“Network” is one of the most relevant movies to our current political climate. Although it was made in the 1970s, it predicts a perversion of our media landscape by greed that has come true. It manages to do this while being bitingly entertaining and fiercely intelligent.
The movie tells the story of aging anchorman Howard Beale, who is given his two weeks notice for poor ratings. He then tells his audience that he will kill himself on air next week, leading to better ratings. Beale becomes a ratings smash as his message of rage connects with an unsatisfied public.
Beale’s angry speeches about the present state of America are still relevant. He demands the American people get mad about their lives to end a general national malaise.
Diana Christensen, a rising TV executive, defines the demand for Beale’s power when she says, “The American people want someone to articulate their rage for them.”
I don’t know about you, but I think that quote is a better description than any of why Donald Trump is the Republican frontrunner.
Both Beale and Trump gain prominence by saying what a lot of people think and manipulating the media.
“Network” is relevant for its message about the dangers of corporatization. One of its most terrifying moments is when the head of Beale’s company gives him a long speech on how large corporations have virtually replaced countries as the most powerful groups in the world. It’s terrifying because of the strong chance he is right.
I don’t mean to make “Network” sound like a bleak and depressing portrait of America. There is a joy in the way it is shot and edited. One early tracking shot that follows an executive has all of the energy of the “walk and talks” from any of Aaron Sorkin’s TV shows.
“Network” is very funny and some of its best sequences, thankfully, seem more like satire than realism.
A negotiation between network executives and a band of domestic terrorists for the terrorists to have their own TV show is one of the funniest things I’ve ever seen.
This film deservedly won the Academy Award for best screenplay. Paddy Chayefsky’s script is great at alternating tones and has some memorable dialogue. Every word burns with a bright intelligence, especially the famous quote, “I’m as mad as hell, and I’m not going to take this anymore!”
The performances in “Network” are as energetic and uncompromising as the movie itself. Peter Finch impressively nails each of Beale’s long speeches. Faye Dunaway won an Oscar for her unforgettable performance as Christensen, which will haunt you for days.
The original tagline of “Network” was “Prepare yourself for a perfectly outrageous motion picture.” Today, the events of this film seem more plausible than anything else. But great writing and performances ensure that “Network” is still one of the best American movies.