Network (1976) is director Sidney Lumet's brilliant criticism of the hollow, lurid wasteland of television journalism where entertainment value and short-term ratings were more crucial than quality. Paddy Chayefsky's black, prophetic, satirical commentary/criticism of corporate evil (in the tabloid-tainted television industry) is an insightful indictment of the rabid desire for ratings. Indignation toward the network executives by an unbalanced news-anchorman (Finch) ("I'm mad as hell, and I'm not going to take it anymore") is manipulated by ruthless VP programming boss (Dunaway) for further ratings. One of the film's posters correctly proclaimed: "Television will never be the same."
Television has been the victim, so to speak, of a number of self-righteous attacks, in diverse mediums such as commentaries, books, fiction, and even on television itself. Most of these attacks centre around the idea that TV exploits the players on programs, as well as lowering the general taste and intellect of the culture. But no attack, at least cinematically, has been as vicious, black-hearted, and utterly nihilistic as Paddy Chayfesky`s Network (1976). The treatment of its subject is such that it is amazing this film was even produced.
Network is a movie that raises the question: If television isn't reality, then in what kind of reality do the people who create television exist? Originally released in 1976, Network blasts the falseness of television; corporate control of a TV network; and how television can succeed in destroying the lives of those involved with trying to produce high ratings.
The main plot of Network follows TV news anchorman Howard Beale (played by Peter Finch) who works for a fictional fourth-rated TV network called UBS (Universal Broadcasting System). Beale's ratings on the UBS nightly news hour have slipped and he is about to get fired. In an act of desperation, Beale announces in the middle of his news monologue that he will "blow his brains out" on his program next week -- so tune in! The UBS management team starts to damage control and begins to try and balance Beale's metal breakdown versus the soaring ratings.
Network does not simply show television production as a sit-com or soap opera (like the horrendous movie Broadcast News did in 1987). Instead, it puts flawed characters into impossible situations. The characters in Network work themselves in and out of trouble through interactions with others; and in the end all is not forgiven and not everything ends happily.
Network Showcases The Transformation of Journalism
It’s no secret that broadcast journalism nearly ended newspapers, but in Network the plot follows the rise of sensational news on television.
Editors and producers in the film find that news involving crime, violence or sexual abuse receive more ratings and viewers are especially entertained by Beale's madness. Diana Christensen capitalizes on Beale’s insanity by creating The Howard Beale Show where he rants in expletives and unending shouts addressing the ails of society.
UBS becomes the highest rating network until Beale ironically reveals a corporate deal between the network and investors in the Middle East and the network loses billions of dollars.
Today, the notion of the 24-hour news channel and lightning fast snippets of breaking news are catering to instant gratification and sensationalism. Although released 30-years-ago, Network continues to be a viable film that documents the changing landscape of journalism.
Enjoyable Rating: 6 out of 10 for an intellectual look at journalism and what human nature drives us to watch.
Regards,
Zahra Lalani
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