At the 2011 Academy Honours Aaron Sorkin said within the acceptance speech, “It’s extremely hard to describe what it feels like to get handed the same award that has been given to Paddy Chayefsky more than 30 years ago for another movie together with ‘network’ in the title.” It was his first Oscar win for adapting Typically the Social Network and he was mentioning the unexpectedly prescient épigramme Network directed by Sidney Lumet in 1976.
You don’t have to look very much for Chayefsky’s influence upon Sorkin’s writing, not just inside awe-inspiring speeches throughout The Western world Wing but more specifically within the follow up series Studio 62 on the Sunset Strip, some sort of behind the scenes focus on putting on some sort of live light entertainment tv program which draws directly from this milieu of Network.
Peter Finch stars as media anchorman Howard Beale who might be about to “retire” after twenty-five years on the air due to a are in ratings, during the corporate takeover of a fictitious national television set network UBS. In a time of madness Beale makes announcement to camera his intent to blow his minds out in his final send out on live television and is also immediately fired until long-time friend and producer Greatest extent Schumacher (William Holden) can be persuaded by the company’s Us president to allow him back one final time to apologise and bend out gracefully.
However, after Beale is back on surroundings his psychotic state leads to him to launch into some sort of candid tirade claiming of which “life is bullshit”; paradoxically this strikes a blend with the public and fledging producer Diana Christensen (Faye Dunaway) who has been in search of edgier material suggests to be able to Frank Hackett (Robert Duvall), the chief executive appointed because of the conglomerate who have acquired this station, that Howard Beale be given his own show and so he can sound off upon whatever topics he prefers.
Network is an outrageously believable black parody that is simultaneously very funny yet severely biting, years ahead of his or her time Chayefsky predicts not simply reality TV but also the theory on the New World Order run simply by one massive ‘ecumenical’ keeping company. In the film’s touchstone scene during one of Beale’s televised rants on the nights an electrical storm, he copes with to rouse his readers to get up and head to their windows and yell “I’m mad as terrible and I’m not going to work with this anymore!” which not simply became the movie‘s tagline but is now an oft-quoted, indelible moment in theatre history.
Despite looking their age in terms of costume make design Network fares astonishingly well on Blu-ray, this 1080p/AVC MPEG-4 encode can be displayed in the original element ratio just one.85:1 showing off the film’s remarkable use of stylised lighting specially in the memorable monologue the location where the chairman of the corporation (Ned Beatty) evangelises his world wide capitalism to Howard Beale, appearing like a haloed eye-sight of God in a constellation-covered night sky. The DTS-HD master audio mix of the first mono soundtrack is perfect for a movie which is renowned for its excellent dialogue.
There are a useful extras on the disc, which include an in-depth “Behind this Story” analysis of the film as well as a rare interview together with writer Paddy Chayefsky noted at the time of the film’s authentic release and an hour longer episode of Private Screenings together with director Sidney Lumet in which he discusses in detail his large body of work recorded around 2005 after he was accorded the honorary life time achievements Oscar which, for other cinephiles, is worth this price of the disc alone!