Network


Network

Overview:

A TV network cynically exploits a deranged ex-TV anchor's ravings and revelations about the media for their own profit.

Votes 381 (7.7/10)

Runtime: 121 minutes

Release Date 1976-11-01

Budget: $3,800,000.00

Revenue: $23,689,877.00

Tagline: Not since the dawn of time has America experienced a man like Howard Beale!

Production company:

  • United Artists
  • Metro-Goldwyn-Mayer (MGM)

Production country:

  • United States of America

Genres:

  • Drama

Trailer

Further Information

Diana Christensen
Faye Dunaway
Faye Dunaway
Max Schumacher
William Holden
William Holden
Howard Beale
Peter Finch
Peter Finch
Frank Hackett
Robert Duvall
Robert Duvall
Nelson Chaney
Wesley Addy
Wesley Addy
Arthur Jensen
Ned Beatty
Ned Beatty
Louise Schumacher
Beatrice Straight
Beatrice Straight
Harry Hunter
Jordan Charney
Jordan Charney
Edward George Ruddy
William Prince
William Prince
Great Ahmed Kahn
Arthur Burghardt
Arthur Burghardt
Barbara Schlesinger
Conchata Ferrell
Conchata Ferrell
Walter C. Amundsen
Jerome Dempsey
Jerome Dempsey
Joe Donnelly
Ed Crowley
Ed Crowley
Mary Ann Gifford
Kathy Cronkite
Kathy Cronkite
Laureen Hobbs
Marlene Warfield
Marlene Warfield
Bill Herron
Darryl Hickman
Darryl Hickman
Merrill Grant
Ken Kercheval
Ken Kercheval
Giannini
Ted Sorel
Ted Sorel
Robert McDonough
Lane Smith
Lane Smith
Caroline Schumacher
Cindy Grover
Cindy Grover
Willie Stein
Michael Lombard
Michael Lombard
Network Lawyer at Khan's Place (uncredited)
Lance Henriksen
Lance Henriksen
Sam Haywood
Roy Poole
Roy Poole
Producer
Fred C. Caruso
Fred C. Caruso
Original Music Composer
Elliot Lawrence
Elliot Lawrence
Director of Photography
Owen Roizman
Owen Roizman
Editor
Alan Heim
Alan Heim
Director
Sidney Lumet
Sidney Lumet
Screenplay
Paddy Chayefsky
Paddy Chayefsky
Producer
Howard Gottfried
Howard Gottfried
Casting
Juliet Taylor
Juliet Taylor
Production Design
Philip Rosenberg
Philip Rosenberg
Set Decoration
Edward Stewart
Edward Stewart
Hairstylist
Susan Germaine
Susan Germaine
Costume Design
Theoni V. Aldredge
Theoni V. Aldredge

Vincent

**The Primal Forces of Network** According to the Writers Guild of America the greatest screenplay of all time belongs to _Casablanca_. A sentimental favourite, no doubt, worthy for a handful of catchy one-liners capped off with a convincing dump-the-dame speech. While Bogie plays himself, Bergman, who may have been the most beautiful woman of all time, didn't have much to say. The best moments in Casablanca were, in fact, the silent ones, and without Bogie and Bergie's chemistry, it probably wouldn't have made the top 10. Best screenplay suggests best story, best plot, best characters and dialogue; best combination of drama, comedy, intrigue, emotional engagement, suspense, social and political relevance; one peppered with casual everydayisms, baited with humour and simmering with intelligence, threatening to release an experiential payload of euphoric proportions; a work that can transcend genre and demographics, build up simultaneously on various levels, plumbed by the weight of it's essential voice, sending out intuitive signals, rippling with perplexing channels and insightful glimpses that are symbolically blended into plain words on paper; all with a properly superb balance of sex, wit, desire, comfort, fear, anger and wisdom in an accelerated narrative leading us to a magnificent crescendo and--fade out--leaving us to wonder. Furthermore, great screenplays serve the motion-picture medium's incomparable ability to effortlessly jump time and space. _Casablanca_ is static and contained, framed and nailed to the wall: a pretty photograph. Despite the WGA's endorsement, there can only be one candidate good enough to qualify for the all-time best screenplay, and fittingly it goes to the all-time best screenplay writer. Paddy Chayefsy's _Network_ has dazzled us for four decades and counting. The scene where a mob of murderous bank-robbing terrorists who have their own reality TV show bicker over the wording of their contract alone demonstrates we are dealing with a higher grade of pertinent genius. The corporate cosmology of Arthur Jensen, a pivotal lesson in global economics, tops it off, leaving all Network's competitors in the dust, burying any climactic speech written before or since, Bogie's famous brush-off farewell included, thus slamming the lid down on anything _Casablanca_ can play. As for ill-fated romances, the doomed alliance between old-school journalism (Holden) seduced and corrupted into severing his ties with his compassionate spouse to hastily shack up with the opportunistic post-modern media wench (Dunaway) is fraught with more complications than anything _Casablanca_ can muster, and it's only one of the sub-plots. Of course _Network_ is most famous for the "I'm mad as hell" rant, which swells from a nuanced and complex story arc demonstrating the rise and fall of an iconic media star. Hell-raising public mischief aside, Howard Beale's profound narrative leads off with a suicidally desperate, washed-up newsman who impulsively hits a nerve, rockets to stardom as a modern-day prophet, then is shaped and sensationalized as an overcooked parody by the media, stigmatized by maniacal Fox-news-like delusions that overtake him until he gets too big for his britches and needs a walloping corporate scolding, causing his starry streak to fizzle out, before getting gunned down by the greedy TV execs who made him, leaving hapless undiscriminating audiences to grasp for the next new thing. _Network_ is inspired writing that doesn't require heart-throbbing movie stars to pull it off. It could have been directed by my illiterate grandmother, shot on VHS in a dingy church basement, performed by eager boy scouts and girl guides, and it would still be the greatest screenplay of all time, one not just for the spectacle of projecting on a giant screen, but for doubling as a giant mirror with just enough sugar-coated satire to swallow the shitty truth about ourselves. Though calling _Network _a satire is like calling Hamlet a murder mystery. Satire is either spineless and passive-aggressive, or specific and short-lived. Chayefsky's bombastic pronouncements become more exceptional and relevant each passing year.

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