All the films from all the editions, including those subsequently removed, presently totalling 1177. 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…
A darkly comic film which shows the gradual decline of a once renowned news anchor. One of the best performances by a cast I have ever seen (Peter Finch as Howard Beale, William Holden as Max Schumacher, Faye Dunaway as Diana Christensen & Beatrice Straight as Louise Schumacher). In a similar way to 'Citizen Kane' this film uses a particular visual theatricality to emphasize the themes. What this film does that 'Kane' doesn't do as much is include a domestic and fiery personal story for the characters which overshadows the pressure and enormity of their job. The importance of this film is as huge now as it was then, the medium of television and the sheer absorption of it's audiences can…
Thumbs Up: Fucking hell, this movie... On the surface it's an unbelievably prescient satire on the corrupting merger of news and entertainment that comes to us daily through our small screens; step further back and it becomes a shattering commentary on how ideologies of anti-authoritarian counter-culture can be so easily absorbed into the network with a little bit of glitz; and further back still it's a stunningly powerful statement on how our simple human lives are packaged and narrativised by the great system that stands over and binds us. Plus it's got jokes in. Fucking hell, this movie...
Thumbs Down: That it's still so relevant today.
Corporatism and the way the media bolster it come under attack in prescient narrative. Shot construction excellent and William Holden in surely his best performance.
Impeccable. Such a quote worthy film.
Breath taking performances. Gripping story, ingeniously told and superbly shot. A classic if ever there was one.
The only question now is "Why haven't I seen this film until now?"
This review reportedly contains spoilers. I can handle the truth.
Another classic that I found tolerable, without being great. Finch is good for his part, and Dunaway is suitably slimy, but at only a few points does the film really reach beyond the low-hanging fruit of satirizing the media. The one high-point in the film for me is Ned Beatty's rant to Finch which feels both terrifyingly over-the-top while simultaneously totally believable. That is an amazing scene.
An important film for its time. However, the film is too aware and reliant on its importance. Some aspects of it simply weren't believable, like the ending, which was only done to hammer in its message of anti-establishment into the audiences. Great performances though, and the technical aspects are done well. It has some powerful ideas and intentions, just too blatant of an execution.
I have been holding off on reviewing this as I always feel that I want to do it justice, that a film such as Network deserves a long and well thought out piece. But I cannot wait any longer as my 'to review' pile is ever increasing so here goes...
With arguably the second greatest script ever (coming just behind the sublime All About Eve), Network is a tour-de-force is just about every way imaginable. It is funny, dramatic (not melodramatic), intelligent, cynical and hugely prophetic. Perfectly paced and toeing the line expertly between satire and thriller, Lumet added another classic to his long list of masterpieces.
The cast are all first rate and while Finch received the posthumous Oscar…
"You have meddled with the primary forces of nature, Mr. Beale."
Every film that has ever been nominated for an Academy Award in any category. Enjoy!