As a film enthusiast with a soft spot for historical dramas, I found myself eagerly anticipating “September 5“. Having spent countless hours immersed in the intricate narratives of films like “Munich”, I was hopeful that this latest offering would provide a fresh perspective on the Munich Massacre. Alas, my expectations were not met, and I walked away feeling a tad unfortunate – much like the protagonists in Creedence Clearwater Revival’s “Fortunate Son”.
Tim Fehlbaum, along with co-writers Moritz Binder and Alex David, launches the film on an apprehensive tone from the very start. The main character, Geoffrey Mason, portrayed by John Magaro, is heading to his ABC news station post in his car, when he tunes into the radio. To his ears comes “Fortunate Son” by Creedence Clearwater Revival. While I appreciate the band’s music, particularly their choice for the closing credits of “Hard Target”, it’s hard not to see the irony in this song being used to set a 1970s period piece. After all, it has earned its reputation as one of the most overused songs in movie soundtracks for a good reason.
Regrettably, September 5 unfolds much like an anticipated album track, with competent acting and production values permeating throughout. However, these strong aspects are overshadowed by the overly repetitive aspects that burden Fehlbaum’s film.
On September 5th, the movie delves into the Munich Olympic hostage crisis through an unusual point of view. The narrative starts with ABC Sports personnel like Mason reporting at a broadcast station outpost near the Olympic Village. The pace is so leisurely that the operation’s leader, Roone Arledge (played by Peter Sarsgaard), decides to take a 20-minute nap, explaining that he made a promise to his daughters. But restful sleep seems far off for everyone as the tense sound of gunshots echoes, and soon after, news breaks about the Israeli Olympic team being taken hostage in their rooms at the Olympic Village by soldiers from the Palestinian military group, Black September.
Earlier, the Munich Olympics served as a symbol of Germany moving past the horrors of the Holocaust. However, disturbing news about the country is once again making headlines worldwide. Arledge and Mason find themselves in an unusual position, as their expertise lies in volleyball commentary rather than breaking news reporting. Nonetheless, they recognize this as a significant opportunity to inform American viewers about the unfolding events. With the stakes high, even German native Marianne Gebhardt (played by Leoni Benesch) is brought on board to help this makeshift team deliver live coverage of a global news story.
Sometimes, spontaneous ideas surpass anything that can be deliberately crafted. During September 5, numerous TV screens show authentic footage of the hostage crisis unfolding. This includes a police chief conversing with the Black September leader or armed German police attempting to enter the fatal apartment. In my opinion, the most moving among these clips is news anchor Jim McKay’s astonished commentary on the events before him. At one point, he ominously remarks, “This feels like a surreal world,” watching a sniper on an Olympic Village roof. His well-known phrase, “our worst fears have been realized tonight,” is also shown.
McKay’s spontaneous remarks provide an authentic depiction of experiencing history unfolding. Polished literary elegance fades away, replaced by raw exclamations of fear and doubt. The newly released footage from September 5th, however, employs overly polished dialogue that feels too tidy. Despite the footage portraying chaos, Fehlbaum’s movie sometimes veers into excessive comfort. This is most evident in the cringe-worthy displays of intolerance seeping into the ABC Sports station. For example, one team member makes a sexist remark to Gebhardt (“Could you fetch us some coffee, darling?”). Later, he has a moment of realization when he finds out that Gebhardt possesses technical skills he lacks, only after she has left the room.
In due course, she completes his assignment as he goes to get her a drink. This moment seems somewhat disconnected, hinting at Gebhardt’s potential struggles with misogyny, which are seemingly limited to one person. Contrastingly, the film ‘Aattam’ beautifully portrays how misogyny can stem from various sources. Similarly, the film’s main Arab character, Jacques Lesgards (played by Zinedine Soualem), overhears someone making a racially charged comment during the hostage crisis. “Careful, your mother is Algerian!” Lesgard responds with a bitter remark. However, Lesgard’s comments do not fully explore the concept of anti-Arab sentiments. Gebhardt and Lesgards should not be stereotyped based solely on their marginalized identities or their relationships with white male characters. Regrettably, these two characters are underdeveloped, and their most significant scenes dealing with prejudice are awkwardly handled. They deserved more depth and development in the storyline.
The movie-style approach towards addressing misogyny and anti-Arab sentiments in September 5’s plot reveals a disappointing lack of depth in the characters. Spending nearly an hour and a half in a newsroom with these individuals fails to reveal distinct personalities among the flustered journalists. Significant characters like Marvin Bader (Ben Chaplin) mysteriously disappear for extended periods during the movie, while the exceptionally talented Sarsgaard is underutilized in his role. Instead of developing into compelling characters, the diverse cast members in September 5 mostly serve to deliver lines that will likely become ironic with time.
The storyline of September 5 follows a traditional format and doesn’t offer anything new compared to other movies about this historical event, like Munich. If you’re looking for a unique cinematic experience, it might be better to watch those instead. As an avid fan of John Magaro, September 5 doesn’t have enough creative writing elements to set itself apart distinctly.
In a visually striking fashion, September 5 stands out as more captivating. The cinematography by Markus Förderer deliberately envelops Mason and his team in a shadowy environment. There are no lights overhead in this area, where the monitors are the sole sources of light. This contrasts sharply with the well-lit daytime exterior and the brightly lit soundstage McKay mentions. A multitude of small TV screens provide the only illumination for this control room filled with buttons, often mirroring the darkness that surrounds everyone as they grapple with the hostage crisis. Kudos to Fehlbaum and Förderer for successfully conveying a tangible sense of darkness in September 5’s newsroom scenes without making them confusing.
Hansjörg Weißbrich’s editing effectively moves between the different stages of creating a news piece, creating a sense of momentum. Scenes transition from buttons being pressed to a woman arranging letters on a blackboard, which later become on-screen text, and people preparing photos in a red room, all adding to an exhilarating feel. However, Lorenz Dangel’s score fails to live up to these dynamic visuals as it lacks originality and falls into generic categories. The film “September 5” aims to deliver a suspenseful political thriller with escalating intensity. To achieve this, the soundtrack should reflect an atmosphere of impending doom and urgency, as if the music is guiding you through a world on the verge of collapse.
Trent Reznor and Atticus Ross, along with other composers, have the potential to create exceptional music similar to their style. However, Dangel’s score lacks a distinctive personality, using generic musical cues and instrument choices that could be found in any genre or film. This is another aspect of the movie “September 5” that feels overly influenced and fails to leave a lasting impression. Despite having impressive visual elements, this historical drama focuses too much on common characters and storytelling ideas, which undermines its talented ensemble cast. The early use of “Fortunate Son” as background music was a warning sign of the movie’s generic nature. While some are currently praising “September 5“, to quote Creedence Clearwater Revival, “That ain’t me, that ain’t my kind of movie.
By the way, Leonie Benesch is an exceptional actress who truly shone in one of 2023’s top films, “The Teachers’ Lounge”. I’d highly recommend staying at home and catching up on it; it’s a wonderful way to appreciate her boundless talents.
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2024-12-01 20:15