| Network | |
|---|---|
.png) Theatrical release poster | |
| Directed by | Sidney Lumet |
| Written by | Paddy Chayefsky |
| Produced by | Howard Gottfried Fred C. Caruso |
| Starring | |
| Narrated by | Lee Richardson |
| Cinematography | Owen Roizman |
| Edited by | Alan Heim |
| Music by | Elliot Lawrence |
Production company | |
| Distributed by | United Artists |
Release date |
|
Running time | 121 minutes[1] |
| Country | United States |
| Language | English |
| Budget | $3.8 million |
| Box office | $23.7 million[2] |
Network is a 1976 American satiricalcomedy drama film directed bySidney Lumet and written byPaddy Chayefsky. It depicts atelevision network struggling with poorratings until the nightly live broadcast of its longtime news anchor Howard Beale (Peter Finch) inadvertently showcases his breakdown into increasinglypsychotic behaviour, which makes his show a surprise hit. Alongside Finch (in his final role), the film starsFaye Dunaway,William Holden,Robert Duvall,Wesley Addy,Ned Beatty, andBeatrice Straight.
Produced byMetro-Goldwyn-Mayer and released byUnited Artists on November 27, 1976,Network was a commercial success, earning $23.7 million on a $3.8 million production budget.Network received widespread critical acclaim, with particular praise for its screenplay and performances. At the49th Academy Awards, it received ten nominations, includingBest Picture, and won four:Best Actor for Finch (posthumously),Best Actress for Dunaway,Best Supporting Actress for Straight, andBest Original Screenplay for Chayefsky.
In 2000,Network was selected forpreservation in theNational Film Registry by theLibrary of Congress as being "culturally, historically, or aesthetically significant".[3][4] In 2002, it was inducted into theProducers Guild of America Hall of Fame as a film that has "set an enduring standard for American entertainment".[5] In 2005 theWriters Guild of America voted Chayefsky's screenplay one of the 10 greatest in history.[6] In 2007, the film was 64th among the100 greatest American films as chosen by theAmerican Film Institute.
In September 1975,Howard Beale, the longtime anchor for theUBS Evening News, the flagship evening news program of the Union Broadcasting System (UBS), learns from friend and news division president Max Schumacher that he has just two more weeks on the air because of declining ratings. The following night, Beale announces to his audience that he will kill himself on next Tuesday's newscast. UBS tries to immediately fire Beale, but Schumacher intervenes so that he can have a dignified farewell. Beale promises to apologize for his outburst, but once on the air, he launches into a rant about life being "bullshit". Beale's outburst causes ratings to spike, and much to Schumacher's dismay, UBS executives decide to exploit the situation. When Beale's ratings soon top out, programming chief Diana Christensen reaches out to Schumacher with an offer to help "develop" Beale's show. He declines the professional proposal but accepts her more personal pitch; the two begin an affair.
When Schumacher decides to end Beale's "angry man" format, Christensen persuades her boss, Frank Hackett, to slot the evening news show under the entertainment division so she can develop it. Hackett bullies UBS executives to consent and fire Schumacher. In one impassioned diatribe, Beale galvanizes the nation, persuading viewers to shout, "I'm as mad as hell, and I'm not going to take this anymore!" from their windows. He is soon hosting a new program calledThe Howard Beale Show, top-billed as "the mad prophet of the airwaves". The show becomes the most highly rated program on television, and Beale finds new celebrity preaching his angrypopulist message in front of a live studio audience that, on cue, chants his signature catchphrase: "We're as mad as hell, and we're not going to take this anymore!" Schumacher and Christensen's romance withers as the show flourishes, but in the flush of high ratings, the two ultimately find their way back together; Schumacher separates from his wife of over 25 years for Christensen.
Seeking another hit, Christensen cuts a deal with a terrorist group called the Ecumenical Liberation Army (ELA) for a newdocudrama series,TheMao Tse-Tung Hour, for which the ELA will provide exclusive footage of their activities. Meanwhile, Beale discovers that Communications Corporation of America (CCA), the parent company of UBS, will be bought out by a largerSaudi conglomerate. He urges his audience to pressure the White House to quash the deal. This panics UBS because the network's debt load has made the merger essential for its survival. CCA chairman Arthur Jensen arranges a meeting with Beale, describing the interrelatedness of the participants in the international economy and the illusory nature of nationality distinctions. Jensen scolds Beale and persuades him to abandon his message and preach a new gospel that serves Jensen's interests.
Christensen's fanatical devotion to her job and emotional emptiness ultimately drive Schumacher away, warning her that she will self-destruct if she continues on her current path. Audiences find Beale's new sermons on the dehumanization of society depressing and ratings start to slip, yet Jensen refuses to fire him. To boost the network's ratings, Christensen, Hackett and the other executives decide to hire the ELA to assassinate Beale on the air. The assassination succeeds, putting an end toThe Howard Beale Show and kicking off the second season ofThe Mao Tse-Tung Hour. A voice-over proclaims, "This was the story of Howard Beale: the first known instance of a man who was killed because he had lousy ratings."
In addition,Lee Richardson provides various moments of narration advancing additional plot details.
Network came only two years after the first on-screen suicide in television history, of television news reporterChristine Chubbuck inSarasota, Florida.[7] The anchorwoman was suffering from depression and loneliness, was often emotionally distant from her co-workers, and shot herself on camera as stunned viewers watched on July 15, 1974. Chayefsky used the idea of a live death as his film's terminating focal point, to say later in an interview, "Television will do anything for a rating... anything!" However,Dave Itzkoff's book (Mad as Hell: The Making of Network and the Fateful Vision of the Angriest Man in Movies) allows that whether Chayefsky was inspired by the Chubbuck case remains unclear, that Chayefsky's screenplay notes on the week of the live death have nothing about the incident in them, and grants it is an eerie parallel. It was to be months later that actual direct reference was made, Chayefsky writing for Beale to bray that he "will blow my brains out right on the air ... like that girl in Florida", which was later removed.[8] Sidney Lumet made the categorical statement that the character of Howard Beale was never based on any real-life person.[9]
Before beginning his screenplay, Chayefsky visited network TV offices. He was surprised to learn that television executives did not watch much television. "The programs they put on 'had to' be bad, had to be something they wouldn't watch," he remarked. "Imagine having to work like that all your life."[10] According to Dave Itzkoff, what Chayefsky saw while writing the screenplay during the midst ofWatergate and theVietnam War was the entirety of America's anger being broadcast in everything from sitcoms to news reports. He concluded that Americans "don't want jolly, happy family type shows like Eye Witness News" ... "the American people are angry and want angry shows."[11] When he began writing his script he had intended on a comedy, but instead directed his frustration at the content being broadcast on television—which he described as "an indestructible and terrifying giant that is stronger than the government"—into the screenplay. It became a "dark satire about an unstable news anchor and a broadcasting company and a viewing public all too happy to follow him over the brink of sanity."[11] The character of network executive Diana Christiansen was based onNBC daytime television programming executiveLin Bolen,[12] which Bolen disputed.[13]
Chayefsky and producer Howard Gottfried had just come off a lawsuit againstUnited Artists, challenging the studio's right to lease their previous film,The Hospital, toABC in a package with a less successful film. Despite this recent legal action, Chayefsky and Gottfried signed a deal with UA to financeNetwork, until UA found the subject matter too controversial and backed out. Undeterred, Chayefsky and Gottfried shopped the script around to other studios, and eventually found an interested party inMetro-Goldwyn-Mayer. Soon afterward, United Artists reversed itself and looked to co-finance the film with MGM, since the latter had an ongoing distribution arrangement with UA in North America. Since MGM agreed to let UA back on board, the former (through United Artists as per the arrangement) controlled North American/Caribbean rights, with UA opting for overseas distribution.[a]
In his notes, Chayefsky jotted down his ideas about casting. For Howard Beale, who would eventually be played byPeter Finch, he envisionedHenry Fonda,Cary Grant,James Stewart andPaul Newman. He went so far as to write Newman, telling him that "You and a very small handful of other actors are the only ones I can think of with the range for this part." Lumet wanted Fonda, with whom he had worked several times, but Fonda declined the role, finding it too "hysterical" for his taste. Stewart also found the script unsuitable, objecting to the strong language. Early consideration was given to real-life newscastersWalter Cronkite andJohn Chancellor, but neither was open to the idea (both appear during the opening scene through stock footage). Although not mentioned in Chayefsky's notes,George C. Scott,Glenn Ford andWilliam Holden reportedly also turned down the opportunity to play Beale, with Holden instead playing Max Schumacher: For that role, Chayefsky had initially listedWalter Matthau andGene Hackman. Ford was under consideration for this part as well, and he was said to be one of two final contenders. Holden finally got the edge because of his recent box-office success withThe Towering Inferno.[14]
Producers were wary that Finch, an Australian, would not be able to sound authentically American; they demanded an audition before his casting could be considered. A well-known actor, Finch reportedly responded, "Bugger pride. Put the script in the mail." Immediately excited by the role, he agreed to pay his own fare to New York for a screen test. He prepared for the audition by listening to broadcasts by American newscasters and reading the international editions ofThe New York Times and theHerald Tribune into a tape recorder, then listening to playbacks with a critical ear. Gottfried recalled that Finch "was nervous as hell at that first meeting over lunch and just like a kid auditioning. Once we'd heard him, Sidney Lumet, Paddy, and I were ecstatic because we knew it was a hell of a part to cast." Finch further convinced Lumet by playing him the tapes of his newspaper readings.[15]
Faye Dunaway wantedRobert Mitchum to play Max Schumacher, but Lumet refused, believing that Mitchum was not sufficiently urbane.[16][17] For the role of Diana Christensen, Chayefsky thought ofCandice Bergen,Ellen Burstyn, andNatalie Wood, while the studio suggestedJane Fonda, with alternate candidatesKay Lenz,Diane Keaton,Marsha Mason andJill Clayburgh. Lumet wanted to castVanessa Redgrave in the film, but Chayefsky did not want her. Lumet argued that he thought she was the greatest English-speaking actress in the world, while Chayefsky, a proud Jew andsupporter of Israel, objected on the basis of her support of thePLO. Lumet, also a Jew, said "Paddy, that's blacklisting!", to which Chayefsky replied, "Not when a Jew does it to aGentile."[18]
Dunaway was cast as Diana in September 1975. Lumet told her that he would edit any attempts on her part to make her character sympathetic and insisted on presenting her without any vulnerability. Lumet castRobert Duvall as Frank Hackett. Duvall saw Hackett as a "vicious presidentFord".[19] On Duvall, Lumet said: "What's fascinating about Duvall is how funny he is."Ned Beatty was cast as Arthur Jensen on the recommendation of directorRobert Altman after the original actor failed to live up to Lumet's standards. Beatty had one night to prepare a four-page speech, and was finished after one day's shooting.Beatrice Straight played Louise Schumacher, Max's wife, on whom he cheats with Diana.[20] Straight had won aTony Award in 1953 for playing an anguished wife who is similarly cheated on inArthur Miller'sThe Crucible.
After two weeks of rehearsals, filming started inToronto in January 1976[21] with many scenes filmed at theCFTO studios at9 Channel Nine Court inScarborough.[22]
Lumet recalled that Chayefsky was usually on set during filming, and sometimes offered advice about how certain scenes should be played. Lumet allowed that his old friend had the better comic instincts of the two. Finch, who had suffered from heart problems for many years, became physically and psychologically exhausted by the demands of playing Beale.[23]
There was some concern that the combination of Holden and Dunaway might create conflict on the set, since the two had sparred during an earlier co-starring stint inThe Towering Inferno. According to biographer Bob Thomas, Holden had been incensed by Dunaway's behavior during the filming of the disaster epic, especially her habit of leaving him fuming on the set while she attended to her hair, makeup and telephone calls. One day, after a two-hour wait, Holden reportedly grabbed Dunaway by the shoulders, pushed her against a soundstage wall and snapped, "You do that to me once more, and I'll push you through that wall!"[citation needed]
Lumet and cinematographerOwen Roizman worked out a complicated lighting scheme that in Lumet's words would "corrupt the camera". Lumet recalled: "We started with an almost naturalistic look. For the first scene between Peter Finch and Bill Holden, on Sixth Avenue at night, we added only enough light to get an exposure. As the movie progressed, camera setups became more rigid, more formal. The lighting became more and more artificial. The next-to-final scene—where Faye Dunaway, Robert Duvall, and the three network gray suits decide to kill Peter Finch—is lit like a commercial. The camera setups are static and framed like still pictures. The camera had also become a victim of television."[18]
Network was released on November 27, 1976. The film opened to widespread critical acclaim, and became one of the big hits of 1976–77, earning $23.7 million at the box office.[2]
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Vincent Canby ofThe New York Times calledNetwork "outrageous ... brilliantly, cruelly funny, a topical American comedy that confirms Paddy Chayefsky's position as a major new American satirist" and a film whose "wickedly distorted views of the way television looks, sounds, and, indeed, is, are the satirist's cardiogram of the hidden heart, not just of television but also of the society that supports it and is, in turn, supported."[24]Gene Siskel of theChicago Tribune gaveNetwork four stars out of four, calling it "a very funny movie that takes an easy target and giddily beats it to death."[25] In a review written afterNetwork received its Academy Awards,Roger Ebert called it a "supremely well-acted, intelligent film that tries for too much, that attacks not only television but also most of the other ills of the 1970s," though "what it does accomplish is done so well, is seen so sharply, is presented so unforgivingly, thatNetwork will outlive a lot of tidier movies."[26]
Not all reviews were positive:Pauline Kael inThe New Yorker criticized the film's abundance of long, preachy speeches; Chayefsky's self-righteous contempt for not only television itself but also television viewers; and the fact that almost everyone in the movie, particularly Robert Duvall, has a shouting rant: "The cast of this messianic farce takes turns yelling at us soulless masses" and mentions the film is like a "Village crazy bellowing at you."[27]
Gary Arnold ofThe Washington Post declared that "the movie is too sternly, monotonously preachy for either persuasion or casual amusement."[28]Michael Billington wrote, "Too much of this film has the hectoring stridency of tabloid headlines",[29] whileChris Petit inTime Out described it as "slick, 'adult', self-congratulatory, and almost entirely hollow", adding that "most of the interest comes in watching such a lavishly mounted vehicle leaving the rails so spectacularly."[30]
Jack Shaheen, an American writer and lecturer who specialized in addressing racial and ethnic stereotypes, was critical of the film in his book,Reel Bad Arabs. He put it on his worst list, noting that Arabs were portrayed as "medieval fanatics," and criticized Chayefsky's "prejudicial Arab colloquies." He also asked whether Chayefsky would label Israelis as "medieval fanatics" and wondered why the producer, Howard Gottfried, and director, Sidney Lumet, sanctioned Chayefsky's "anti-Arab diatribe," as he described it, in the film. He additionally described the film's focus on Arabs not only to be "racist," but also nonfactual, and noted that Chayefsky condemnedVanessa Redgrave aftershe described demonstrators, protesting her pro-Palestinian views, as "a small bunch of Zionist hoodlums" at the1978 Academy Awards ceremony.[31]
OnRotten Tomatoes the film has an approval rating of 91% based on 79 reviews, with an average rating of 8.50/10. The site's critics consensus states, "Driven by populist fury and elevated by strong direction, powerful acting, and an intelligent script,Network's searing satire of ratings-driven news remains sadly relevant more than four decades later."[32] OnMetacritic it has a weighted average score of 83 out of 100, based on 16 critics, indicating "universal acclaim".[33]
In 2000, Roger Ebert added the film to hisGreat Movies list and said it was "like prophecy. When Chayefsky created Howard Beale, could he have imaginedJerry Springer,Howard Stern, and theWorld Wrestling Federation?"; he credits Lumet and Chayefsky for knowing "just when to pull out all the stops."[34] ScreenwriterAaron Sorkin wrote in 2011 that "no predictor of the future—not evenOrwell—has ever been as right as Chayefsky was when he wroteNetwork."[35] The film ranks at number 100 inEmpire magazine's list of the 500 Greatest Films of All Time.[36]
At the49th Academy Awards,Network won 3 of the 4 acting awards. As of 2024, it is the second of only 3 films which have accomplished this feat, preceded byA Streetcar Named Desire in1951 and followed byEverything Everywhere All at Once in2022.
Peter Finch died before the1977 ceremony and was the only performer to win aposthumous acting Academy Award until fellow AustralianHeath Ledger wonBest Supporting Actor in2008. The statuette itself was collected by Finch's widow, Eletha Finch, afterPaddy Chayefsky invited her onstage.
Beatrice Straight appeared in only 5 minutes, 2 seconds of screen time, making itthe shortest performance to win an Oscar as of 2025[update] (breakingGloria Grahame's 9 minute, 32 seconds record forThe Bad and the Beautiful in1952).[37] Additionally,Ned Beatty's performance of Arthur Jensen occupied only 6 minutes of screen time, also making itthe shortest performance by an actor to be nominated for an Oscar as of 2025[update].[38]
Network was released onVHS in 1980,LaserDisc in 1983,DVD in 1998, andBlu-ray in 2011.[53] It will be released onUltra HD Blu-ray and a remastered Blu-ray byThe Criterion Collection on February 24, 2026.[54]
A play adaptation byLee Hall premiered in the Lyttleton Theatre at theNational Theatre inLondon in November 2017. The play was directed byIvo Van Hove featuringBryan Cranston making his UK stage debut asHoward Beale, andMichelle Dockery as Diana.[55][56] It opened onBroadway on December 6, 2018, with Cranston reprising his role as Beale, and withTatiana Maslany as Diana andTony Goldwyn as Max Schumacher.[57]
