8.1/10
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339 user 157 critic

Network (1976)

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 #191 | Won 4 Oscars. Another 16 wins & 26 nominations. See more awards »

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Cast

Cast overview, first billed only:
... Diana Christensen
... Max Schumacher
... Howard Beale
... Frank Hackett
... Nelson Chaney
... Arthur Jensen
... Great Ahmed Kahn
Bill Burrows ... TV Director
John Carpenter ... George Bosch
... Harry Hunter
Kathy Cronkite ... Mary Ann Gifford
Ed Crowley ... Joe Donnelly
... Walter C. Amundsen
... Barbara Schlesinger
Gene Gross ... Milton K. Steinman
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Storyline

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

Taglines:

Television will never be the same! See more »

Genres:

Drama

Certificate:

R | See all certifications »

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Details

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Release Date:

27 November 1976 (USA)  »

Also Known As:

Poder que mata  »

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(Metrocolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Peter Finch was desperate to win the role of Howard Beale once he had read the script. He even offered to pay his own airfare to New York City for the screentest. But Sidney Lumet was concerned about Finch's Australian accent. Finch won the part after sending Lumet a recording of himself reading the New York Times with a perfect American accent. See more »

Goofs

Halfway through the first scene in Diana Christianson's office, the door, which had previously been open, is closed. Later, she walks over to the door and closes it again. See more »

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, ...
[...]
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Connections

Spoofed in Bamboozled (2000) See more »

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User Reviews

 
We Have Seen the Future, And It Sucks
28 December 2005 | by 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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