Network (film)


Network (film)
Network

Theatrical release poster
Directed by Sidney Lumet
Produced by Howard Gottfried
Fred C. Caruso
Written by Paddy Chayefsky
Narrated by Lee Richardson
Starring Faye Dunaway
William Holden
Peter Finch
Robert Duvall
Music by Elliot Lawrence
Cinematography Owen Roizman
Editing by Alan Heim
Studio Metro-Goldwyn-Mayer
United Artists
Distributed by United Artists
Release date(s) November 27, 1976 (1976-11-27) (US)
Running time 121 minutes
Country United States
Language English
Budget $3.8 million
Box office $23,689,677

Network is a 1976 American satirical film released by Metro-Goldwyn-Mayer about a fictional television network, Union Broadcasting System (UBS), and its struggle with poor ratings. The film was written by Paddy Chayefsky and directed by Sidney Lumet. It stars Faye Dunaway, William Holden, Peter Finch and Robert Duvall and features Wesley Addy, Ned Beatty, and Beatrice Straight.

The film won four Academy Awards, in the categories of Best Actor (Finch), Best Actress (Dunaway), Best Supporting Actress (Straight), and Best Original Screenplay (Chayefsky).

In 2000, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". In 2002, it was inducted into the Producers Guild of America Hall of Fame as a film that has "set an enduring standard for U.S. American entertainment."[1] In 2006, Chayefsky's script was voted one of the top-ten screenplays by the Writers Guild of America, East. In 2007, the film was 64th among the Top 100 Greatest U.S. American Films as chosen by the American Film Institute, a ranking slightly higher than the one AFI had given it ten years earlier.

Contents

Plot

Howard Beale (Peter Finch), the longtime anchor of the UBS Evening News, learns from news division president Max Schumacher (William Holden) that he has just two more weeks on the air because of declining ratings. The two old friends get roaring drunk and lament the state of their industry. The following night, Beale announces on live television that he will commit suicide on next Tuesday's broadcast.[2] UBS fires him after this incident, but Schumacher intervenes so that Beale can have a dignified farewell. Beale promises he will apologize for his outburst, but once on the air, he launches back into a rant claiming that life is "bullshit". Beale's outburst causes the newscast's ratings to spike, and much to Schumacher's dismay, the upper echelons of UBS decide to exploit Beale's antics rather than pull him off the air. In one impassioned diatribe, Beale galvanizes the nation with his rant, "I'm as mad as hell, and I'm not going to take this anymore!" and persuades Americans to shout out of their windows during a lightning storm.

Howard Beale (Peter Finch) delivering his "mad as hell" speech

Diana Christensen (Faye Dunaway) heads the network's programming department; seeking just one hit show, she cuts a deal with a band of radical terrorists (a parody of the Symbionese Liberation Army called the "Ecumenical Liberation Army") for a new docudrama series called the Mao Tse Tung Hour for the upcoming fall season. When Beale's ratings seem to have topped out, Christensen approaches Schumacher and offers to help him "develop" the news show. He says no to the professional offer, but not to the personal one, and the two begin an affair. When Schumacher decides to end the "Howard as Angry Man" format, Christensen convinces her boss, Frank Hackett (Robert Duvall), to slot the evening news show under the entertainment division so that she can develop it. Hackett agrees, bullies the UBS executives to consent, and fires Schumacher at the same time. Soon Beale is hosting a new program called The Howard Beale Show, top-billed as "the mad prophet of the airwaves". Ultimately, the show becomes the most highly rated program on television, and Beale finds new celebrity preaching his angry message in front of a live studio audience that, on cue, chants Beale's signature catchphrase en masse: "We're as mad as hell, and we're not going to take this anymore." At first, Max's and Diana's romance withers as the show flourishes, but in the flush of high ratings, the two ultimately find their ways back together, and Schumacher leaves his wife of over 25 years for Christensen. But Christensen's fanatical devotion to her job and emotional emptiness ultimately drive Max back to his wife, and he warns his former lover that she will self-destruct at the pace she is running with her career. "You are television incarnate, Diana," he tells her, "indifferent to suffering, insensitive to joy. All of life is reduced to the common rubble of banality."

When Beale discovers that CCA, the conglomerate that owns UBS, will be bought out by an even larger Saudi Arabian conglomerate, he launches an on-screen tirade against the deal, encouraging viewers to send telegrams to the White House telling them, "I want the CCA deal stopped now!" This throws the top network brass into a state of panic because the company's debt load has made merger essential for survival. Hackett takes Beale to meet with CCA chairman Arthur Jensen (Ned Beatty), who explicates his own "corporate cosmology" to the attentive Beale. Jensen delivers a tirade of his own in an "appropriate setting," the dramatically darkened CCA boardroom, that suggests to the docile Beale that Jensen may himself be some higher power — describing the interrelatedness of the participants in the international economy, and the illusory nature of nationality distinctions. Jensen persuades Beale to abandon the populist messages and preach his new "evangel". But television audiences find his new sermons on the dehumanization of society to be depressing, and ratings begin to slide, yet Jensen will not allow UBS executives to fire Beale. Seeing its two-for-the-price-of-one value — solving the Beale problem plus sparking a boost in season-opener ratings — Christensen, Hackett, and the other executives decide to hire the Ecumenical Liberation Army to assassinate Beale on the air, putting an end to The Howard Beale Show and kicking off a second season of The Mao-Tse Tung Hour.

The film ends with the narrator stating:

This was the story of Howard Beale, the first known instance of a man who was killed because he had lousy ratings.

Cast

Cast notes
  • Kathy Cronkite (Walter Cronkite's daughter) appears as kidnapped heiress, Mary Ann Gifford
  • Lance Henriksen has a small uncredited role as a network lawyer at Ahmet Khan's home
  • Some sources, including IMDB, indicate that Tim Robbins has a small, non-speaking role at the end of the film as one of the assassins who kills Beale;[3] however, Robbins has publicly stated that he did not appear in the film.[4]

Production

Part of the inspiration for Chayefsky's script came from the on-air suicide of television news reporter Christine Chubbuck in Sarasota, Florida two years earlier. The anchorwoman was suffering from depression and battles with her editors, and unable to keep going, she shot herself on camera as stunned viewers watched on July 15, 1974. Chayefsky used the incident to set up his film's focal point. As he would say later in an interview, "Television will do anything for a rating... anything!"

Chayefsky and producer Howard Gottfried had just come off a lawsuit against United Artists, challenging the studio's right to lease their previous film, The Hospital, to ABC in a package with a less successful film. Despite this recent lawsuit, Chayefsky and Gottfried signed a deal with UA to finance Network, until UA found the subject matter too controversial and backed out.

Undeterred, Chayefsky and Gottfried shopped the script around to other studios, and eventually found an interested party in MGM. Soon afterward, UA reversed itself and looked to co-finance the film with MGM, which for the past several years had distributed through UA in the US. MGM agreed to let UA back on board, and gave it the international distribution rights, with MGM controlling North American rights.

The film premiered in New York City on November 27, 1976, and went into wide release shortly afterward.

Critical reception

The film became one of the big hits of 1976 and got big receipts and reviews. Vincent Canby, in his November 1976 review of the film for The New York Times, called the film "outrageous...brilliantly, cruelly funny, a topical American comedy that confirms Paddy Chayefsky's position as a major new American satirist" and a film whose "wickedly distorted views of the way television looks, sounds, and, indeed, is, are the satirist's cardiogram of the hidden heart, not just of television but also of the society that supports it and is, in turn, supported."[5]

In a review of the film written after it received its Academy Awards, Roger Ebert called it a "supremely well-acted, intelligent film that tries for too much, that attacks not only television but also most of the other ills of the 1970s," though "what it does accomplish is done so well, is seen so sharply, is presented so unforgivingly, that Network will outlive a lot of tidier movies."[6] Seen a quarter-century later, Ebert added the film to his "Great Movies" list and said the film was "like prophecy. When Chayefsky created Howard Beale, could he have imagined Jerry Springer, Howard Stern, and the World Wrestling Federation?"; he credits Lumet and Chayefsky for knowing "just when to pull out all the stops."[7] The film also ranks at number 100 in Empire magazines list of the 500 Greatest Films of All Time. .[8]

Not all reviews were positive: Pauline Kael in The New Yorker, in a review subtitled "Hot Air", criticized the film's abundance of long, preachy speeches; Chayefsky's self-righteous contempt for not only television itself but also television viewers; and the fact that almost everyone in the movie has a screaming rant – pointing out that Robert Duvall screams the loudest.[9]

Awards and honors

Academy Awards

Network won three of the four acting awards, tying the record of 1951's A Streetcar Named Desire. As of 2011, Network is the last film to have won three of the four Academy Awards for acting.

Won

Finch died before the 1977 Academy Awards ceremony and was the only performer to win a posthumous Academy Award until Heath Ledger won a Best Supporting Actor Oscar in 2009; coincidentally, both Finch and Ledger were Australian citizens. The statuette itself was collected by Finch's widow, Eletha Finch.

Straight's performance as Louise Schumacher occupied only five minutes and 40 seconds of screen time, making it the shortest performance to win an Oscar, as of 2010.

Nominated

Golden Globes

Won
Nominated
  • Best Motion Picture-Drama

BAFTA Awards

Won
  • Best Actor - Peter Finch
Nominated
  • Best Film
  • Best Actor - William Holden
  • Best Actress - Faye Dunaway
  • Best Supporting Actor - Robert Duvall
  • Best Director - Sidney Lumet
  • Best Editing - Alan Heim
  • Best Screenplay - Paddy Chayefsky
  • Best Sound Track - Jack Fitzstephens, Marc Laub, Sanford Rackow, James Sabat, & Dick Vorisek

American Film Institute

Rights

The feature film was a co-production between MGM and United Artists;[10] the latter distributor owned worldwide theatrical distribution rights. Both companies also shared the film's copyright.[11]

In 1980, UA's then-parent, Transamerica Corporation, put the studio up for sale following the disastrous release of Heaven's Gate, which had been a major financial drain and public relations embarrassment. The next year, MGM purchased UA, and consequently gained UA's share of Network. The film was released to MGM/CBS Home Video in the United States as part of the original 24-title VHS/Betamax package in October 1980. Home video rights for the film outside the U.S. went to Warner Home Video, as UA distributed the film because it was a co-production (the remaining MGM films were released theatrically through Cinema International Corporation, later United International Pictures).

Then, in 1986, media mogul Ted Turner purchased MGM/UA. Without any financial backers, Turner soon fell into debt and sold back most of MGM, but kept the library for his own company, Turner Entertainment. This included the US distribution rights to Network, but international distribution remained with MGM, which retained UA's library from 1952 on. Home video rights outside the U.S. were still with WHV due to their deal with UA. Turner soon made a deal with MGM's video division for home distribution of most of Turner's library, allowing MGM to retain US video rights to Network for 13 more years. Home video rights to the MGM and UA titles were moved to Warner Home Video, using the MGM/UA label under license.

In 1996, Turner merged with Time Warner. Consequently, Warner Bros. assumed television and theatrical distribution rights to the Turner library, with video rights being added in 1999. The post-1952 UA library and the post-4/1986 MGM were assumed by themselves through MGM Home Entertainment after their worldwide deal with Warner Home Video expired in 2000.

Both Turner and MGM now share the film's copyright.[11] As of 2011, Warner Bros./Turner owns the US and worldwide television distribution rights to Network, while international distribution rights remain with MGM. MGM has assigned international video distribution rights to 20th Century Fox Home Entertainment, while international theatrical rights are co-held by Columbia Pictures.

Legacy

The film's quote "I'm as mad as hell, and I'm not going to take this anymore" and its derivatives are referenced in countless films and media.

The short-lived series Studio 60 on the Sunset Strip mentions the film and its writer Paddy Chayefsky multiple times after a character's outburst on live television. The show's creator Aaron Sorkin also mentioned the film and Chayefsky during his acceptance speech after winning the Academy Award for writing the film The Social Network.

References

Notes
  1. ^ Archive of Producers Guild Hall of Fame - Past Inductees, Producers Guild of America official site. Accessed October 31, 2010. Original site.
  2. ^ Because Chayefsky started writing the screenplay during the same month that newscaster Christine Chubbuck committed on-air suicide, some, including Matthew C. Ehrlich in Journalism in the Movies (ISBN 0252029348), have speculated (p. 122) that the scene was inspired by Chubbuck's manner of death.
  3. ^ Ebert, Roger (October 29, 2000). "Network (1976)". robertebert.com. Chicago Sun-Times. http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20001029/REVIEWS08/10290301. Retrieved October 31, 2011. 
  4. ^ Interview on Little Steven's Underground Garage "Video of the 500th Show Celebration - Replay" (October 18, 2011)
  5. ^ Review of Network from the November 15, 1976 edition of The New York Times
  6. ^ Review of Network by Roger Ebert from the 1970s
  7. ^ Review of Network by Roger Ebert from October 2000
  8. ^ "The 500 Greatest Movies Of All Time". Empire. Bauer Media Group. Archived from the original on August 17, 2011. http://www.empireonline.com/500/80.asp. Retrieved August 17, 2011. 
  9. ^ Kael, Pauline (6 December 1976). "Hot Air". The New Yorker: 177. 
  10. ^ Finler, J.W. ((2003)). The Hollywood story. London: Wallflower Press. p. 172. ISBN 1-903364-66-3. 
  11. ^ a b Copyright renewal for Network. United States Copyright Office.

External links

Awards
Preceded by
One Flew Over the Cuckoo's Nest
Academy Award winner for Best Actor and Best Actress Succeeded by
Coming Home
Preceded by
Who's Afraid of Virginia Woolf?
Academy Award winner for Best Actress and Best Supporting Actress Succeeded by
Moonstruck

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