Network (1976)- I knew the rant and the catchphrase. Everyone knows the rant and the catchphrase, regardless of if theyve seen the movie or not (say it with me: Im mad as hell! And Im not gonna take this anymore!). However, I didnt really know anything else about it other than its influences on other writers (Aaron Sorkin, in particular, threw back to the film with both Studio 60 on the Sunset Strip and, more obviously, The Newsroom), so it was interesting coming into this with a more or less clean slate of expectations. Speaking of a clean slate of expectations- Faye Dunaway. I know who Faye Dunaway is. I know of many of the films Faye Dunaway has appeared in. Ive just never seen any of them (except for Supergirl as a child- and Ive thankfully forgotten most of that film). And, well, she really does own the movie. Youd think Peter Finch (given how well know his characters rant is), William Holden (as hes sort of the only character self aware of his role in the film and is meant to be a POV character, i think) or Robert Duvall (because hes Robert Duvall) would be the stand-out in the film but Dunaway really does rock here. The transition in Finchs character from a man recovering from depression that is enlivened and bemused at his corporately-deemed mad prophet role to becoming an actual hearing-voices mad prophet occurs far too quickly, though. Its probably the only flawed structural element in the film. Any other nitpicks one might have with the film (and theyre likely few in number) are pretty much regulated to the content (particularly some political elements- but, hey, 1970s and whatnot) and tone surrounding that structure. The films tone is actually a little hard to pin down or characterize. It floats between a drama and a satirical comedy but is neither fully a drama nor comedy nor even a dramedy, if that makes any sense. I suppose the most accurate description would be a drama with a near-meta dry humor to it: At times its playing up the absurdity and emotionless aspects of the corporate television business, while at other times its self-aware of the motions its putting its characters through- all the while maintaining that grounded, realistic feel that 70s films so often have, only to effectively seem like build up to a single punch line immediately before the credits role. Its observations, critiques and predictions of the role of television and money in the world is hit and miss, but is generally on-point. Finchs character is basically a more coherent version of what Glenn Beck would become (or, rather, what Glenn Beck likely aspired to be, or thought himself as), only taken seriously instead of a clown. Ned Beattys scene kinda predicts the selfish culture of the 80s (though at odds with the political climate). And the overall bleeding of entertainment into news for ratings is basically the modern cable news model. The only real miss are the observations on the generation raised on TV, which come across as a more dated concept- the fears of an older generation voiced in the wake of a new form (or direction) of media and technology. Thats not to say theres nothing to be said about TV/medias effects on people- its just not the subject the film is proposing/promoting. While I wouldnt consider it a masterpiece or anything, its definitely worth the time to see it- it never drags and you will, more often than not, find it rather engrossing. At the very least, youll get some very good performances and a few well-earned chuckles out of it.
Posted on: Mon, 11 Aug 2014 03:44:39 +0000
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