Network (1976)

Director:

Sidney Lumet

Writer:

Paddy Chayefsky (by)

Release Date:

27 November 1976 (USA)

Genre:

Drama

Tagline:

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

Plot:

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

Plot Keywords:

Television | Terrorist | TV Network | Television News | Rant

Awards:

Won 4 Oscars. Another 22 wins & 19 nominations

Cast

Faye Dunaway	...	Diana Christensen
William Holden	...	Max Schumacher
Peter Finch	...	Howard Beale
Robert Duvall	...	Frank Hackett
Wesley Addy	...	Nelson Chaney
Ned Beatty	...	Arthur Jensen
Arthur Burghardt	...	Great Ahmed Kahn
Bill Burrows	...	TV Director
John Carpenter	...	George Bosch
Jordan Charney	...	Harry Hunter
Kathy Cronkite	...	Mary Ann Gifford
Ed Crowley	...	Joe Donnelly
Jerome Dempsey	...	Walter C. Amundsen
Conchata Ferrell	...	Barbara Schlesinger
Gene Gross	...	Milton K. Steinman
Stanley Grover	...	Jack Snowden
Cindy Grover	...	Caroline Schumacher
Darryl Hickman	...	Bill Herron
Mitchell Jason	...	Arthur Zangwill
Paul Jenkins	...	TV Stage Manager
Ken Kercheval	...	Merrill Grant
Kenneth Kimmins	...	Associate Producer
Lynn Klugman	...	TV Production Assistant
Carolyn Krigbaum	...	Max's Secretary
Zane Lasky	...	Audio Man
Michael Lipton	...	Tommy Pellegrino
Michael Lombard	...	Willie Stein
Pirie MacDonald	...	Herb Thackeray
Russ Petranto	...	TV Associate Director
Bernard Pollock	...	Lou
Roy Poole	...	Sam Haywood
William Prince	...	Edward George Ruddy
Sasha von Scherler	...	Helen Miggs
Lane Smith	...	Robert McDonough
Ted Sorel	...	Giannini (as Theodore Sorel)
Beatrice Straight	...	Louise Schumacher
Fred Stuthman	...	Mosaic Figure
Cameron Thomas	...	TV Technical Director
Marlene Warfield	...	Laureen Hobbs
Lydia Wilen	...	Hunter's Secretary
Lee Richardson	...	Narrator (voice)
rest of cast listed alphabetically:
John Chancellor	...	Himself (archive footage) (uncredited)
Walter Cronkite	...	Himself (archive footage) (uncredited)
Andrew Duncan	...	Agent (uncredited)
Todd Everett	...	Reporter (uncredited)
Betty Ford	...	Herself (archive footage) (uncredited)
Gerald Ford	...	Himself (archive footage) (uncredited)
John Gabriel	...	TV Anchor Reporting Beale's Suicide Threat (uncredited)
Lance Henriksen	...	Network Lawyer at Khan's Place (uncredited)
Raymond Martino	...	Window Person (uncredited)
Howard K. Smith	...	Himself (archive footage) (uncredited)
David Susskind	...	Himself (archive footage) (uncredited)
Michael Tucker	...	Man at Desk (uncredited)
Ahmed Yamani	...	Himself (archive footage) (uncredited)

Directed by
Sidney Lumet

Writing credits
Paddy Chayefsky		(by)

Produced by
Fred C. Caruso	....	associate producer (as Fred Caruso)
Howard Gottfried	....	producer

Original Music by
Elliot Lawrence		(original music composed by)

Cinematography by
Owen Roizman		(director of photography)

Film Editing by
Alan Heim

Casting by
Juliet Taylor

Production Design by
Philip Rosenberg

Set Decoration by
Edward Stewart

Costume Design by
Theoni V. Aldredge

Makeup Department
John Alese	....	makeup artist
Susan Germaine	....	hair stylist: Ms. Dunaway
Lee Harman	....	makeup artist: Ms. Dunaway
Philip Leto	....	hair stylist (as Phil Leto)

Second Unit Director or Assistant Director
Alan Hopkins	....	first assistant director (as Jay Allan Hopkins)
Ralph S. Singleton	....	second assistant director (as Ralph Singleton)

Art Department
Connie Brink	....	property master (as Conrad Brink)

Sound Department
Jack Fitzstephens	....	sound editor
Marc Laub	....	sound editor (as Marc M. Laub)
Sanford Rackow	....	sound editor
James Sabat	....	sound mixer
Dick Vorisek	....	re-recordist
Louis Cerborino	....	assistant sound editor (uncredited)
Mel Zelniker	....	adr recordist (uncredited)

Camera and Electrical Department
Michael Ginsburg	....	still photographer
Kenneth Goss	....	key grip
Norman Leigh	....	gaffer
Gary Muller	....	second assistant cameraman
Tom Priestley Jr.	....	assistant cameraman
Fred Schuler	....	camera operator

Costume and Wardrobe Department
George Newman	....	costumer
Marilyn Putnam	....	costumer

Editorial Department
Michael Jacobi	....	assistant editor
Don Dittmar	....	color timer (uncredited)
Norman Hollyn	....	apprentice editor (uncredited)
Jeffrey Wolf	....	apprentice editor (uncredited)

Music Department
Elliot Lawrence	....	conductor: original music

Other crew
Selma Brown	....	production auditor
Kay Chapin	....	script supervisor
Stephen Frankfurt	....	title designer
Steve Rutt	....	video logo by: U.B.S., EUE Video Services
Connie Schoenberg	....	office coordinator
John H. Starke	....	location coordinator (as John Starke)
Mark Hurwitz	....	production assistant (uncredited)

Production Companies

• Metro-Goldwyn-Mayer (MGM) (A Howard Gottfried - Paddy Chayefsky Production)
• United Artists

Distributors

• Metro-Goldwyn-Mayer (MGM) (1976) (USA) (theatrical)
• United Artists (1976) (USA) (theatrical)
• United Artists (1977) (France) (theatrical) (as Les Artistes Associés)
• Home Box Office (HBO) (1977) (USA) (TV)
• Columbia Broadcasting System (CBS) (1978) (USA) (TV) (original airing)
• MGM/UA Home Entertainment (1996) (USA) (VHS) (pan and scan)
• Chapel Distribution (1997) (Australia) (theatrical) (35mm print)
• Warner Home Video (2000) (USA) (DVD)
• MGM Home Entertainment (Europe) (2003) (UK) (DVD)
• MGM Home Entertainment (2003) (Germany) (DVD)
• Warner Home Video (2006) (USA) (DVD) (included in "Controversial Classics: Volume 2")
• Warner Home Video (2006) (USA) (DVD) (remastered two-disc special edition)
• Warner Home Video (2010) (USA) (DVD)
• Warner Home Video (2011) (USA) (DVD) (Blu-ray)
• MGM/UA Home Video (198?) (USA) (VHS) (pan and scan)
• Warner Home Vídeo (19??) (Brazil) (VHS)

Other Companies

• EUE/Screen Gems Video Services  U.B.S. video logo by (as EUE Video Services)
• Todd/Champion Ltd.  extra casting

Also Known As:

Runtime:

121 min

Country:

USA

Language:

English

Color:

Color (Metrocolor)

Aspect Ratio:

1.85 : 1

Sound Mix:

Mono

Certification:

Argentina:16 | Australia:M | Canada:13+ (Quebec) | Canada:PG (Manitoba) | Finland:K-16 | Norway:16 | Singapore:M18 | Sweden:15 | UK:15 | USA:R (PCA #24546) | West Germany:16 | Canada:R (Nova Scotia/Ontario) | Iceland:12 | South Korea:15 | Portugal:M/12

Filming Locations:

CFTO-TV Studios, Scarborough, Toronto, Ontario, Canada

Company:

Metro-Goldwyn-Mayer (MGM)

Trivia:

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.

Goofs:

Continuity: After attending a funeral service, William Holden And Faye Dunaway are talking on a street corner. Holden's hair is a little messy from the wind and passing traffic. A moment later, the two people cross the street and Holden's hair is back in place.

Quotes:

[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, effective in two weeks. The news was broken to him by Max Schumacher, who was the president of the news division at UBS. The two old friends got properly pissed.
Howard Beale:[on the street] I was at CBS with Ed Murrow in 1951.
Max Schumacher:Must've been 1950 then.
[Beale nods]
Max Schumacher:I was at NBC, uh, associate producer. Morning News. I was just a kid. 26 years old.
[Not interested, Beale wanders off, until Schumacher stops him]
Max Schumacher:Anyway... anyway... they're building the lower level of the George Washington Bridge.
[Interested, Beale listens]
Max Schumacher:We were doing a remote from there.
Howard Beale, Max Schumacher:[start to laugh and snicker in unison]
Max Schumacher:And nobody told me!
[Beale keeps laughing, very interested]
Max Schumacher:Ten after seven in the morning, I get a call, "Where the hell are YOU? You're supposed to be on the George Washington Bridge!"
[Beale and Schumacher exchange laughs]
Max Schumacher:I jump out of bed, throw my raincoat over my pajamas. I run downstairs and out into the street...
[Schumacher runs into the street]
Max Schumacher:...hail a cab, and I say to the cabbie, "TAKE ME TO THE MIDDLE OF THE GEORGE WASHINGTON BRIDGE!"
[Beale laughs]
Max Schumacher:And the cabbie turns around and he says...
[giggles]
Max Schumacher:...he says "Don't do it, buddy! You're a young man! You got your whole life ahead of you!"
Howard Beale, Max Schumacher:[shriek in hysterics, as Beale gives Schumacher a hug]
Max Schumacher:Didn't I ever tell you that one before?

Movie Connections:

Featured in AFI's 100 Years... 100 Movies: America's Greatest Movies (1998) (TV)

A Cynic's Dream

This is one of those wonderful films where everything comes together. The acting and the writing is by far the most impressive elements of this film. William Holden and Peter Finch should have both received Oscars for their performances, instead of just Peter Finch. Faye Dunaway pulls of the most dynamic and emotional characters she has ever played.

The true brilliance of this film is that all elements of it fade appropriately behind the actors and their messages. The film is completely a work of storytelling and, at least for the writer, stunning clarity of message and purpose. Political films come and go but few remain in the annals of film because of their effectiveness at their own message.

The cinematography, editing, sound, costume design, art direction and production design are all quite simplistic. In some scenes the film can be accused of being almost ugly. However this all lends to the back-washing of the film so as to allow the message to ring loudest. In my opinion, Sidney Lumet took this just a little too far and thus I give it a 9 instead of a 10.

This is certainly a film for the history books. Every connoisseur of film should be exposed to this movie at some point in their life. If you happen to be cynical, then you will love every minute of this movie as its stark view of life in the 1970's (and onward) touches the hard of even the hardest of cynics. For those educators out there, GREAT film for classes on Media and Politics.