| Photos (see all 17 | slideshow) | Videos (see all 4) |
| Michael Douglas | ... | Himself / Narrator (voice) | |
| Ankie Spitzer | ... | Herself | |
| Jamal Al Gashey | ... | Himself | |
| Gerald Seymour | ... | Himself | |
| Axel Springer | ... | Himself | |
| Gad Zahari | ... | Himself | |
| Shmuel Lalkin | ... | Himself | |
| Manfred Schreiber | ... | Himself | |
| Walter Troger | ... | Himself | |
| Ulrich K. Wegener | ... | Himself | |
| Hans-Dietrich Genscher | ... | Himself | |
| Schlomit Romajo | ... | Herself | |
| Magdi Gahary | ... | Himself | |
| Zvi Zamir | ... | Himself | |
| Dan Shillon | ... | Himself | |
| Heinz Hohensinn | ... | Himself | |
| Esther Roth | ... | Herself | |
| Hans Jochen Vogel | ... | Himself | |
| Anouk Spitzer | ... | Herself | |
| rest of cast listed alphabetically: | |||
| Howard Cosell | ... | Himself (voice) (archive footage) | |
| Peter Jennings | ... | Himself (voice) (archive footage) | |
| Jim McKay | ... | Himself (archive footage) | |
| Mark Spitz | ... | Himself (archive footage) | |
Directed by | |||
| Kevin Macdonald | |||
Produced by | |||
| John Battsek | .... | producer | |
| Lillian Birnbaum | .... | executive producer | |
| Arthur Cohn | .... | producer | |
| Andrew Ruhemann | .... | associate producer | |
Original Music by | |||
| Alex Heffes | |||
Cinematography by | |||
| Neve Cunningham | |||
| Alwin H. Kuchler | (as Alwin Küchler) | ||
Film Editing by | |||
| Justine Wright | |||
Production Management | |||
| Alice Henty | .... | production manager | |
| Dean Watkins | .... | post-production supervisor | |
Sound Department | |||
| Amir Boberman | .... | sound | |
| Amir Boverman | .... | sound recordist | |
| Wilm Brucker | .... | sound recordist | |
| Gillian Dodders | .... | dialogue editor | |
| Mark Heslop | .... | sound effects editor | |
| Brendan Nicholson | .... | sound re-recording mixer | |
Visual Effects by | |||
| Willi Geiger | .... | research and development (uncredited) | |
Camera and Electrical Department | |||
| Philippe Bellaiche | .... | additional camera operator | |
| Raymond Depardon | .... | special still photographer | |
| Jeremy Forster | .... | additional camera operator | |
| Hans Albrecht Lusznat | .... | additional camera operator | |
Animation Department | |||
| Peter Richardson | .... | computer animator | |
| Ravi Swami | .... | computer animator | |
Editorial Department | |||
| Ian Davies | .... | assistant editor | |
| Ian Moffat | .... | on-line editor | |
| Nigel Shaw | .... | colorist | |
| Dominic Thomson | .... | on-line editor | |
Music Department | |||
| Craig Armstrong | .... | composer: additional music | |
| Liz Gallacher | .... | music supervisor | |
Other crew | |||
| Nick Fraser | .... | executive: BBC | |
| Lynn Goldner | .... | production consultant | |
| Dennis Hobbs | .... | production accountant | |
| Monica Maurer | .... | researcher | |
| Lin McConnell | .... | researcher | |
| Felix Moeller | .... | researcher | |
| Khalil Abed Rabbo | .... | researcher | |
| Jo Ralling | .... | production consultant | |
| Shanti Ramakuri | .... | production coordinator | |
| Alan Reich | .... | production consultant | |
| Peter Richardson | .... | title designer | |
| Felicitas Stark | .... | researcher | |
| Ravi Swami | .... | title designer | |
Thanks | |||
| Roone Arledge | .... | thanks | |
| Tamar Ashuri | .... | thanks | |
| Micha Battsek | .... | thanks | |
| Hamish Crooks | .... | thanks | |
| Steve Devlin | .... | thanks | |
| Mike Devry | .... | thanks | |
| Fred Emery | .... | thanks | |
| Berndt Ender | .... | thanks | |
| Morris Green | .... | thanks | |
| Wendy Hedin | .... | thanks | |
| Wilfried Huismann | .... | special thanks | |
| Tom Jacomb | .... | special thanks | |
| Tim Jefferies | .... | thanks | |
| Peter Jennings | .... | thanks | |
| Nigel Karikari | .... | thanks | |
| Jo Lapping | .... | thanks | |
| Galit Levy-White | .... | thanks | |
| Sanford Lieberson | .... | special thanks (as Sandy Lieberson) | |
| Cameron McCracken | .... | thanks | |
| Nava Mizrahi | .... | thanks | |
| Richard Needham | .... | thanks | |
| Sebastian Palmer | .... | thanks | |
| Rak Patel | .... | thanks | |
| Thomas Reinecke | .... | thanks | |
| Ben Silverman | .... | thanks | |
| Sven Simon | .... | acknowledgment: archival stills provided by | |
| Anne Rechess Spitzer | .... | special thanks | |
| Charles Steele | .... | special thanks | |
| Jan Wiesener | .... | thanks (as Dr. Jan Wiesener) | |
| Recent Posts (updated daily) | User |
|---|---|
| Hopes turn to Nightmares | littledaxafina |
| Cold and glorified portrayl | xKing |
| This has haunted me | suaheli |
| steve prefontaine | courtjes |
| Music Comment | morgensen5 |
| About the fugitive | criskavaquer |
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| Munich | Der Baader Meinhof Komplex | The Fourth Angel | Paragraph 175 | 21 Hours at Munich |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Documentary section | IMDb Switzerland section |
| Add this title to MyMovies |
"One Day in September" is a phenomenal documentary. Its focus is on the hostage situation during the 1972 Munich Olympics when Palestinian terrorists took Israeli athletes prisoner. The film does something which I think any great documentary should when it covers or explores historical events. It frames the entire hostage crisis in a larger context. Yes, the film covers 21 hours of September 5th on which the hostage situation commenced and (one could say) resolved itself. However, in order to understand the reactions of the German government, the Israeli government, the media and the Olympic Games' fans and participants, the film discusses the German desire to create the atmosphere of peace to erase the stigma of the 1936 Olympics, then full of Fascist propaganda. It touches on the ongoing Israel-Arab conflict. It touches on the meaning of the Olympics.
"One Day in September" never strays from its focus, however, which is to document the hostage crisis and what it meant. What makes the film great, aside from its intelligent approach to the subject, is how well the atmosphere of the hostage situation is carried across. By the end of the film you do feel like you've watched the news for a day, glued to the TV screen hoping that the people will make it out alive. Watching it, you are reminded of how ill-prepared states are for terrorist attacks (still rings true even recently) because of the ulterior motives of statesmen. A lot of what happens at the state, political level, happens because it has to look good. The Germans were unprepared for the terrorists because they thought that extreme police security would welcome images of pre-War Olympics in Germany. They wanted to appear a certain way. The same went for how they handled the crisis.
The film, like many terrorist crises, ends with a tragedy. What remains with the viewer is not only the deep sadness at how one of the most peaceful world events turns into one of the most hateful, but also how incredibly contemporary those events from over thirty years ago still seem.