Network (DVD) (Rpkg)

My rating is more of a 4.5Thanks for reading!𝑰 𝒅𝒐𝒏'𝒕 𝒉𝒂𝒗𝒆 𝒕𝒐 𝒕𝒆𝒍𝒍 𝒚𝒐𝒖 𝒕𝒉𝒊𝒏𝒈𝒔 𝒂𝒓𝒆 𝒃𝒂𝒅.𝑬𝒗𝒆𝒓𝒚𝒃𝒐𝒅𝒚 𝒌𝒏𝒐𝒘𝒔 𝒕𝒉𝒊𝒏𝒈𝒔 𝒂𝒓𝒆 𝒃𝒂𝒅.Network is a 1976 American satirical drama film produced by Metro-Goldwyn-Mayer, written by Paddy Chayefsky and directed by Sidney Lumet. It is about a fictional television network, the Union Broadcasting System (UBS; sometimes referred to as "UBS-TV"; situated in the film as the "fourth television network" after NBC, CBS, & ABC), and its struggle with poor ratings.With Lumet and Chayfskys’ careers in production starting in the 1950s, 𝑵𝒆𝒕𝒘𝒐𝒓𝒌 is informed by the then new and developing phenomenon that was television broadcasting, specifically in terms of finding out what American viewers wanted to watch in their free time; the concurrent affordability of T.V.s culminated in its usual indulgence, with the establishment of a given ‘fanbase’ often at odds with the Cold War and a general state of anti-communist paranoia. Often reduced to sitcoms meant to dramatize the lives of everyday citizens - or programs that could be cheaply produced - Lumet and Chayfskys’ observations run amok in the conversant and critical nature of 𝑵𝒆𝒕𝒘𝒐𝒓𝒌 : namely as a sort of “hive-mind” for profit based margins and relative hierarchies within. Subsequently, it’s easy to get lost in relative jargon, much less downplay the effects of UBS-TV’s ratings proving poor (I can’t help but wonder as I watch: Does anyone besides Howard Beale worry about losing their jobs around here?), but perhaps what was allowed on air tells us a completely different story.Concerns about the misuse of broadcast licenses by the three main networks established at the time (NBC, AMC, and CBS), The Fairness Doctrine was enacted by Congress in 1954, and mandated the devotion of time to contrasting views on issues of “public importance”; this was namely meant to disrupt the presence of an obviously biased agenda, and is one of many things that underscores the importance of reporting on the news objectively.As has been observed over 40 years later, 𝑵𝒆𝒕𝒘𝒐𝒓𝒌 puts what sells quickly versus what makes a lasting impression, bearing in mind to what end desensitization to the ills that should be reported on is a by product of having too much to report on in the first place. That in mind, 𝑵𝒆𝒕𝒘𝒐𝒓𝒌’s Diana Christensen finds herself on the forefront of a subsection of entertainment that emerged as a distinct genre in the 90s and more-or-less circumvents barriers to profitable broadcasting, albeit shamefully: ‘Reality TV ‘. Acting more in the ballpark of “contrived” over “scripted”, Beale’s fate speaks to more than just the danger of weaponizing “realism” with ulterior motives; we, as viewers, are forced to see the difficulty in reconciling journalistic integrity with what makes the most money, which turns out to be an imminent trainwreck conducted with prophetical (And almost know-it-all) charm.Of course, due to the transient nature of news and newsworthy topics or personas, some of 𝑵𝒆𝒕𝒘𝒐𝒓𝒌 is but a doomed cacophony of ‘to-be-continued’ or unfinished business. Without due exposition or insight judgments can't really be made about who specifically is being called out as corrupt or shallow, except to say its grip on unempathetic broadcasting and subsequent consumption is reflected in social media trends and the like in this modern day. Reflected in the target audience is the extent to which real-life viewers are expected to bear through and anticipate an inundation of stories that run the gambit of heartwarming to hurtful to inciteful at record speed; the question becomes more a matter of frequency in terms of how much our feelings are manipulated by mass media, answered by what are stand-ins for an elusive ‘15 minutes of fame’, and ultimately resembles an antithesis to the stability people knowingly crave.Somehow, 𝑵𝒆𝒕𝒘𝒐𝒓𝒌 at its best is something of betrayal given what Lumet and Chayefsky owe the institution that is television broadcasting as it made their talents known in the United States and beyond. At its absolute worst it starts suggesting that relative programming is reminiscent of some Satanic ritual that requires an excess of moral compromise to keep its gear sufficiently waxed; which, speaking of, the Fairness Doctrine as described above was abolished in 1987 on the account of it violating a person’s right to free speech. Almost ironically, there’s no room for gratitude here: a shame really, as this medium has its own role to play in efforts to globalize a message or unify groups of people by way of concern and the like. One shouldn’t be so quick to deduce this as some responsibility gauntlet, however: the more immediate high that ✨clickbait✨ exploits speaks for itself now more than ever. Some viewers will remain oblivious as to what 𝑵𝒆𝒕𝒘𝒐𝒓𝒌 suggests viewers keep on their person to avoid falling victim to reporting bias with jadedness, but then again: Is this really news?

Been years since I saw it, so I bought it. My gosh, still poignant - wait VERY poignant today. Holds up SO well. A masterpiece.

No one can ignore the relevance of this film. Outstanding in every way, and in every way ahead of its time.This is a “must” have for any film lover or scholar.This makes for a great evening of film, wine & Chateaubriand. Friends, and a film of this caliber, will lead to an evening of intense discussion and societal review.

NETWORK is a film that comes up over and over in discussions of American films. I've heard people say that NETWORK was the film that inspired them to enter the TV or Film business. It's a film I had heard so much about but have never seen but now it was time.Cinematically, the film is seriously dated. I don't know why much older films don't have that "dated" feel like NETWORK. Maybe it is too close yet just far enough from the present that it looks awkward.Ironically, the story behind NETWORK is as relative now as it was in the 1970's. Trouble in the Middle East, Terrorism, Unemployment, a Stiffled Economy, Raising Oil and Food prices and people are made and can't take it anymore. Are we talking about 1976 or today?Peter Finch is formerly popular newscaster Howard Beale. His ratings are dropping and he is about to get the axe. All he has to do to create a media sensation is to threaten to kill himself on air. He is suddenly the toast of the town and his ratings soar. Enter a lovely and young Faye Dunaway as the heartless TV executive and suddenly no topic is sacred or forbidden. Hey, why not follow a group of terrorists around as they commit crimes? It's all for ratings and makes great TV or does it?The story is amazingly relevant despite the excessively dark theme. It's a great cast. Faye Dunaway is at her loveliest and her most talented. Sadly, Peter Finch and William Holden are at the twilight of their remarkable careers. Finch died not long after filming and won a posthumous Academy Award as best actor for his role. That was a first. Dashing William Holden looks much older and more haggard than a 58 year old. He begins an affair with Dunaway and she refers to him as "middle-aged." Robert Duvall looked the same even 30+ years ago.Be sure to overlook the 70's hairstyles and clothing and delve deeper into the psychological impact of the story. There are lots of specific cultural references to popular TV shows and personalities and events of that era. It is a time capsule of information.NETWORK is flawed at times and very dated visually but the deep look into the media and the psyche of America is rivoting. NETWORK should be on any film fan's list.

An absolutely genius story by Paddy Chafesky about the insanity and sleaze in the news business is as poignant today and it was then, and not just the news business (or at least what passes for one today). This allegory can be applied to the world at large. A truly prophetic film, although the makers had no idea just how long its prophecy would apply.

Le premier constat qui s'impose, presque quarante ans après la sortie de cette brillante satire sur la télévision, est que Lumet était véritablement un visionnaire. Tous les ingrédients sont réunis pour que l'on puisse parler d'un grand film : un scénario implaccable et solide, une réalisation glaciale et efficace, mais surtout des acteurs impeccables, Faye Dunaway en tête, qui campe parfaitement son personnage complexe de femme dominatrice et intéressée, que viennent compléter les interprétations de William Holden, Peter Finch et Robert Duvall. Rien d'étonnant à ce que "Network" est obtenu 4 Oscars (Meilleurs Acteur, Actrice, Second Rôle Féminin, et Scénario Original), et qu'il soit aujourd'hui considéré comme un classique indémodable !

"I love it. Suicides, assassinations, mad bombers, mafia hit men, automobile smash-ups... 'The Death Hour'. Great Sunday-night show for the whole family."The back of the DVD's box describes 'Network' as "even more compelling & relevant today than when it was first released, [it] is a wickedly funny, spot-on indictment of the TV news media." Very true - but I think there's also a lot more to it than that.The story revolves around Howard Beale, a news anchorman who is fired for his shows' poor ratings. As a result, he suffers a nervous breakdown & announces during a live broadcast that he will kill himself live on air, during his very last show in 2 weeks time. But as a result of his announcement, his viewing figures soar & ruthless TV executives aim to exploit him for all that he's worth & set him up as an anti-establishment, everyman preacher. Never mind that his message condemns them, forget getting him psychiatric help, it's the viewing figures that count.This is a stark reminder of the central theme in the recent documentary 'The Corporation', which states that US big businesses can be compared with psychopaths due to their unwavering will to increase profits at any collateral cost & irregardless of social impact or morality. As the Networks' CEO tells Beale, "there is no America. There is no democracy. There is only IBM & ITT & AT&T & DuPont, Dow, Union Carbide & Exxon. Those are the nations of the world." Made in 1976 'Network' certainly comes across as a prophetic work when watched today - consider the increased power of corporations & sensationalistic, 'black-&-white' coverage of warfare & terrorism, not to mention US news shows which film car chases live. Real human lives turned into Hollywood movies & packaged for entertaiment.The character of Howard Beale isn't actually in the film very much. A lot of the screen-time is given to one of his colleagues, played by William Holden - a menopausal everyman trying to make sense of the TV age, where everything & everyone is product to be exploited to increase viewing figures. He has an affair with an up-&-coming executive who 'scripts' her own life & those around them as if they were TV shows & wants to create "a show based on the activities of a terrorist group. Joseph Stalin & His Merry Band of Bolsheviks." Duvall says of her, " I'm not sure she's capable of any real feelings. She's TV generation. She learned life from Bugs Bunny." When Holden leaves his wife - representative of traditional American values - she tells him that "if you can't work up a winter passion for me, the least I require is respect & allegiance," comdemning the new dehumanising values which this new age has ushered in.'Network' is a very thought-provoking piece. which has been very skilfully put together by Sidney Lumet, director of one of my all-time favourite films, 'Dog Day Afternoon'. While both films are well crafted & leave their audiences with much to ponder, the pacing in both is a little slow at times. However, while watching one of the slower portions of 'Network', I began giving very serious consideration to throwing away my television - and I think I probably will. This is testament to the powerful way this film makes the audience question a lot of their assumptions & implores them not to loose their basic humanity - which can surely only be a good thing.

This is one of the best Oscar winning films I've seen to date. It won 3 oscars for acting. It lost the coveted academy awards for best picture and director to Rocky. But won all other major award ceremonies for best pitcher. A ratings spike occurs one night when a news anchor looses his mind in middle of his nightly commentary, so the network chooses to do the only thing one can do in the situation. They give him his own show. His outrage and very direct views become an outlet for anger of a nation. The network finds itself riding high on one mans insanity. They reap the rewards and eventually the consequences of turning loose such a clearly disturbed man on airwaves.

Si alguien quiere tener por fin una edición inmejorable del clásico de Lumet/Chayeksky, esta es, sin duda, la ocasión. En un BluRay magnífico, la película (subtitulada en castellano y con audiocomentario opcional) sigue siendo una joya de los 70 con inmejorables interpretaciones de los tres oscarizados (Finch, Dunaway, Straight) y la presencia serena, herida, humana en medio de la deshumanización, de un emocionante William Holden. La dirección de actores, la cámara invisible, la habilidad para unir sátira y emoción se deben a un memorable guion de Chayefski y a la batuta del infravalorado Lumet (¿cómo olvidar Doce hombres sin piedad, Veredicto final?). La edición incluye más de dos horas de extras asombrosos: reportajes sobre la película, el casting, el guion, la repercusión, la premonición sobre el presente; entrevistas a Chayefski -un documento imprescindible- y a Lumet, en un repaso de una hora de duración sobre toda su trayectoria. Una edición insuperable.

Le constat du fond: rien n'a changé, sinon en pire. Le monde de la télévision décrypté pour vous. Après cela, vous ne pourrez plus être ignorant. Accrochez-vous !La forme maintenant. Un casting de haut vol, de rêve. J'ai acheté ce DVD après avoir lu l'autobiographie de Faye Dunaway. Quelle actrice ! Et le rôle n'est pas simple.Vous en vous ennuirez pas. Tout est bien ficelé, excellemment interprété. On y croit à fond. ça marche toujours.Achetez-le d'autant plsu que je ne crois pas qu'il soit encore possible d'être aussi explicite de nos jours en ce qui concerne les dialogues.Je suis content d'avoir ce film chez moi. Ecoutez-le aussi en VO, comme toujours.