Mason and company don’t expect a busy day — an interview with Spitz and sports highlights are on the agenda. There’s nothing a newbie producer can’t handle.
As we know, the events on this titular date told a different story. On Sept. 5, 1972, a Palestinian militant group called Black September invaded the Olympic Village and took nine members of the Israeli Olympics team hostage after killing two others. The tragic event ended with the loss of the additional nine hostages, a West German police officer, and five members of Black September.
By virtue of being the network set up closest to the Olympic Village, ABC Sports was able to cover the hostage situation live as it happened. Director Tim Fehlbaum and his cowriters, Moritz Binder and Alex David, focus entirely on the dedicated crew members and the decisions they make regarding what to show on television. It’s not just a matter of journalistic ethics; it’s also a question of how to shoot footage from inside the Olympic Village and how to smuggle in the 16mm film required to obtain it.
A major mistake occurs when ABC realizes that Black September is watching television in the room with the hostages. The live broadcast gives them information on what the police and the West German government are planning. It’s a tough lesson for the team to learn.
Throughout the film, we know as much as ABC does and nothing more. Filled with scenes of process, it’s as suspenseful as any thriller.
The movie places us in the era of the three major networks (the early ′70s), all of which had to rent satellite broadcast time. A tense argument develops between Arledge and CBS; the network demands the satellite bump ABC because it’s their hour. ABC pushes back — what if something major occurs and they can’t report it? That’s just one of the minor dramas that unfold.
In addition to documenting the events as they happen, “September 5″ serves as a technological time capsule of what was available back in 1972. For example, the police lockdown of the village is breached repeatedly by a crew member played by Daniel Adeosun, who tapes reels of film to his body in order to get past security. Dressed as a member of the USA team, he goes undetected.
Mason also devises clever ways of getting gigantic camera equipment pointed at the village to record exterior shots. We also discover that Peter Jennings (Benjamin Walker) is being tapped into the sound feed live via a rotary telephone in the newsroom hooked up to a mic.
Fehlbaum doesn’t let his cast get lost amid all this technology. Magaro is excellent as the new kid on the block who takes big chances because he doesn’t fear the repercussions of his actions. Chaplin is the prickly voice of reason every office needs, and Sarsgaard is an unflappable force who uses the power of his position to move obstacles.
Benesch has the most memorable character to play. As a German, she’s somewhat out of place in this group of American men. Her ascent from mere translator to full-blown member of the crew makes her the only character to have a full story arc.
Though the actors give very good performances, the MVP of “September 5″ is editor Hansjörg Weißbrich, who seamlessly edits real archival footage with convincing recreations. The real Jim McKay talks to the fictional Jennings, and there are other scenes where we can’t tell what’s been fabricated.
“September 5″ doesn’t address the history of the Israeli-Palestinian conflict, which may be seen as a flaw. At 95 minutes, there certainly isn’t enough time to broach such a complicated issue. By sticking with the ABC Sports team and the footage they had, the film accomplishes its mission of documenting the events from the perspective of those who first reported the news.
★★★
SEPTEMBER 5
Directed by Tim Fehlbaum. Written by Fehlbaum, Moritz Binder, and Alex David. Starring John Magaro, Peter Sarsgaard, Ben Chaplin, Leonie Benesch, Daniel Adeosun, Benjamin Walker. At AMC Boston Common, suburbs. 95 minutes. R (profanity)
Odie Henderson is the Boston Globe’s film critic.
