‘September 5’ Draws Powerful Distinction Between Good and Evil

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Last year, when “No Other Land,” a Palestinian movie about grassroots activists challenging Israeli military’s perceived displacements and discrimination, won the Oscar for Best Documentary, it’s intriguing to note a pro-Israeli film gaining traction in mainstream American cinema.

Although there’s broad agreement among Americans that Israel has the right to protect itself, the Hollywood community seems divided over this matter.

As a supporter, I find myself aligning with either the far-left or far-right perspectives, each advocating for different groups: the Palestinian cause or the struggles of dissident Christians in the Holy Land. However, as a moderate, I also acknowledge that Israel is not always the aggressor and has made efforts to avoid intentionally harming civilians.

That’s despite repeated cries of genocide.

It’s intriguing to note that the movie “September 5” has been unveiled during this ongoing conflict, considering its thematic division. Initially premiered in December, it’s now gradually becoming available on Video On Demand platforms and physical media. Interestingly, you can also watch it on Paramount+ at the moment.

The movie portrays the notorious terrorist incident during the 1972 Munich Summer Games, where the Palestinian organization known as Black September took 11 Israeli athletes hostage. A deadly shootout ensued between the group and German law enforcement at the Munich airport, resulting in the loss of a police officer, the athletes, and the terrorists involved.

The incident significantly outshone the games, leaving a lasting impression as one of the most widely-viewed acts of terrorism ever recorded on television. Approximately 900 million people tuned in to the live coverage originating from the Olympic Village.

On September 5, information was shared by ABC News sportscasters, working closely with Peter Jennings, leveraging their exclusive resources to disseminate news globally.

This lens serves as the emotional core and viewpoint for the movie. The sportscasters found themselves in over their heads, venturing into a type of journalism they were not familiar with. They commit significant errors throughout the film, even going so far as to unintentionally lead Munich police towards the terrorists.

It’s evident that Roone Arledge (Peter Sarsgaard), Geoffrey Mason (John Magaro), and Marvin Bader (Ben Chaplin), being sports reporters, might not have the most unbiased perspective when it comes to evaluating events.

They can place a live television camera on the ground and direct it towards the hostage crisis, which raises worries that they could inadvertently show a murder live on air. Additionally, they’re grappling with their constraints.

Since they don’t understand German, they have no choice but to depend on a translator. Frequently, they feel deceived by the police due to their dishonesty. Under immense stress, the officers struggle to effectively handle situations.

RELATED: ‘SCREAMS BEFORE SILENCE’ IGNORED BY CRITICS

At the conclusion of the movie, one gets a grim feeling that the reporters failed to bring about change. Though they received accolades from their superiors for taking courageous, well-timed actions, the emotional weight of the circumstances proved overwhelming and left them unable to effect significant impact.

They’ll be celebrated with Pulitzer Prizes and remembered in history due to their exceptional reporting, as the remains of 17 individuals and government helicopters continue to smoke at the airport.

Their remarkable reporting will earn them Pulitzer Prizes and secure their place in history, while the wreckage of 17 people and government helicopters is still burning at the airport.

1. Such a terrorist act complicates the matter even further, considering that the Munich Olympics took place in Germany only 27 years following the Holocaust, there’s a noticeable expectation on the German authorities to demonstrate their transformation.

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2. This terror attack adds another layer of complexity, as it occurred during the Munich Olympics, which were held in Germany just 27 years after the Holocaust, placing significant pressure on the German government to prove its change.

As a concerned supporter, I find it troubling that those responsible for safeguarding Israeli athletes seem reluctant to disclose crucial information to the public. Their inexperience and apparent incapacitation have led me to question their effectiveness. In tense situations, instead of addressing issues head-on, they often resort to silencing broadcasts, which only adds to the confusion and unease.

The date ‘September 5’ doesn’t represent an obscure criticism towards the media industry. Instead, it seems to honor and elevate them. Given its distinctive vantage point and the extraordinary history involved, it encapsulates numerous intriguing conflicts that are prevalent in journalism.

The perspective of ABC, characterized by its tendency to spy and lack of journalistic experience coupled with excessive use of state-issued press releases, makes it prone to miss crucial details that could cost lives. Despite their noble intentions, their impact is tinged with a bitter sweetness.

Their best efforts make them, at best, documenters of man’s inhumanity.

It’s no surprise that the movie largely avoids delving deeply into the complex topic of Israel and Palestine, shying away from exploring the ethical aspects of the conflict.

The focus stays on the human cost of its consequences.

In the film “September 5,” unlike Steven Spielberg’s “Munich,” the perspective is less polemic, instead portraying Israeli activists as blameless victims of a heinous act. On the other hand, athletes from various Arab nations unequivocally denounce this terrorist attack as morally reprehensible.

As a passionate movie enthusiast, I can’t help but reflect on the courageous assertion that contemporary Israel holds such a unique position, given the complex history it carries. It’s fascinating to observe films like “Bardejov” and “The Zone Of Interest,” which powerfully denounce the atrocities committed against the Jewish people during the Holocaust. What makes this even more intriguing is that these filmmakers are vocal in their criticism of Israel on a broader, national platform as well.

Instead, it’s intriguing how contemporary films such as “Golda” (2023) and “September 5” tend to present clear-cut distinctions between good and evil.

Or, in a different way:

It’s interesting to note that recent movies like “Golda” from 2023 and “September 5” often portray the battle between good and evil in a straightforward manner.

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2025-04-03 00:03