In the 1970s, terrorist violence is the stuff of networks' nightly news programming and the corporate structure of the UBS Television Network is changing. Meanwhile, Howard Beale, the aging UBS news anchor, has lost his once strong ratings share and so the network fires him. Beale reacts in an unexpected way. We then see how this affects the fortunes of Beale, his coworkers (Max Schumacher and Diana Christensen), and the network. Written by
Bruce Janson <email@example.com>
To celebrate Faye Dunaway's first Oscar victory, husband-to-be photographer Terry O'Neill arranged to meet her at the Beverly Hills Hotel at 6:30 am the morning after the Academy Awards for a photo shoot. What transpired was the famous image of a listless Dunaway, reclining beside the tranquil hotel swimming pool with her Oscar statuette standing upright on the table beside her. Thrown in for good measure were various newspapers scattered on the ground and table, the headlines of which mostly echoed the previous night's festivities. Dunaway had not slept since her win and so appears totally fatigued, prompting O'Neill to title his photograph "The Morning After" shot. See more »
After Howard's first on-air meltdown, as Max and the other network executives sample the reaction from other networks, they watch the other newscasts from a bank of three sets, each tuned to a different channel. As Max says he is not surprised each of the other networks is leading with the Beale story, he lowers the volume of each set in turn. The volume drops before Max's hand reaches the dials. See more »
This story is about Howard Beale, who was the news anchorman on UBS TV. In his time, Howard Beale had been a mandarin of television, the grand old man of news, with a HUT rating of 16 and a 28 audience share. In 1969, however, his fortunes began to decline. He fell to a 22 share. The following year, his wife died, and he was left a childless widower with an 8 rating and a 12 share. He became morose and isolated, began to drink heavily, and on September 22, 1975, he was fired, ...
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To think that this blackest of black comedies was made in 1976 could only means two things: 1) Nothing has changed or 2) Paddy Chayefsky was seeing the future with the most disturbing clarity. I endorse the later of the two because I believe things have changed since 1974 - I wasn't born yet, but I know because of my parents, the movies, literature, etc, etc, etc. Peter Finch as the mad prophet of the airwaves gives Chayefsky a riveting and powerful voice. The scenes between old chums Finch and William Holden are some of the best written scenes in any American movie until the Coen brothers emerged. Finch is superb, superb! and Holden, at the end of a legendary career, gives a performance of such ferocious sincerity that I rediscovered the man, the actor and felt the need to revisit some of his opus. From Golden Boy to Sunset Boulevard, Holden was a man who carried his own discomfort as a weapon. Extraordinary! However, the most alarming character in the whole thing is Faye Dunaway's. She is magnificent in her thin, nervous, bra-less attitude. She is a monster of commercial amorality. Everything in this incredible movie moves with the precision of an inspired clairvoyant's vision. Duvall's executive, Beatrice Straight's betrayed wife and Ned Beatty's god like big shot makes this one of the most frightening, entertaining, funniest, remarkable film from the 70's. Sidney Lumet proves once more that he's as good as his material. Here he is at his zenith.
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