Alles zum Film «Network ()»: Reviews, Trailer, Bilder, Kinoprogramm und vieles mehr. Dem Nachrichtensprecher Howard Beale, einst ein gefeierter Star, droht nach 25 Jahren wegen sinkender Quoten die Entlassung. Vor laufender Kamera macht er sich in einem wütenden Ausbruch Luft und jagt damit prompt seine Ratings wieder in die Höhe. Network - der Film - Inhalt, Bilder, Kritik, Trailer, Kinostart-Termine und Bewertung | aamsept2003.com
total klassischEs ist keine leichte Aufgabe, vor der Max Schumacher (William Holden), Nachrichtenchef beim Fernsehsender Network USB, steht. Er soll. Howard Beale (Peter Finch) ist ein Prophet. Schon vor 40 Jahren, das Fernsehen hat gerade seine mediale Vormachtstellung errungen. Network (). Bissige Medien-Satire über einen alternden Nachrichtensprecher, der nach seiner Kündigung seinen Frust vor laufender Kamera rauslässt und.
Network 1976 Česko-Slovenská filmová databáze Video\
Lumet and cinematographer Owen Roizman worked out a complicated lighting scheme that in Lumet's words would "corrupt the camera".
Lumet recalled: "we started with an almost naturalistic look. For the first scene between Peter Finch and Bill Holden, on Sixth Avenue at night, we added only enough light to get an exposure.
As the movie progressed, camera setups became more rigid, more formal. The lighting became more and more artificial.
The next-to-final scene — where Faye Dunaway, Robert Duvall, and the three network gray suits decide to kill Peter Finch — is lit like a commercial.
The camera setups are static and framed like still pictures. The camera had also become a victim of television. The film premiered in New York City on November 27, , and went into wide release shortly afterward.
Network opened to acclaim from critics, and became one of the big hits of — Vincent Canby , in his November review of the film for The New York Times , called the film "outrageous In a review of the film written after it received its Academy Awards, Roger Ebert called it a "supremely well-acted, intelligent film that tries for too much, that attacks not only television but also most of the other ills of the s," though "what it does accomplish is done so well, is seen so sharply, is presented so unforgivingly, that Network will outlive a lot of tidier movies.
When Chayefsky created Howard Beale, could he have imagined Jerry Springer , Howard Stern , and the World Wrestling Federation? Not all reviews were positive: Pauline Kael in The New Yorker , in a review subtitled "Hot Air", criticized the film's abundance of long, preachy speeches; Chayefsky's self-righteous contempt for not only television itself but also television viewers; and the fact that almost everyone in the movie, particularly Robert Duvall, has a shouting rant: "The cast of this messianic farce takes turns yelling at us soulless masses.
The consensus states, "Driven by populist fury and elevated by strong direction, powerful acting, and an intelligent script, Network ' s searing satire of ratings-driven news remains sadly relevant more than four decades later.
Screenwriter Aaron Sorkin wrote that "no predictor of the future—not even Orwell —has ever been as right as Chayefsky was when he wrote Network.
The film's noted line "I'm as mad as hell, and I'm not going to take this anymore" and its derivatives are referenced in numerous films and other media, including Mad As Hell , a satirical Australian news show starring Shaun Micallef.
The same camera angle is employed in both instances. Peter Finch's "Mad as Hell" monologue is sampled in the track "Recession" by Dutch hardstyle artist The Prophet.
The English speaking French rap duo Chill Bump use Howard Beale's iconic rant as the intro to their award-winning song Life Has Value from their release Hidden Strings.
Arthur Jensen's speech to Beale is extensively sampled in "Corporate Slave" by Snog and "America Number One" by Consolidated.
In the first episode of Studio 60 on the Sunset Strip , a character's on-air breakdown is compared to that of Beale by news reporters.
In Episode 15 of Season 4 of Boston Legal , "Tabloid Nation", Alan uses the film as evidence in his closing arguments to prove how debased modern American TV culture has become.
A stage adaptation by Lee Hall premiered in the Lyttleton Theatre at the National Theatre in London in November The play was directed by Ivo Van Hove featuring Bryan Cranston making his UK stage debut as Howard Beale , and Michelle Dockery as Diana.
At the Academy Awards , Network won three of the four acting awards the only other film to achieve that was, A Streetcar Named Desire in , when it won in three of the acting categories.
Peter Finch died before the ceremony and was the only performer to win a posthumous Academy Award until when Heath Ledger won Best Supporting Actor.
The statuette itself was collected by Finch's widow, Eletha Finch. Beatrice Straight's performance as Louise Schumacher occupied only five minutes and two seconds of screen time, making it the shortest performance to win an Oscar to date breaking Gloria Grahame 's nine minutes and 32 seconds screen time record for The Bad and the Beautiful in From Wikipedia, the free encyclopedia.
Theatrical release poster. Faye Dunaway William Holden Peter Finch Robert Duvall Beatrice Straight Ned Beatty.
Release date. Running time. Faye Dunaway as Diana Christensen William Holden as Max Schumacher Peter Finch as Howard Beale Robert Duvall as Frank Hackett Wesley Addy as Nelson Chaney Ned Beatty as Arthur Jensen Beatrice Straight as Louise Schumacher Jordan Charney as Harry Hunter William Prince as Edward Ruddy Lane Smith as Robert McDonough Marlene Warfield as Laureen Hobbs Conchata Ferrell as Barbara Schlesinger Carolyn Krigbaum as Max's secretary Arthur Burghardt as the Great Ahmet Khan Cindy Grover as Caroline Schumacher Darryl Hickman as Bill Herron Ken Kercheval as Merril Grant Kathy Cronkite as Mary Ann Gifford Ed Crowley as Joe Donnelly Lee Richardson as the Narrator voice Lance Henriksen as Network lawyer uncredited.
United Artists. British Board of Film Classification. November 1, Retrieved July 11, Box Office Mojo.
Retrieved January 23, Library of Congress, Washington, D. Retrieved May 6, Accessed October 31, Original site. Writers Guild of America, West.
Retrieved November 29, Retrieved August 20, October 1, Mad as Hell: The Making of Network and the Fateful Vision of the Angriest Man in Movies.
Henry Holt and Company, , p. The Attic. Retrieved July 27, The New York Times. Retrieved March 13, Looking for Gatsby: My Life.
Retrieved 8 November Arthur Jensen and the corporate ecological balance. Ned Beatty as Arthur Jensen, Network Is that clear?
That is not the case! The Arabs have taken billions of dollars out of this country, and now they must put it back! It is ebb and flow, tidal gravity!
It is ecological balance! There are no nations. There are no peoples. There are no Russians. There are no Arabs.
There are no third worlds. There is no West. There is only one holistic system of systems, one vast and immane, interwoven, interacting, multivariate, multinational dominion of dollars.
Petro-dollars, electro-dollars, multi-dollars, Reich marks, rins, rubles, pounds, and shekels. That is the natural order of things today.
That is the atomic and subatomic and galactic structure of things today! And you have meddled with the primal forces of nature, and you … will … atone!
There is no America. There is no democracy. Those are the nations of the world today. They get out their linear programming charts, statistical decision theories, minimax solutions, and compute the price-cost probabilities of their transactions and investments, just like we do.
We no longer live in a world of nations and ideologies, Mr. The world is a college of corporations, inexorably determined by the immutable bylaws of business.
It has been since man crawled out of the slime. And our children will live, Mr. One vast and ecumenical holding company, for whom all men will work to serve a common profit, in which all men will hold a share of stock.
All necessities provided, all anxieties tranquilized, all boredom amused. There was an interesting article nearly two years ago written by Chrystia Freeland.
It appeared in the Atlantic in early Freeland has since expanded this into a book called Plutocrats: The Rise of the New Global Super-Rich and the Fall of Everyone Else released October of Everybody — at least, everybody who is informed — knows of the alarming increase of the gap between the rich and the poor.
But it is not just the physical wealth that one must worry about. The people at the very top, the richest and most powerful, give no damn about nations, states, nation-states and nationals.
Here is a crude example: American presidencies routinely deal with Saudi kings over oil. The only people who make the mistake of caring are the lowly folks: you and me.
In this world, supply and demand, the movement of money, the power of currencies, these are the only things that matter. Search Metadata Search text contents Search TV news captions Search archived websites Advanced Search.
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His credits are an honor roll of good films, many of them with a conscience, including " 12 Angry Men " , "Long Day's Journey Into Night" , "Fail-Safe" , "Serpico" , " Dog Day Afternoon " , " Prince of the City " , " The Verdict " , " Running on Empty " and " Q and A " Because he works in many different genres and depends on story more than style, he is better known inside the business than out, but few directors are better at finding the right way to tell difficult stories; consider the development of Al Pacino's famous telephone call in "Dog Day Afternoon.
In "Network," which is rarely thought of as a "director's picture," it is his unobtrusive skill that allows all those different notes and energy levels to exist within the same film.
In other hands, the film might have whirled to pieces. In his, it became a touchstone. Roger Ebert was the film critic of the Chicago Sun-Times from until his death in In , he won the Pulitzer Prize for distinguished criticism.
Wesley Addy as Nelson Chaney. Faye Dunaway as Diana Christenson. Peter Finch as Howard Beale. Ned Beatty as Arthur Jensen.
William Holden as Alex Schumacher. Robert Duvall as Frank Hackett. Reviews Great Movies Network. Roger Ebert October 29, Anchor Howard Beale Peter Finch is mad as hell Now streaming on:.
Powered by JustWatch. Roger Ebert Roger Ebert was the film critic of the Chicago Sun-Times from until his death in4/22/ · NETWORK. Trailer. Directed by. Sidney Lumet. United States, Drama. Synopsis. When a veteran anchorman is forced out of his post, he announces to viewers that he will kill himself during his farewell broadcast. Network executives rethink their decision when his fanatical tirade results in a spike in ratings. 12/20/ · Network (), written and directed by the greats, Paddy Chayefsky and Sidney Lumet, respectively, is one of those films that just hits about every mark. The dialogue is verbose and prolix but in every way spectacular and the acting all definitions of the word grand. It is equal parts dramatic and comedic. It has social commentary and satire and a. Snímek Network, břitká satira na "senzacechtivé zpravodajství", se zdá být s každým uplynulým rokem aktuálnější než kdy dřív. Howard Beale, moderátorská hvězda televizní společnosti UBS, je poslán do důchodu, protože příliš zestárl. Beale nedokáže 79%().