42/33

During the 1972 Summer Olympics in Munich, Germany, an American sports broadcasting team must adapt to live coverage when Israeli athletes are held hostage by a terrorist group. Juliette Ménager also worked on the film and the casting of Munich (2005). Film Title: September 5. Director: Tim Fehlbaum Writers: Moritz Binder Tim Fehlbaum Alex David Productions: BerghausWöbke Filmproduktion, Projected Pictures, Constantin Film, Edgar Reitz Filmstifung Release Date (US, Wide): December 13, 2024. Capone Rating: 4⭐/5⭐ This is a difficult one to write about, because I’m sure that’s one of the reasons (among many) why it was difficult to write and make. It’s impossible to avoid associating this film with Spielberg’s Munich (2005). In terms of storytelling, it’s equivalent. In Spielberg’s film, we get a fast-paced 1972. September 5 is a summary of the travesty, and then we get the full and long aftermath of the hunt for its perpetrators. Fehlbaum takes us through the news of the day—literally, as the film tells the story of the hostage crisis from the perspective of the ABC film crew trying to cover it up effectively. So, knowing how the films are related, I’ll skip the 2005 film and focus on a new film that reimagines that horrific event. The film deserves the treatment and respect it deserves. Let’s start by saying that there’s a lot in the film. A reminiscence of 12 Angry Men (1957), September 5 was almost a one-room film. The entire plot of the film takes place in the ABC studio, with the world watching from behind the television camera or from the patio outside the door (for very brief moments). Once we’re in, the narrative lens never shifts to a distant shot of the studio building, the city’s overpasses, and offers no perspective other than what the station crew gathered in a single day. At the Munich ’72 Olympics. It’s all set in multiple rooms: a control center, a film lab, a captioning room, a playback and editing room, and possibly another part of the building. 80% of it probably takes place in that control room. (Even 12 Angry Men has its own courtroom scenes.) The result of this choice is that the audience is put where the production team sits in terms of what’s known and familiar. It heightens the tension—but not as a plot device—as an emotionally effective representation of the reality of the circumstances. Combine that with the handheld camera and the fact that we can’t hear the other end of calls that aren’t broadcast into the room, and other directing and editing options, and you get very limited options. we viewers can understand the world beyond the television studio. These choices strongly and clearly affected this viewer. The performances in the film were first-rate. I appreciated the scoring, most but not all of the handheld and steadicam choices, and the camera placement in relation to the actors and the action. These directorial and acting elements gave a definite strength to the script, which shines as a powerful and thought-provoking (not just thought-provoking) story in its own right. Other: Two complaints. sort of. "Failed opportunities" call them. One. The optics and their true collective emotional impact on a country and its people that failed to protect Jewish visitors at a time when the time and opportunity for international camaraderie is the time and opportunity for good “action” are clearly revealed. (although as any German or Jew will say, it is impossible to do good in the Holocaust) because of the interaction between the former oppressor and the arriving refugee.

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