Written and created by Matthew Pejkovic

Contact: mattsm@mattsmoviereviews.net

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1976
NETWORK

STARRING:FAYE DUNAWAY,WILLIAM HOLDEN,ROBERT DUVALL,PETER FINCH,WESLEY ADDY, MARLENE WARFIELD, BEATRICE STRAIGHT, NED BEATTY

WRITTEN BY PADDY CHAYEFSKY

PRODUCED BY HOWARD GOTTFRIED

DIRECTED BY SIDNEY LUMET

GENRE:DRAMA

RATED:AUSTRALIA:M/UK:15/USA:R

RUNNING TIME:121 MIN

Written by praised playwright and screenwriter Paddy Chayefsky and directed by Sidney Lumet, the acclaimed director of 12 Angry Men and Serpico, Network tells the story of several key figures who work at the recently bankrupt UBS television station which has been given a new lease of life after it was required by the Communications Corporation of America (CCA). Howard Beale (Peter Finch), senior anchor and one time UBS golden boy, loses his mind and threatens to kill himself on air after he is fired. His best friend and president of the news division Max Schumacher (William Holden) allows Beale to vent his frustrations on air in retaliation to the actions of CCA liaison Frank Hackett (Robert Duvall), who has decided to re-structure the news division without Schumacher's consent. Beale's on air outburst creates a media storm and is a surprising rating winner. This catches the attention of the ruthless head of original programming Diana Christensen (Faye Dunaway) who wants to develop a show around Beale as apart of a series of programs which the American public can vent their anger through. Hackett green light's Diana's idea and fires Schumacher for questioning his authority. Schumacher begins an affair with Diana, who is crowned the new queen of television after Beale becomes a monster hit as people watch UBS in droves as he rants and raves against the establishment. But when Beale criticizes the business handlings of CCA on live television, UBS' dream run is threatened and drastic measures need to be taken.
Much like the present, Network shows how television - the ultimate tool which people rely on for entertainment and information - can be a manipulative and exploitive device which preys on the weaknesses and temptations of its viewers, who have been shunned aside and lied to by a world gone crazy (in this case Vietnam, Watergate and the depression are a big factor).
Chayefsky's hindsight is scary in regards to where television was headed. The violence, T&A and vulgar language that was the basis of UBS' then ground breaking programs are now the norm of today, with The Soprano's, Sex and the City and Californication just a few examples of how exploitive and immoral TV has become, dragging social values to the gutter and celebrating the lowest standards of humanity.
It is all about seduction through marketing and the infectious ring of the all important catch phrase, with Beale's "I'm as mad as Hell, and I'm not going to take it anymore!" stimulating the hearts and minds of his viewers who - in an electrifying scene which exhibits the unique vision and craftsmanship of Lumet - all unite for a moment of immortality as they scream outside their windows in defiance to those who have oppressed them. This is a film that spoke about the corruptive nature of greed a decade before Wall Street, and focused on the issues of corporate take over and how big business controls the mass media. And yet, amongst all of these serious issues lies a comedic streak, a mad cap brand of humour which is high lightened in a scene where a group of left wing political extremists turned TV stars argue over distribution rights.
The cast is magnificent. Faye Dunaway gives an excellent performance as the career driven, incredibly intelligent and ruthlessly ambitious producer; William Holden shines in what seems to be the only character at UBS who contains any feelings of human decency, and Peter Finch is a revelation as the mad prophet of the airwaves. Robert Duvall is sensationally sinister as the ferocious corporate lackey, while Ned Beatty and Beatrice Straight give memorable, astonishing minor performances, Beatty in particular delivering a striking, fire and brimstone monologue within a dimly lit conference room (a terrifically well directed and written scene).
One of Lumet's best and a still shockingly relevant motion picture for our life and times.
****
 
 

 

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