It’s a counterpart, in terms of storytelling
Scenario
During the 1972 Summer Olympics in Munich, Germany, the American sports team must adapt to a live broadcast of Israeli athletes being held hostage by a terrorist group. Film Title: September 5 Director: Tim Fehlbaum Writers: Moritz Binder Tim Fehlbaum Alex David Production Companies: BerghausWöbke Filmproduktion, Projected Picture Works, Constantin Film, Edgar Reitz Filmstifung Release Date (US, Wide): Dec. 13, 2024 Capone Rating: 4⭐ out of 5⭐ This is a difficult film to write about because I’m sure that’s one of the reasons (among many) why it was a difficult film to write and produce. There’s no getting around the associations this film will have with Spielberg’s Munich (2005). In Spielberg’s film, we get a quick synopsis of the travesty that occurred on September 5, 1972, and then we get the full and drawn-out aftermath – the hunt for the perpetrators.
The film deserves its due treatment and respect
At Fehlbaum’s, we’re caught up in the news of the day—quite literally, as the film tells the story of a hostage crisis from the perspective of an ABC film crew trying to cover it effectively. Knowing so much about how the films are related, I’ll leave aside the 2005 film and focus on the new film with its new take on that horrific event. Let’s start by saying that the film has a lot going for it. Reminiscent of 12 Angry Men (1957), September 5th was almost a one-room film. The film’s entire action takes place in the ABC studio, with the outside world visible from behind the television camera or from the terrace outside the door (for very brief moments).
80% of it probably takes place in that control room
Once we get going, at no point does the narrative lens shift to a long shot of the studio building, the city’s overpass, or offer any perspective other than that gleaned from and with the crew manning the station during a single day at the Munich '72 Olympics. It’s all within a few rooms: a control center, a film lab, a captioning room, a film editing and editing room, and maybe one other place in the building. (Even 12 Angry Men has its scenes in the courtroom.) The effect of this choice alone is to put the audience right where the production team is sitting, from the perspective of what is known and what can be known. It raises the tension – but not as a plot device – as an emotionally effective interpretation of the reality of those circumstances. Combine this with the handheld camera work and the fact that we can’t hear the other side of the calls that aren’t being broadcast in the room, along with other directorial and editing choices, and you get a very limited scope of what we, the audience, can understand about the world outside that television studio.
in a way
These choices had a strong and clear impact on this viewer, and overall, they were top-notch. I appreciated the scoring, most, but not all, of the choices of handheld versus steady-state, and the positioning of the camera in relation to the actors and the action. These directorial and acting elements gave undeniable strength to the script, which itself shined as a powerful and thought-provoking (not just provocative) story. "Missed opportunities" call them. One.
Things move quite quickly in the film and there is not enough time to explore the impossible questions surrounding this issue in more depth
There is little explicit exploration of the optics and their real collective emotional impact on a country and its people that failed to protect Jewish visitors at a time when international friendship is a sense of the moment and an opportunity to "do good" (although doing good for the Holocaust, as any German or Jew will tell you, is impossible) about the interaction between a former oppressor and a visiting refugee.
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