Cool Hand Luke Butch Cassidy and the Sundance Kid The Wages of Fear The Maltese Falcon In the Name of the Father The Grapes of Wrath Edit Cast Cast overview, first billed only: Diana Christensen William Holden Max Schumacher Peter Finch Howard Beale Robert Duvall Frank Hackett Wesley Addy Nelson Chaney Ned Beatty Arthur Jensen Arthur Burghardt Great Ahmed Kahn Bill Burrows TV Director John Carpenter George Bosch Jordan Charney Harry Hunter Kathy Cronkite Mary Ann Gifford Ed Crowley Joe Donnelly Jerome Dempsey Barbara Schlesinger Gene Gross Edit Storyline In the s, terrorist violence is the stuff of networks' nightly news programming and the corporate structure of the UBS Television Network is changing.
Not since the dawn of time has America experienced a man like Howard Beale!
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Edit Did You Know? Trivia In , Paddy Chayefsky worked on a pilot script for a possible television comedy series called "The Imposters", in which political subversives infiltrate and try to undermine a television network. So unless UBS re-staged its newscast for each time zone, it would have been impractical for the network to have wall clocks on its news set.
Quotes [ first lines ] Narrator: Lumet, himself a Jew, said "Paddy, that's blacklisting! Dunaway was cast as Diana in September Lumet told her that he would edit out any attempts on her part to make her character sympathetic and insisted on playing her without any vulnerability. Lumet cast Robert Duvall as Frank Hackett. Duvall saw Hackett as a "vicious president Ford ". Ned Beatty was cast as Arthur Jensen on the recommendation of director Robert Altman after the original actor failed to live up to Lumet's standards.
Beatty had one night to prepare a four-page speech, and was finished after one day's shooting. Straight had won a Tony Award in for playing an anguished wife who is similarly cheated upon in Arthur Miller's The Crucible. After two weeks of rehearsals, filming started in Toronto in January Lumet recalled that Chayefsky was usually on the set during filming, and sometimes offered advice about how certain scenes should be played.
Lumet allowed that his old friend had the better comic instincts of the two, but when it came to the domestic confrontation between Holden and Straight, the four-times-married director had the upper hand: Finch, who had suffered from heart problems for many years, became physically and psychologically exhausted by the demands of playing Beale. There was some concern that the combination of Holden and Dunaway might create conflict on the set, since the two had sparred during an earlier co-starring stint in The Towering Inferno.
Network ( film) - Wikipedia
According to Holden biographer Bob Thomas, Holden had been incensed with Dunaway's behavior during the filming of the disaster epic, especially her habit of leaving him fuming on the set while she attended to her hair, makeup and telephone calls. One day, after a two-hour wait, Holden reportedly grabbed his costar by the shoulders, pushed her against a soundstage wall and snapped, "You do that to me once more, and I'll push you through that wall!
Lumet and cinematographer Owen Roizman worked out a complicated lighting scheme that in Lumet's words would "corrupt the camera". 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 — 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. 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 screaming rant: 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.
Network won three of the four acting awards.
Only one other film, A Streetcar Named Desire in , has won in three acting categories. Finch died before the ceremony and was the only performer to win a posthumous Academy Award until Heath Ledger won a Best Supporting Actor Oscar in The statuette itself was collected by Finch's widow, Eletha Finch. 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 as of , breaking Gloria Grahame 's nine minutes and 32 seconds screen time record for The Bad and the Beautiful in 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. From Wikipedia, the free encyclopedia. Network Theatrical release poster. Bullet in a Bible Awesome as Fuck. Retrieved from " https: American new wave musical groups Punk rock groups from California Bands with fictional stage personas Green Day Musical groups established in Musical groups disestablished in Adeline Records artists.
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