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Network (1976)

R  |   |  Drama  |  27 November 1976 (USA)
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Ratings: 8.1/10 from 95,316 users  
Reviews: 312 user | 158 critic

A television network cynically exploits a deranged former anchor's ravings and revelations about the news media for its own profit.



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Top Rated Movies #176 | Won 4 Oscars. Another 15 wins & 25 nominations. See more awards »



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Cast overview, first billed only:
Arthur Burghardt ...
Bill Burrows ...
TV Director
John Carpenter ...
George Bosch
Harry Hunter
Kathy Cronkite ...
Mary Ann Gifford
Ed Crowley ...
Joe Donnelly
Jerome Dempsey ...
Walter C. Amundsen
Barbara Schlesinger
Gene Gross ...
Milton K. Steinman


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 <bruce@cs.su.oz.au>

Plot Summary | Plot Synopsis


Not since the dawn of time has America experienced a man like Howard Beale! See more »




R | See all certifications »

Parents Guide:





Release Date:

27 November 1976 (USA)  »

Also Known As:

Poder que mata  »

Box Office


$3,800,000 (estimated)

Company Credits

Show detailed on  »

Technical Specs


Sound Mix:



Aspect Ratio:

1.85 : 1
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Did You Know?


The director and the screenwriter claimed that the film was not meant to be a satire but a reflection of what was really happening. See more »


In one scene Robert Duvall is speaking to a large group of stock holders. To Duvall's left, there are four seated men. The third man from Duvall sits with his hands under the table. A moment later, his left hand is upon his forehead. See more »


[first lines]
Narrator: 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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User Reviews

We Have Seen the Future, And It Sucks
28 December 2005 | by (Chicago IL) – See all my reviews

This movie came out when I was nine years old, and I saw it on network TV the following year, lured by the brouhaha that surrounded the use of the "barnyard epithet" during prime time. I loved this movie before I understood it, and I worship it now. Like "Elmer Gantry" or "1984," it's a work of didactic art that only fails on an imaginative level -- Sinclair Lewis couldn't grasp how debased evangelism would become, Orwell couldn't foresee the excesses of Mao or Pol Pot, and Chayevsky couldn't envision the absolute decline of television from a vast wasteland to a malevolent sewer. Fox News, reality TV, even the OJ chase, "Network" anticipates every vile bit of it.

Now, it's ridiculously overwritten -- NO ONE is as articulate as the characters in this film, and most certainly, no one who works in television is as literate as Diana Christensen (the Faye Dunaway character). I doubt that poet laureates or even Eminem could spew as witty an aside as "muttering mutilated Marxism." But damn if that isn't part of its charm. Plus, outside of Max Schumacher (William Holden), the characters are pretty much archetypes instead of real people (the Robert Duvall character might as well wear a black cape and top hat), but their two-dimensionality works as a good metaphor for Max's seduction into the "shrieking nothingness" or television. Plus the actors are so superb they make screeching caricatures into almost-sympathetic characters: Duvall is a credible and charismatic villain, Finch is a fine mad prophet and Faye Dunaway manages to make a shrill, manipulative, soulless neurotic so damn cute and sexy you'll want to leave your wife for her, too, just as long as she promises to keep sitting cross-legged on your desk and hitching up her skirt. (Therein lies the real eroticism, forget the intentionally mechanical, unerotic coupling later in the flick). Anyway, this is complex, high art masquerading as popular entertainment, go rent it now.

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