workplace during the 70s. Her ability to express regret for the war and the devastation of the impact of this attack on the struggle to modernise Germany is palpable.

Another female supporting role of ‘Georgina Rich’ (a focussed Gladys Deist) and her innovative graphics skills underscores the ability of these talented women to be heard in a ‘get me a coffee’ environment. The cost of sexism in a crisis was present and well handled throughout the tension-filled episodes that grip and hold our attention throughout. It is a tension of journalism, culture and politics.

The main trio of ABC Management, Peter Sarsgaard as ‘Roone Arledge’ ABC’s sports president, the untested but courageously naive ‘Geoffrey Mason’ (a credible John Magaro) thrown in at the deep end, and Ben Chaplin’s ‘Marvin Bader’ are the key ‘go to guys’, expected to deliver the good news sports coverage suddenly thrown into covering a breaking major news story that actually outstripped the moon landing in viewership. 84-year-old Mason’s recollections informed and resourced the writing.

There is a tension of detachment from the concern about the fate of the hostages, replaced by the zeal to be first with the news, culminating in wrong calls, power struggles and endangerment of the rescue operation and the lives involved. Equally, the personal experiences of the recent War, surge to the surface to further complicate the sports specialists, now covering the biggest news story of the time.

There is a serious internal and competition turf war going on throughout. Which network will get the exclusive? The ‘MacGyver-like’ creative use of stationery equipment, phone lines, eavesdropping and walkie-talkies, is inspiring. This innovation demonstrates the skill set of those who had no online to consult to solve every immediate challenge, covering a major story when even the authorities don’t seem to know how to handle this unexpected, horrendous situation.

The depiction of real-life ABC reporter, ‘Peter Jennings’ (Peter Walker) and ‘Carter Jeffrey’, the staff member (Marcus Rutherford) who successfully breaks through the security lines to bring back real-time footage adds further intensity to the developing plot.

The use of a ton of original footage, synchronised and prompted by this script is so clever and well handled by Director Fehlbaum. It adds to the authenticity of the whole movie. Stories like this also remind us of the details of such tragedies we often forget over time.

‘September 5’  is a timely release and rather than defending or justifying anything in history, it exposes personal stories. Many in ABC are Jewish. The atrocity of The Holocaust is in memory, not only of the Jews but also of those trying to assert a new democratic Germany. You can’t view this film without being reminded of the history of the current appalling conflict that is enslaving the Palestinian people.

The reminders of the impact of The Holocaust are stark. Its direct comparison to the carnage of today is not far from the mind. But the movie illustrates clearly that the violent mayhem that is the history of the deeply troubled Middle East has remained unaddressed and unresolved for decades, long before the shocking attack on an unarmed Olympic team. The lost opportunity for some re-set, as Jewish athletes themselves return to Germany within the memory of the millions of families who perished there in the Holocaust.

It is a reminder that a huge sin is the failure of history to protect all people who suffer from cultural conflict. There is no improvement in the acceptance of people of different cultures living in peace, side by side after decades. There are unspeakable atrocities on both sides, embedded in their history of distrust, occupation and revenge. It is shocking to see it played out on our screens in today’s news coverage.

Clearly “September 5” reminds us that two wrongs never make a right. The wrongs of history, are present in the wrongs of today. We are reminded of more detail in this well-presented movie which is deeply wrong. After decades of this, it still is the people who suffer greatly.