All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
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…
A hysterical, satirical & critical take on the TV news & show business plus the extent to which it can stoop in its pursuit of higher ratings & profits, Network is a brilliantly crafted, crazily narrated & outrageously performed cinema that makes a biting statement against the undeniable power of television & the effect it can have on the masses.
The story of Network concerns a TV news veteran who's about to lose his job due to the declining ratings of his show & announces on air that he'll commit suicide on the next week's broadcast, which causes a spike in network's ratings. Seeing a potential profit in this, the executives decide to exploit his enraged persona which in the long run affects the fortunes of…
"There is no America. There is no democracy. There is only IBM, and ITT, and AT&T, and DuPont, Dow, Union Carbide, and Exxon."
This film is 40 years old, and the above quote rings just as true today as it did back then. It is scary how pertinent this scarily-prescient film still feels today.
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…
The irony shouldn't be lost about a film decrying the state of TV and the fictionalisation of life onscreen controlled by poisonous corporations, released by a multi-million pound company that had dominated the perceptions of cinematic audiences for decades. Why not capitalise on an audaciously critical script and take the financial glory, as the social discussion raised around it will be nothing more than a minor nuisance eventually fading back into silence.
Chayefsky's words still hang over our heads with an icy chill, the pathetic truth of our sheep like existence bellowed in our face. We can smirk in acknowledgement as we understand that the script remains as relevant, perhaps even more so today, as it did then. We can…
Sidney Lumet’s "Network" is one of the greatest satirical films of the 1970’s. Having received and been nominated for scores of awards (including Paddy Chayefsky and Peter Finch both winning Oscars for Best Writing and Best Actor, respectively), Network continues to be admired as an over-the-top, ridiculous, and humorous satire of TV news. Lines such as “I’m mad as hell, and I’m not going to take it anymore!”, and “You will atone!” (anyone who’s started watching Better Call Saul is familiar with the latter) has easily entered the film buff lexicon.
Howard Beale is a depressed, alchoholic news anchor who's just been fired from his position as anchorman on the fictional UBS evening news. Having reached rock bottom, Beale decides…
Μέγας και τρανός παρουσιαστής ειδήσεων που βλέπει την καριέρα του να έχει πάρει την κάτω βόλτα,μετατρέπεται με τις ευλογίες του καναλιού του, σε οργισμένο ημίτρελο κήρυκα της τηλεόρασης που μιλάει την απλή γλώσσα του λαού και της αλήθειας.Η επιτυχία του είναι τεράστια,όλα όμως έχουν το τίμημα τους.Απίθανες ερμηνείες και σενάριο, σε μια ταινία που ήταν γύρω στα διακόσια χρόνια μπροστά από την εποχή της. Είναι σχεδόν απίστευτο το πόσο μέσα έχει πέσει στις καταστάσεις που περιγράφονται,με αυτά που βλέπουμε να έχουν γίνει εδώ και αρκετά χρόνια στο χώρο της tv και της πολιτικής.Ας μην σταθώ όμως άλλο στα σοβαρά που θίγει το φιλμ και που εύκολα γίνονται αντιληπτά εάν το δείτε, αλλά σε ένα από αυτά για τα οποία θα…
The film that foresaw the coming of personality-driven 'talkingheads',demagogues, and the morphing of news and entertainment into the Frankenstein's monster that we know today.
"Howard Beale' is the proto 'talkinghead/demagogue that spouted his beliefs with the fervor of a Evangelical Preacher. His character was so ahead of it's time it might have seen crazy to audiences at the time, however, time has proven the filmmakers right. Morton Downey Jr,Glenn Beck,Ezra Levant and the list goes on of 'Talking heads' and demagogues that shape(rightly or wrongly) twist and mold opinions and how people see the world and themselves, Howard Beale seemed a crazy concept back in 1976, he's old hat in 2015.
Groundbreaking and way ahead of time, Network is like a prophetic warning, one that we chose to ignore to our great peril.
Perhaps a bit less tight than I'd originally perceived it to be, Network is still an impeccably shot satire with so much to say as to almost worry you that it's pseudointellectual. It's not, it's brilliant, but it's intimidating nonetheless. Excellent.
Sidney Lumet é um diretor curioso. Dificilmente conseguimos identificar de forma clara seus trejeitos na hora de decupar uma cena ou dirigir os atores. Paradoxalmente, conseguimos perceber certa urgência em seus filmes, agrupando-os assim de alguma maneira num escaninho meio indefinido, mas definitivamente assinado pelo seu autor. Em REDE DE INTRIGAS não é diferente. O sangue nos olhos de Diana Christensen e Howard Beale, brilhantemente interpretados por Faye Dunaway e Peter Finch, declaram essa urgência, uma obsessão gigante, mas diferente entre si. Robert Duvall e William Holden também são responsáveis para o sucesso do filme, cada um com sua personalidade bem desenvolvida pelo verborrágico roteiro. No fim, a imagem que fica é das pessoas colocando suas cabelas pelas janelas e berrando a plenos pulmões: "I'm as mad as hell, and I'm not going to take this anymore".
I don't think I've ever had such a vastly shifting opinion on a film while I was watching it; at times I even considered giving it 2.5 stars. However, I can safely say that Network is indeed a truly great film. This is due to Chayefsky's dynamite script and an absolutely scorching ensemble cast performance from Dunaway, Duvall, Holden, Beatty, Straight, and above all Finch. My initial misgivings were due in large part to my feeling that the film didn't have a firm grasp upon what it wanted to do, which was put safely to bed by Dunaway's character's unceasing focus on the television, and that the pacing of the film was poorly done. Regardless, Lumet directs with a steady hand, and, of course, the monologues are perfect, with my favorite perhaps actually being Beatty's.
Very sharp satire of television broadcasting that still relevant today.
Memorable quotes and scene:
Howard Beale: "I'm as mad as hell, and I'm not going to take this anymore!"
One of the best scripts in film history.
"A God-damned amusement park! Television is a circus, a carnival, a traveling troupe of acrobats, storytellers, dancers, singers, jugglers, side-show freaks, lion tamers, and football players."
Every film that has ever been nominated for an Academy Award in any category. Enjoy!