Sterling Cast Authentically Recreates Riveting and Intense ‘September 5’

Sterling Cast Authentically Recreates Riveting and Intense ‘September 5’

By Lynn Venhaus

“They’re all gone.”

ABC Broadcaster Jim McKay looked into the camera and gave us the horrifying news live from the 1972 Munich Olympics.

The tragic outcome was a gut-punch, for the news a short time earlier had been hopeful. That sickening feeling is authentically duplicated in “September 5,” an intense and riveting film that has meticulously recreated the network’s control room perspective.

As gunfire rang out in the Olympic Village early morning, the ABC Sports crew was thrust into action covering the breaking news as the world’s eyes and ears.

As TV executive Roone Arledge, Peter Sarsgaard leads an exceptional workmanlike ensemble, including John Magaro as producer Geoff Mason, Ben Chaplin as Marv Bader, vice president of ABC Olympics operations, and Leonie Benesch as Marianne Gebhardt, a German translator who is called on to play a bigger role.

Eight members of the Black September militant group scaled a fence, broke into Israeli athletes’ quarters, killed wrestling coach Moshe Weinberg and weightlifter Yossef Romano, and then took nine hostages.

Black September, an affiliate of the Palestine Liberation Organization, demanded the release of 236 prisoners: 234 in Israel and the two leaders of the West German Baader-Meinhof terrorist group.

No one anticipated such an event, nor had anything like this ever happened previously. It was the 10th day of competition, the first Olympics hosted in Germany since the controversial 1936 Berlin games presided over by Adolf Hitler.

The hostage mission failed. About 20 hours after it began, five of the hostage-takers would be dead, along with 11 members of Israel’s Olympic team and a West German policeman.

In retrospect, it is a moment that forever changed media coverage, an impact felt today. It was the first time an act of terror was live on television. Chilling images from that period still burn bright – especially the terrorist in a ski-mask on the balcony.

With its ‘you are there’ point of view, the tension is palpable in this 95-minute masterly constructed film as news and directions shift. Decisions are made in split-second time, and the staff is trying to be responsible while the clock is ticking, rumors swirl, and 900 million people are glued to television screens.

These are sports guys, not experienced journalists, and you see them adapt, with the added concerns of not sensationalizing an already fraught situation and just trying to maintain coverage just staying on the air.

 Swiss director Tim Fehlbaum and his crew have seamlessly blended archival footage with the routines of a darkened media center using analog equipment. At the time, the technology was state-of-the-art, and you see how resourceful they are with the now-primitive pieces.  

Technology aside, the questions facing this operation are the same journalists wrestle with today, and that is what makes this tale so fascinating. Fehlbaum co-wrote the tight script with Moritz Binder, and co-writer Alex David.

The Munich Olympics have been the focus of two previous films, Steven Spielberg’s 2005 historical drama “Munich” and the 1999 Oscar-winning documentary “One Day in September.”

And this one avoids making a political statement, preferring to focus on media, not the politics of Israeli-Palestinian relations. The film was in post-production when Hamas attacked Israel in October 2023.

The control room offers a fresh perspective, and adds to the claustrophobic nature of the story, as well as the balancing act of a group of different individuals needing to set aside their personal views.

Noteworthy are Benjamin Walker as Peter Jennings, the reporter on scene, and Zinedine Soualem as French engineer named Jacques. Jim McKay is only seen in archival footage.

Production designer Julian R. Wagner’s handiwork accented the crowded space, shooting at the Olympic village, which is now a heritage site, also added to the realistic atmosphere, and the taut editing by Hansjörg Weißrich kept the story on track.

Overshadowed by the massacre, the XX Olympiad was also known for Mark Spitz earning seven gold medals for USA, a world record until 2008, and Russian gymnast Olga Korbut became a media star as she won three. Competition had stopped for 34 hours, then resumed.

Winner of the audience award at the St. Louis International Film Festival in November, “September 5” is worth seeking out for its smart, insightful capture of a significant moment in time. It’s obvious that the splendid cast was committed to ‘getting it right,’ and they convey all the dedication, compassion, confusion and drive of the people involved.

“September 5” is a 2024 historical drama directed by Tim Fehlbaum and starring Peter Sarsgaard, John Magaro, Ben Chaplin, and Leonie Benisch. It is rated R for language, and the runtime is 95 minutes. It is opening in St. Louis theaters Jan. 24. Lynn’s Grade: A

Riveting Historical Drama ‘The Dig’ Makes Archeology and Its Workhorses Compelling

Riveting Historical Drama ‘The Dig’ Makes Archeology and Its Workhorses Compelling

By Lynn Venhaus
Who knew watching people digging in the dirt would be so fascinating? That’s one of the surprising things about “The Dig,” which is based in fact and never dull.

Another revelation is how compelling the characters are – and that’s a credit to the fine performances, but also the script by Moira Buffini, who adapted John Preston’s 2007 book.

Seen through the eyes of the property owner and the modest working-class excavator, this thoroughly engaging film gives us an authentic account of how a 6th century ship is discovered underground and the battles it provokes.

In1938, Edith Pretty (Carey Mulligan) hired local excavator Basil Brown (Ralph Fiennes) to dig into those mysterious mounds of earth on her Sutton Hoo property, near Suffolk. What he discovers is remarkable in its historical significance – an Anglo-Saxon ship, with a burial chamber, from the 6th century. It would become the largest archeological find in England. Museum officials start fighting over it, as do university archeologists. At this same time, the country is on the verge of going to war with Germany after Hitler invades Poland.

Mulligan is terrific as Pretty, the fiercely loyal wealthy widow who won’t allow Brown’s contributions to be minimized, even though the snobby museum professionals demean his lack of training.

Brown is a bit unorthodox. An expert digger, Fiennes convincingly conveys this humble man — his eccentricities, prowess and gratitude over Mrs. Pretty’s kindness.

This much-lauded duo delivers nuanced portraits of the real people who gave the story its heart, and their friendship is one of the story’s best elements. Child actor Archie Barnes is an important component as young Robert Pretty, Edith’s son who forms a strong bond with Brown.

The supporting cast is also strong. Lily James is a bright spot as a capable academic, Peggy Piggott, whose unhappiness with her inattentive husband (Ben Chaplin) grows.

Johnny Flynn, so good in “Emma” and “Beast,” shows his versatility as Rory Lomax, Edith’s relative who preserves the scene with his camera but joins the RAF during the big activity on the grounds. Monica Dolan plays sweet May Brown, Basil’s supportive wife.

Australian director Simon Stone respects both the history and the human nature in telling the story, and lets the atmosphere speak for itself.

The creative work is important in keeping us riveted. Maria Djurkovic’s earthy production design is one of awe and wonder, with cinematographer Michael Eley capturing the stunning landscapes. Costume designer Alice Babidge’s period work is impressive, and Stefan Gregory’s music score punctuates the action well.

In not-so-subtle ways, “The Dig” emphasizes life, death and time in a smart, richly textured and endearing work. Dig in!

THE DIG (L-R): CAREY MULLIGAN as EDITH PRETTY, RALPH FIENNES as BASIL BROWN. Cr. LARRY HORRICKS/NETFLIX © 2021 

“The Dig” is an historical drama directed by Simon Stone and starring Carey Mulligan, Ralph Fiennes, Lily James, Johnny Flynn, Ben Chaplin and Monica Dolan. Rated: PG-13 for brief sensuality and partial nudity, the film runs 1 hour, 52 minutes. Lynn’s Grade: A. In select theaters and on Netflix Jan. 29.