NETWORK (1976) - ENGLISH

Have you ever seen an assassination right in a TV studio? If not you can witness in NETWORK.

There is a scene in which the news presenter Howard Beale says "We're as mad as hell, and we're not going to take this anymore." And most of the nation does it, and this immediately is a hit. So they want to continue this Howard Beale show, to rake in money and recover a dying Network studio.

Ok, so what is NETWORK all about, it's a satire I must say and a good one indeed on the existing TV Network system that would go to any extent, even to kill a man to gain it's TRP's and get its share in viewership. Mind you, this was made in 1976, where we did not have satellites channels as we had then, there was no digitization or no great money then, yet TV had a great following, for that was the only source of entertainment at home as Personal Computers did not yet come in. Despite all that, there was greed in the Networks, to gain their own share and they would get it any cost. 

Poor man, Howard Beale (Peter Finch) of whom this film is all about, becomes a scapegoat and his life is at the mercy of media barons. Diana Christensen (Faye Dunaway) does take over and programs the Howard Beale shows and start controlling the network and that turns out good only to be lost at the end. Now, she is a maniac, about her programs, that even in Bed when in love, she keeps talking and talking about the shows that she plans to show on her network. I loved Faye Dunaway's portrayal of Diana and she does an awesome job. She made that ultra obsessive TV Network programmer come alive and she made me believe f the existence of people like her. Along with her, I liked Max Schumacher (William Holden) for his subtle portrayal of a man who is set out to be living as per norms and steps away for his love and gets back to his normalcy as what the audience expects.

All in all, it's a well-written film whose screenplay and dialogue is worth a note and can be used many a time as reference points. Now, Paddy Chaefesky should be given most of the credit for writing a bold script in 1976 and he did write what he wanted. Sidney Lumet, the director picked up the script and made it his own by making it in a way, that he only could. Sidney is not brutal or enigmatic as other directors like Scorcese of Coppola, he is subtle and downplayed and yet is impactful, just like in 12 angry men style, I may say.

It's an important film in many ways, and I say it's must watch for many still in our generation and a definite watch for all in the TV or film business. It's 4/5 for one of the best-written work directly for the screen. Thanks, Chaefesky and Sidney Lumet for what you have given us.