NETWORK
dir: Sidney Lumet
"You people and sixty-two million other Ameicans are listening to me right now. Because less than three percent of you people read books. Because less than fifteen percent of you read newspapers. Because the only truth you know is what you get over this tube. Right now, there is a whole, an entire generation that never knew anything that didn't come out of this tube. This tube is the gospel, the ultimate revelation. This tube can make or break Presidents, Popes, Prime Ministers. This tube is the most awesome, god-damned force in the whole godless world...We deal in illusions, man. None of it is true!" - Howard Beale
Brief Synopsis
A network in need of a hit show take advantage of a mentally ill news anchor, giving him his own show and using his seemingly insane ravings for their own profit.
Why It's Here
Few films are fortunate enough to be considered one of the greatest films ever, one of the greatest screenplays ever, and contain two of the most powerful performances by both an actor and actress ever. "Network" is one of those films. Widely regarded as an all-time classic, the film likely boasts more classic monologues than any other film, with the most famous being the classic ravings of Peter Finch's insane news anchor, Howard Beale, who criticizes the media and the negative slant that news portrays, questioning the state of society and if the world is truly as mad as people like himself report it is. Finch's outstanding performance earned him the world's first posthumous Oscar for an actor. While Finch's role is unquestionably brilliant, the true center to this wicked black comedy is Faye Dunaway.
Two of the film's posters summed up the film quite well, one claimed that "television would never be the same", which after seeing the film, many came to better understand the rabid ways of TV executives. While the other described the film as "perfectly outrageous" which fits the film excellently. The film takes the bloodthirsty world of television and indeed amplifies it to ridiculous proportions where the suits behind the shows exploit a mentally ill man and make deals with terrorists to make a terrorist-themed series and even consider assassination for ratings sake. Yet, this over-the-top representation is a portrayal of the ever-expanding and seemingly never-ending lengths that networks will go to for their ratings. As mentioned, Faye Dunaway is the true core to this film. She exemplifies the television executive to the bone, completely work-centric whose personal life is just another script, another series for her to manage. She is ruthless in her tactics and will stop at nothing, exposing the film's critical look at network priorities for ratings above quality of content.
Dunaway's fierce role (which landed her an Oscar) is perhaps most powerful because of the time and her gender. A woman in the workplace, in the mid-70's was not a comforting thought for many, especially Robert Duvall's role as the acting head of the network who sees Diana's quick climb above her competition threatening. She is great at her job, too good, proving to be better than the men trying to out-do her. Dunaway's then-controversial role only heightened the 1970's anxiety of women in the workplace, and in positions of power.
It's a good thing to remember not be quick to blame the networks on the terrible acts behind the scenes, because it is the public who eats up their content. The film's fictional network is behind in the ratings, and it takes a series of inhumane shows to pull it forward. While the film is an all-out assault on the television industry, it's message is mirrored right into the face of the viewer, who laughs at the comically over-the-top violent finale, yet should realize that it's the audience themselves who let the TV stations roll out of control.
Over time, the film has proven itself future-proof, with the rise of reality TV and subscription based programming like HBO that delve into the realms of violence, sex, and explicit content showing that television executives are still playing the same old game. After seeing 'Network', you can't say we weren't warned.
Two of the film's posters summed up the film quite well, one claimed that "television would never be the same", which after seeing the film, many came to better understand the rabid ways of TV executives. While the other described the film as "perfectly outrageous" which fits the film excellently. The film takes the bloodthirsty world of television and indeed amplifies it to ridiculous proportions where the suits behind the shows exploit a mentally ill man and make deals with terrorists to make a terrorist-themed series and even consider assassination for ratings sake. Yet, this over-the-top representation is a portrayal of the ever-expanding and seemingly never-ending lengths that networks will go to for their ratings. As mentioned, Faye Dunaway is the true core to this film. She exemplifies the television executive to the bone, completely work-centric whose personal life is just another script, another series for her to manage. She is ruthless in her tactics and will stop at nothing, exposing the film's critical look at network priorities for ratings above quality of content.
Dunaway's fierce role (which landed her an Oscar) is perhaps most powerful because of the time and her gender. A woman in the workplace, in the mid-70's was not a comforting thought for many, especially Robert Duvall's role as the acting head of the network who sees Diana's quick climb above her competition threatening. She is great at her job, too good, proving to be better than the men trying to out-do her. Dunaway's then-controversial role only heightened the 1970's anxiety of women in the workplace, and in positions of power.
It's a good thing to remember not be quick to blame the networks on the terrible acts behind the scenes, because it is the public who eats up their content. The film's fictional network is behind in the ratings, and it takes a series of inhumane shows to pull it forward. While the film is an all-out assault on the television industry, it's message is mirrored right into the face of the viewer, who laughs at the comically over-the-top violent finale, yet should realize that it's the audience themselves who let the TV stations roll out of control.
Over time, the film has proven itself future-proof, with the rise of reality TV and subscription based programming like HBO that delve into the realms of violence, sex, and explicit content showing that television executives are still playing the same old game. After seeing 'Network', you can't say we weren't warned.