Every film from Roger Ebert's "Great Movies" essays.
Not since the dawn of time has America experienced a man like Howard Beale!
A TV network cynically exploits a deranged ex-TV anchor's ravings and revelations about the media for their own profit.
"Don't fuck with my distribution costs!"
Much, much funnier than expected. Not only a biting satire (or 'reportage' as Lumet himself preferred, since all but one of the situations depicted had already occurred by the time of filming, according to him), but also an absurdist comedy, made more surreal by the fantastically cascading situations that the characters merely flow with, instead of trying to stop - in that way it is very Strangelove-esque (although a little less reserved in overt satire). Lumet proves again he is an actors' director, and not a single performance disappoints, with personal preference to Ned Beatty's brief, satanic cameo as the network's potential new CEO.
Thanks to the quality of performances, the fact that the…
I trust your taste here on Letterboxd so much that I'll pop in a film just because one of you recommended it to me. I have no idea how this ended up on my watchlist... it could've been a really great review or maybe someone just told me to watch it. Whatever the reason, you changed my life! THANK YOU!!! Network is an instant favorite, one that had me so riled up I needed a drink to calm me down after. (Okay, that happens a lot, but still…)
I experienced temporary amnesia brought on by cinematic brilliance right after this one, so I don't have a lot to say other than it thrilled and impressed me and I can't wait to watch it again! I bought it on blu-ray right away, so there will be many rewatches to come.
Teaser for my next review: I go in depth about how I think Paddy Chayefsky and Sidney Lumet were time travelers.
I'M AS MAD AS HELL AND....well, let's be honest, I'm probably going to keep on taking it :(
If ever I wanted to put forward a theory that Sidney Lumet was some kind of pre-programmed filmmaking genius automaton then I think Network would be the film that I would use as the centrepiece of the presentation of my evidence.
That's off the back of this, my only viewing as well. Certainly, there is plenty of other evidence that I can use but I think previously that Fail-Safe would have been the centrepiece of my evidence - even despite the fact that it is not my favourite Lumet film. That would be The Offence.
The odd thing is that I would…
Network gives me goosebumps with how perfect every aspect of it is. It is so huge in its dramatic scope you often have to laugh. The performances are perfect. Scarily perfect. Everyone. Peter Finch’s mad as hell speech is one of the definitive moments in 70s expression and it still blows me away in 2012. Of everyone though, it’s Bill Holden who secretly steals the show. He’s the wise, wrinkly, aging heart of the movie and he stunningly fits into the role like a glove. His best acting by a long shot. The whole experience is eerie, heartbreakingly honest, and astonishingly well written. I wish sometimes I could have the pleasure of sitting down for a big screen double feature in a 1976 theatre- Network and Taxi Driver. Cynical, blissful 70s film-making.
It’s hard to believe, given our current state of affairs with the evening news being a profit center for the networks (as well a prime instrument for spewing propaganda), but once upon a time the actual news was reported – not one person’s opinion or spinning the content to suit your political agenda – just the news, period.
So, take yourself back to 1976… where Walter Cronkite and Dan Rather told the news and the mighty three networks were of the mindset that they were doing a public service by reporting the news – knowing that the news division was a money loser for the corporations.
OK, so you’ve got that picture in your mind…. And along comes this very…
I can not believe it took me so long to get around to watching this. Network is a brilliant satire, as relevant today as when it was in 1976.
If you haven't seem it yet, like me you'll probably know it from the famous speech that won Peter Finch his posthumous Oscar, but the film is SO much more than that. It (obviously) tackles the politics of how ratings drive network television decisions, but also delves into the idea of how deep thoughts and ideas can be warped into something devoid of their original meaning when they're picked up as catchphrases and turned into an exploitable brand by powerful and corrupt people. It's also the story of a man trying…
Diana Christensen is a television executive. She's in charge of programming. Her job is to get as many people as possible to watch her programs. Diana, as one character eloquently puts it, is the incarnation of television. Not a person but a machine whose only interest lies in her ratings. Every idea she has, and every word she utters is geared towards making the ideal television program. A madman professing doom? Perfect. A terrorist group committing violent crimes on screen? Even better. A crossover episode? Heaven. Every raised eyebrow, suppressed smile, nervous step, and sharp edged threat uttered by Faye Dunaway reveals a ruthless dedication to the portrayal of the true madman of the movie: a woman whose life has…
Didn't hit me as hard as it hit others. Maybe that's because before I put it on my friend described it as "Life changing good". It's all Billy's fault.
*Prepares self for possible assassination attempts...*
Oof. I did not enjoy "Network." Maybe it was great in its time, but it doesn't hold up. A mediocre movie with a great character and performance in Peter Finch's Howard Beale. I was shocked it won an Oscar for best screenplay because there were many bits of truly wooden on-the-nose soap opera dialog, almost all of them involving Faye Dunaway, who also shockingly won an Oscar for it. Is this satire? What the hell was going on with Ned Beatty's character? Why does every character get a long-winded monologue? Is that part of the joke? Is this really a comedy masquerading as a drama? Does it play better the second time around?
the beginning of this film set itself up to be really interesting and then the middle got incredibly boring and then the ending was incredibly boring but also weird
One of the greatest American movie. Timeless, masterpiece. Sidney Lumet's shocking and tense mode of keeping the audience at the edge of the seat continues in this one as well. Thoroughly enjoyed it.
"Network": Well, it was thoroughly entertaining. As I said before, "I'm as mad as hell as I'm not going to take it!"
For a good hour or so Network is an effective deconstruction of the television industry. It is, however, a film of two halves. As Lumet realises he's onto something special he becomes more and more blinded by the potential for his film to do well in awards season.
It slowly but surely becomes a shouty, plethora of performances all clambering to steal the limelight. Faye Dunaway, William Holden, and Peter Finch are the three prime candidates (and were all subsequently awarded by the Academy for their efforts). The more they show off their performing talents, the more obnoxious and removed they become from their characters. They become nothing more than performers screaming "Look at me! I'm acting!"
The social commentary…
- 12 Angry Men
- 2001: A Space Odyssey
- 25th Hour
- 3 Women
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
All the films from all the editions, including those subsequently removed, presently totalling 1154. An easy way of seeing how…
- The Godfather
- Seven Samurai
- The Godfather: Part II
- 12 Angry Men
most recent update - Sunday, August 3, 2014, 3:02 PM EST
The letterboxd crew has unveiled a new feature that…