Wednesday, April 20, 2011

"Network" (1976)




All right ladies and gentlemen, it time for the review of one of my favorite and in my opnion, one of the greatest films ever made. the script by the incredible Paddy Chayefsky was recently ranked the 8th Greatest Screenpley of all Time by the WGA but i think it deserves to be in the top 5. Most people call this film a "satire": WRONG!!! This is beyond satire. this is a prediction and a damn good one. this is what happens today in our news. look at local news sensationalizing the mediocre events going on at this time. at that time the news covered everything up and/or censcored or candy-coated everything. This is one of the first films to tell us NO! Howard Beale says about the American people,  "'Please, at least leave us alone in our living rooms. Let me have my toaster and my TV and my steel-belted radials and I won't say anything. Just leave us alone.'" Then he lunges over his desk and says, "Well, I'm not gonna leave you alone!!" He won't leave us alone, no he wants us to get MAD! he knows and even says that the world is full of bullshit and wants us to do something about it instead of just standing there. The news at this time would not allow this but Howard Beale did not care. he had rage inside of him that he needed to release.

Ok, now back to the review portion. This is wildely well-acted, smart of a film that needed and still needs to be taken seriously. Everything about this film is incredibly well organizized ("Taxi Driver"). Faye Dunaway is one of my favorite actresses of all time and her performance in this takes the cake (in this case, Oscar). she is ferocious, and knows what she wants and how to belittle enough people to get it. she is dangerous and doesn't give a damn about it. Every scene with her in it gives me the chills; as does Peter Finches'. his performance is another one of my faorites of all time. the rage in his face will make you go mad. Yes the 'mad as hell' scene is one of his proudest moments but others including scenes in the 'Howard Beale Show' are absolutly fantastic. Ned Beatty is in about 2 scenes. He plays Arthur Jenson, the owner of UBS (the network in which the film is centered around). There is that scene, in which he has that speech:


"You have meddled with the primal forces of nature, Mr. Beale, and I won't have it! Is that clear? You think you've merely stopped a business deal. That is not the case! The Arabs have taken billions of dollars out of this country, and now they must put it back! It is ebb and flow, tidal gravity! It is ecological balance! You are an old man who thinks in terms of nations and peoples. There are no nations. There are no peoples. There are no Russians. There are no Arabs. There are no third worlds. There is no West. There is only one holistic system of systems, one vast and immane, interwoven, interacting, multivariate, multinational dominion of dollars. Petro-dollars, electro-dollars, multi-dollars, reichmarks, rins, rubles, pounds, and shekels. It is the international system of currency which determines the totality of life on this planet. That is the natural order of things today. That is the atomic and subatomic and galactic structure of things today! And YOU have meddled with the primal forces of nature, and YOU... WILL... ATONE! Am I getting through to you, Mr. Beale? You get up on your little twenty-one inch screen and howl about America and democracy. There is no America. There is no democracy. There is only IBM, and ITT, and AT&T, and DuPont, Dow, Union Carbide, and Exxon. Those are the nations of the world today. What do you think the Russians talk about in their councils of state, Karl Marx? They get out their linear programming charts, statistical decision theories, minimax solutions, and compute the price-cost probabilities of their transactions and investments, just like we do. We no longer live in a world of nations and ideologies, Mr. Beale. The world is a college of corporations, inexorably determined by the immutable bylaws of business. The world is a business, Mr. Beale. It has been since man crawled out of the slime. And our children will live, Mr. Beale, to see that... perfect world... in which there's no war or famine, oppression or brutality. One vast and ecumenical holding company, for whom all men will work to serve a common profit, in which all men will hold a share of stock. All necessities provided, all anxieties tranquilized, all boredom amused. And I have chosen you, Mr. Beale, to preach this evangel."

That scene is not just a bunch of hob-gob nosense and big words. if you read it carefully, there are people in our society today that think this way. He had a small part but and incredibly vital one that got him the oscar nomination. Finch also won the Oscar posthumously but rightfully. Beatrice Straight won as well and she oly had an 11 minute part. again vital and with much force and power. William Holden, who had the great performance in Billy Wilder's masterpeice "Sunset Blvd.", turns around as the wiser one in this film. he has a wonderful performance as well and was nominated for the Oscar. Robert Duvall was goos too. The performances and screenplay and the direction from the decesed Sidney Lumet (R.I.P.) make ths film untouchable and should be given a third viewing to really get the gist of it all. But fter the film is over, i want you all to ask youselves something: was Beale having a psychotic breakdown, or did he really see the face of God?


Academy Awards, USA
YearResultAwardCategory/Recipient(s)
1977 WonOscarBest Actor in a Leading Role
Peter Finch
Nomination and award were posthumous. Finch became the first posthumous winner in an acting category. His widow Eletha Finch and screenwriter Paddy Chayefsky accepted the award on his behalf.
Best Actress in a Leading Role
Faye Dunaway
Best Actress in a Supporting Role
Beatrice Straight
Best Writing, Screenplay Written Directly for the Screen
Paddy Chayefsky
NominatedOscarBest Actor in a Leading Role
William Holden
Best Actor in a Supporting Role
Ned Beatty
Best Cinematography
Owen Roizman
Best Director
Sidney Lumet
Best Film Editing
Alan Heim
Best Picture
Howard Gottfried
'Network' becomes the second film to win three awards for acting, following A Streetcar Named Desire (1951).

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