The drama chronicles the 1972 Munich Olympics attack from ABC Sports’ point of view, a perspective that resonates today. But the film arrives at a fraught time.
“They’re all gone.”
When the sports broadcaster Jim McKay announced the deaths of 11 Israeli Olympic team members taken hostage by the Palestinian militant group Black September at the 1972 Summer Games in Munich, it was a sentence freighted with emotion and instantly became a part of broadcast history.
In the new film “September 5,” there is no actor playing McKay, who instead “plays” himself through archival footage woven throughout the drama, which focuses almost entirely on the ABC Sports control room as it retells the saga that unfolded that day.
As the dramatized ABC Sports team pivots from the Olympics to breaking news, the real footage unspools on actual monitors from the era: “September 5” features a painstakingly recreated control room with 1970s technology restored to working order.
The broadcasters weren’t the focus when the director, Tim Fehlbaum, and his team started their research in 2020, poring over police files and archival collections. But the ethical issues remain, more than half a century later. Fehlbaum said getting the details right was important.
“The technology obviously has changed,” he said. “Maybe the bigger questions are still the same.”
The 1972 Olympics have been covered multiple times on the big screen before, in movies like Steven Spielberg’s “Munich” (2005) and the documentary “One Day in September” (2000). The episode had long intrigued Fehlbaum, a Swiss director who went to film school in Munich and worked on many student films shot at the former Olympic Village.
But it was only after talking to people who were in Munich at the time that they found their protagonist in Geoffrey Mason. In 1972 he was a young producer for ABC Sports thrust into a position of responsibility shortly after hearing gunshots in the distance. Mason had to weigh guidance from his superiors — the “Wide World of Sports” creator Roone Arledge (played by Peter Sarsgaard) and the longtime producer Marvin Bader (Ben Chaplin) — and quickly come up with answers to difficult ethical questions like how to respond to potential graphic violence on a live broadcast watched by millions.
We are having trouble retrieving the article content.
Please enable JavaScript in your browser settings.
Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.
Thank you for your patience while we verify access.
Already a subscriber? Log in.
Want all of The Times? Subscribe.
Source: Movies - nytimes.com
