The inner workings of a news station, including the cynical commodification of righteous rage, are explored in Sidney Lumet’s sharp and still prescient Network, written by Paddy Chayefsky. The 1976 Film is now on 4k UHD & Blu-Ray from the Criterion Collection.
The Film
Perhaps I could be succinct and use my comments on social media after watching Network for the first time 14 years ago:
Just finished a movie. A fantastic, satiric film. All about how (nearly) faceless corporations, during a repression, use and abuse their employees and manipulate the public. How they cynically use the media to exploit the masses. How the media manufactures stories and people for ratings and money. How the individual is steamrolled for the dollar. About hypocrisy and cynicism of what is presented to us. What film is this, some new film you ask? No. My friends. It came out 36 years ago. 1976. It’s Network. And if you don’t watch it and also think the best-known quote from the film, “I’m mad as hell and I’m not going to take this anymore!”, you’re part of the problem.
But that’s not enough, I need to write more. for you and for me; if anything, it shows how Network remains true no matter when it’s released: 1976, 2012, 2026, the future.
In the 50 years since Network, written by Paddy Chayefsky and directed by Sidney Lumet, it has remained powerful and as timely as ever. With only minor changes, Network could be released today, and people would say, “Hey, that’s just Network. It came out in 1976.” Kidding aside, the film shows the media has always reworked, used, abused, and monetized the ups and downs of human life and work, turned rage into fame, and pushed what makes the big people money at the expense of those underneath.
Paddy Chayefsky’s Academy Award-winning script drives the film with a sharp satire and wit, of intensely developed characters and a righteous anger at the system. Chayefsky’s work across his career features the folks on lower rungs pushing against and calling out their circumstances, and Network is the epitome of that. At the center is Howard Beale, a veteran of the news with nothing else to live for; he’s about to be fired. With nothing to lose, he let loose, ranting and raving about being done with the bullshit. It connects with the people, bringing back ratings and the eyes of both the viewers and the powers that be. Those powers use his “I’m (as) mad as hell, and I’m not going to take this anymore” speech and twist and turn it to create a catchphrase and a purposeful TV prophet for profits. Beale’s friend and boss, Max Schumacher, watches as the world shifts in front of him, connecting to up-and-comer Diane Christensen, an uncompromising claws-out executive determined to make this her world her own. On top of them is network head Frank Hackett and his own boss (it all goes up and up and up), Arthur Jenson, who puts his thumb on it all. It’s fascinating to watch the characters get used and abused, spin and turn, lose their souls to the power.
When militants, including a spin on Patty Hearst, take an hour-long spot and allow their messages to be used and molded for cash, and notice it’s biting. Who controls the news? Who makes money on it? Do the money makers force and mold issues to make more, or set a specific narrative? It was happening then, even if the news was more straightforward. It’s even more so today with the breaking of so many networks outright presenting propaganda, as more and more fall under the same umbrella (on the flip side, information can be found without the middleman just as much). It’s maddening. All paying attention are Howar Beale’s of our own. And our outrage in turn feeds those in power. (with the side note Beale’s anger often slides into xenophobia and over-the-line losing rationality and truth to the anger, but even if we can’t agree with the words, the underlying sentiment is there)
The script sends all spiraling together and then separates them, speaking over one another with perfectly chosen word choices. Sidney Lumet turns that great script into a great film. Shot choices as it moves through keep it all at a rapid speed, a lived-in, nearly documentary world. The lighting choices sell a dark underbelly with alterations to fit the characters and inform. The Ned Beatty rant scene… my god.
Additionally, Lumet, specifically chosen by Chayefsky for his greatness in directing anger-driven films such as 12 Angry Men and Dog Day Afternoon, uses that script to get the best performances from one hell of a great cast, earning piles of nominations and wins. Network is a film of a few scene wonders, connecting moments of personal conflict, truths, and powerful speeches. Ned Beatty has two brief moments and steals with a fiery take down of why this all happens the way it does (for Rocky Horror fans, so many of his mannerisms were used by Cliff DeYoung’s Farley Flavors in the sequel Shock Treatment. It’s uncanny). Beatrice Straight won an Oscar for her two scenes as Schumacher’s wife, calling him on his own bull. Peter Finch earns a posthumous Oscar as the hapless and hopeless Howard Beale, building a marvelous martyr performance of loss and anger, unaware of how to deal with it, and what happens when his frustration is used to embolden others. William Holden and Faye Dunaway make a powerful pair at the center as Max and Diana. She specifically is incredible: cold, and heartless as a character, but fascinating to watch (Btw Lance Henrikkson pops up briefly in a small role. Heck yes!).
Network, written by Paddy Chayefsky, is an astounding film, still relevant after all these years. Sharp satire remains, held up by amazing performances across the board and a sense of space and time, as directed by Sidney Lumet.
The Package
Criterion presents Network in a two-disc set: one 4K UHD and one Blu-ray (or, if you prefer, a single Blu-Ray). One disc has a print of an earlier poster, the other the juxtaposition of money and TV. The two discs overlap on the right side of the clear package. A fold-out booklet fits the other side. The sleeve has new art by Adam Maida on the outside and a still of Beale’s iconic moment on the interior. It carries spine #1300.
The Presentation
Sadly, the new transfer is the weak point of the set. While Lumet gives a great look to the film, the disc is faded and soft. Comparing the Blu-ray and 4k, I don’t see much of a difference. The sound is great though, it’s the original mono. This is a film of overlap, quick dialogue, and all the sounds of a newstation and it remains clear and developed. Subtitles are in English.
The Features
At first glance, the features seem light, but while there are a mere three on disc and a printed essay, they are all meaty with the commentary and two 90-minute documentaries. Two are ported from 2006. The commentary is on both discs. The other two are on Blu-ray only.
Commentary (2006)
Director Sidney Lumet goes solo to dig into the flick. Incredibly detailed. Much love is thrown to all the actors and the script. He really digs into the hows of filming this unique setup and the internal thoughts of the characters.
PS: A lot of what he says is used again in the documentary, nearly verbatim (so many years of talking about the film can do that)
The Making of “Network” (2006)
Special features master, film archivists, and historian Laurent Bouzereau presents a documentary in six parts, breaking down the film to its components. An odd presentation, taking a more jump right in tack than a standard documentary. Everyone is very open in sharing their thoughts and experiences, while still lauding love upon the process and film. Great reflections 30 years later. (86m)
Paddy Chayefsky: Collector of Words (2025)
Totally fascinating. An incredible look at the career of the great writer of Network, Marty, Altered States, and so much more. With a full cast of luminaries to highlight his skill, it’s appreciative and laudatory, but still quite a strong and fully engrossing documentary. Gives a fantastic appreciation of his work and the themes present, along with noting just how particular and astounding his writing is. Pointed and iconic, with beautiful word use to a T. (90m)
Booklet
The fold-out booklet features cast/crew/stills on one side and an essay, “Back to the Future” by Jamelle Bouie, on the other.
Final Thoughts
Network, after 50 years, remains a hell of a film, powerful and demanding of our attention. The perfect script by Paddy Chayefsky, directed similarly perfectly by Sidney Lumet, and filled with amazing performances, stands the test of time. This new edition might not look as great as other releases (thus the cheaper Blu-Ray edition is probably fine for most), but the film itself should be enough, along with the appreciative documentaries and commentary attached.