Thirty years after its release to public praise and multiple Oscar wins, Network is one of those films that instead of dating badly or becoming a product of its time has actually grown and become even more relevant today, and if it were re-released in 2006 for its actual thirtieth anniversary not on film but on national television right at the beginning of the fall season (complete with the most lurid reality TV shows and inane TV pleasers), it would only become more justified in its story.
The story of the failing network that didn't have a show on the Nielsen Top 20 and resorted to extreme measures to ensure that this changed seems so today: we see how channels that once had failing ratings churned out shock television right smack in the daytime while still applying Standard and Practices to other "prime-time" shows that could be taken the "wrong" way. Jerry Springer, Maury Povich, Rikki Lake, Oprah, Mark Burnett, MTV -- they're all here under different guises, all competing to have their voices heard on television, all eventually becoming as ratings-hungry and establishment-friendly as the CEOs running the show.
Today we don't quite have Howard Beales ranting and raving about the ills of society on national TV (although they do "tell" us how we should feel, when we should laugh if we're too stupid to get the joke, who to vote for, the "truth" about the tobacco industry). Today media is all the rage and televises even a fart if it deems it interesting and guarantees more viewers. Today shows like "20/20" or "60 Minutes" bring us 'exclusives' even if it's at the cost of journalistic integrity. And now, with 'reality TV' still the dominating novel trend even in little-seen cable channels, creating stereotypes in leaps and bounds while claiming authenticity of the events depicted, there hasn't yet been a need to create a lunatic who could sermonize everything and make us Mad as Hell. On this aspect alone NETWORK has dated: the 70s were all about counterculture, anti-establishment, revolution, leftists, Patty Hearsts, Lennon and Yoko, "Nova", the Mansons, the hippies, the Earth-lovers, the militants. Nowadays, buff bodies parade themselves in shows containing outlandish competitions where eating the most grotesque concoctions are the norm, or enduring a barrage of extreme insults has become entertainment (i. e. "American Idol") and the very concept of dignity flies out the window. Of course, after signing an extensive release form in which they free the network of all responsibilities if something goes wrong because we all know networks can't be held liable for any faux pas. In short, nowadays people from all over try to become the next It person and outlast their 15 minutes of fame. Nowadays, everyone has their own reality TV show depicting their 24 hour day activities. I wonder if Diana Christensen isn't alive and well and exerting absolute control over the networks in general, bringing anything and everything that can garner a little bit of shock value (Boy Meets Boy, or any reality TV self-made "villain/villainess") and eventual ratings, taking over actual scripted shows with real actors.
NETWORK is a powerful movie of which I can't praise enough about even if its screenplay, by Paddy Chayefsky is a little too verbose. No one talks the way he makes his characters talk, using impassioned speeches with big, even archaic, words, and more than once the script makes the characters go completely over the top but even then it makes its point. Of the actors, William Holden's quiet portrayal of a former television exec, Max Schumacher, who has a conscience, but still feels some attraction to danger and risks his own family to experience is who is at the heart of this crazy story who was ahead of its time. Peter Finch's Howard Beale never comes through enough as a real human being: just someone who was pushed too hard and decided to shut down for the remainder of his life. But Holden holds the moral glue of the story, and interestingly enough, is wise to know that his affair, perfectly scripted as he even states, will end on a high note -- he'll return to his sanity and his wife, and Diana Christensen will bask in her own executive madness, since this is all she knows and holds dear. In her last words -- "Let's kill the son of a bitch." -- she informs us this is all she is about without so much as batting an eye. Who comes, who goes, is irrelevant to her, as long as the network can be number one. And that is the inhuman reality of television -- a media directed to entertain humans.
The story of the failing network that didn't have a show on the Nielsen Top 20 and resorted to extreme measures to ensure that this changed seems so today: we see how channels that once had failing ratings churned out shock television right smack in the daytime while still applying Standard and Practices to other "prime-time" shows that could be taken the "wrong" way. Jerry Springer, Maury Povich, Rikki Lake, Oprah, Mark Burnett, MTV -- they're all here under different guises, all competing to have their voices heard on television, all eventually becoming as ratings-hungry and establishment-friendly as the CEOs running the show.
Today we don't quite have Howard Beales ranting and raving about the ills of society on national TV (although they do "tell" us how we should feel, when we should laugh if we're too stupid to get the joke, who to vote for, the "truth" about the tobacco industry). Today media is all the rage and televises even a fart if it deems it interesting and guarantees more viewers. Today shows like "20/20" or "60 Minutes" bring us 'exclusives' even if it's at the cost of journalistic integrity. And now, with 'reality TV' still the dominating novel trend even in little-seen cable channels, creating stereotypes in leaps and bounds while claiming authenticity of the events depicted, there hasn't yet been a need to create a lunatic who could sermonize everything and make us Mad as Hell. On this aspect alone NETWORK has dated: the 70s were all about counterculture, anti-establishment, revolution, leftists, Patty Hearsts, Lennon and Yoko, "Nova", the Mansons, the hippies, the Earth-lovers, the militants. Nowadays, buff bodies parade themselves in shows containing outlandish competitions where eating the most grotesque concoctions are the norm, or enduring a barrage of extreme insults has become entertainment (i. e. "American Idol") and the very concept of dignity flies out the window. Of course, after signing an extensive release form in which they free the network of all responsibilities if something goes wrong because we all know networks can't be held liable for any faux pas. In short, nowadays people from all over try to become the next It person and outlast their 15 minutes of fame. Nowadays, everyone has their own reality TV show depicting their 24 hour day activities. I wonder if Diana Christensen isn't alive and well and exerting absolute control over the networks in general, bringing anything and everything that can garner a little bit of shock value (Boy Meets Boy, or any reality TV self-made "villain/villainess") and eventual ratings, taking over actual scripted shows with real actors.
NETWORK is a powerful movie of which I can't praise enough about even if its screenplay, by Paddy Chayefsky is a little too verbose. No one talks the way he makes his characters talk, using impassioned speeches with big, even archaic, words, and more than once the script makes the characters go completely over the top but even then it makes its point. Of the actors, William Holden's quiet portrayal of a former television exec, Max Schumacher, who has a conscience, but still feels some attraction to danger and risks his own family to experience is who is at the heart of this crazy story who was ahead of its time. Peter Finch's Howard Beale never comes through enough as a real human being: just someone who was pushed too hard and decided to shut down for the remainder of his life. But Holden holds the moral glue of the story, and interestingly enough, is wise to know that his affair, perfectly scripted as he even states, will end on a high note -- he'll return to his sanity and his wife, and Diana Christensen will bask in her own executive madness, since this is all she knows and holds dear. In her last words -- "Let's kill the son of a bitch." -- she informs us this is all she is about without so much as batting an eye. Who comes, who goes, is irrelevant to her, as long as the network can be number one. And that is the inhuman reality of television -- a media directed to entertain humans.