Network 1976
Directed by
Sidney Lumet
Made by
Metro-Goldwyn-Mayer (MGM)
Plot Summary
In September 1975, longtime anchor Howard Beale of the UBS Evening News receives the crushing news from his friend and news division president, Max Schumacher, that he has only two more weeks left on the air due to plunging ratings that have been in decline since 1969. His Home Use Television (HUT) ratings have dropped from 16 to 8, with his audience share plummeting from 28 to 12.
That very night, Beale creates a shocking announcement to his audience, declaring his intention to commit suicide during the next Tuesday’s newscast. Despite UBS’s desperate attempts to fire him immediately, Schumacher steps in to ensure Beale receives a dignified farewell, all while grappling with his own mounting pressures within a news division facing an annual deficit of $33 million.
At the annual stockholder’s meeting, CCA’s CEO, Frank Hackett, reveals a strategy to make the news division more accountable to the local network instead of its current independence. Schumacher, blindsided by the revelation, is infuriated as this severely curtails his influence. Meanwhile, Edward George Ruddy, the CEO of UBS and Schumacher’s boss, insists that changes are necessary.
Promising to apologize for his outburst, Beale instead goes on a passionate tirade about life being “bullshit.” Although the network wishes to cut him off the air, Schumacher sees an opportunity for himself too, allowing Beale to continue airing his raw thoughts. This resonates with viewers, causing ratings to surge, which intrigues the UBS executives, who decide to capitalize on Beale’s newfound popularity.
As events escalate, Programming Chief Diana Christensen persuades Hackett to take control of Beale’s show, asserting that it could financially save the network with ad spots potentially reaching $100,000 per minute. Despite Hackett’s reservations—especially after the disarray following Beale’s last public outburst—executives resign themselves to the decision, even at the risk of angering the formidable news division.
Amidst the chaos, Beale’s visceral expression ignites a nationwide movement as he famously declares, > “I’m as mad as hell, and I’m not going to take this anymore!” Soon, he reigns over a new program named The Howard Beale Show, captivating audiences and boosting his show to national prominence, reaching the remarkable rank of #4—which had only been achieved by a news program once before.
While Schumacher’s marriage to Louise begins to crumble amid the show’s soaring success and their personal relationship blooms, Christensen reaches out to Schumacher, promising to transform Beale’s image further. However, their collaboration grows tense when Schumacher seeks to shift away from Beale’s “angry man” format to prioritize Beale’s well-being, prompting Christensen to undermine his authority.
Eventually, the show takes a darker turn as ratings start to falter when Beale shifts his narrative towards the alarming realities of society, which audiences find overwhelming. With pressures mounting, Jensen warns Beale to forsake his critical message for a new “Evangel,” claiming business is power. Despite this pressure, when the situation gets dire, the UBS executives, believing they’ve become victims of Beale’s influence, plot to have him assassinated live on air.
The chilling climax culminates in Beale’s death, marking the end of The Howard Beale Show and giving rise to the new series The Mao Tse-Tung Hour. As the screen fades, a cold voice-over concludes, “This was the story of Howard Beale: the first known instance of a man who was killed because he had lousy ratings.”
Timeline
Howard Beale is Fired
In September 1975, Howard Beale learns from his friend Max Schumacher that he will be terminated from the UBS Evening News due to significantly dropping ratings. This devastating news strikes Beale hard, as he realizes his decades-long career is coming to an abrupt end.
Beale's Shocking Announcement
That same night, Beale provocatively announces to his audience that he plans to commit suicide during the next Tuesday newscast. His declaration stuns viewers and prompts the network to consider immediate action to remove him from the air.
Max Schumacher's Intervention
Max Schumacher intervenes, insisting that Beale deserves a dignified farewell rather than a rushed dismissal. This decision reflects Schumacher's struggle with the pressures from the network while also trying to protect his friend's well-being.
Stockholder's Meeting Reveals New Strategy
At the annual stockholder's meeting, CCA's CEO Frank Hackett announces a shift towards making the news division accountable to the local network. This revelation blindsides Schumacher and threatens his influential position in the newsroom.
Beale's Passionate Outburst
In a surprising turn, instead of an apology, Beale delivers a passionate tirade on live television, calling life 'bullshit' and expressing his outrage. The network is taken aback, but Schumacher sees potential in Beale's raw emotions.
Beale's Ratings Surge
After his emotional outburst, Beale's unconventional candidness captivates viewers and leads to a massive spike in ratings. This newfound popularity catches the UBS executives off guard, prompting them to leverage his public persona.
The Howard Beale Show Begins
As a result of his rising fame, Beale is given a new program titled The Howard Beale Show. This launch propels Beale into a position of national prominence, making his show one of the top-rated programs in the country.
Schumacher's Marital Issues
Schumacher experiences turmoil in his personal life as his marriage to Louise deteriorates amidst the show's success. As he grows closer to Diana Christensen, the complications in his personal and professional life begin to intertwine dangerously.
Christensen's Influence Grows
Diana Christensen seeks to take full control of Beale's image, aiming to turn him into a more marketable figure. However, this causes tension between her and Schumacher as they clash over how to best manage Beale’s newfound success.
Ratings Begin to Falter
As Beale shifts his focus to addressing serious societal issues, the show's ratings begin to decline. Audiences are overwhelmed by the darker narrative, putting pressure on the network executives who fear losing their ratings-driven revenue.
Executives Plot Against Beale
Fearing the consequences of Beale's influence and the potential for declining ratings, UBS executives hatch a dramatic plot to assassinate him live on air. This extreme decision underscores the network's prioritization of viewership over human life.
Climactic Assassination
In a chilling climax, Beale is killed live on air as part of the network's ruthless strategy to regain control. This shocking event marks the abrupt end of The Howard Beale Show, leaving audiences stunned and provoking widespread outrage.
Introduction of The Mao Tse-Tung Hour
Following Beale's assassination, the network hastily introduces a new program titled The Mao Tse-Tung Hour. This transition signifies a dark new chapter for the network and reflects the ruthless nature of entertainment driven exclusively by profit.
The Legacy of Howard Beale
The film concludes with a voice-over highlighting the legacy of Howard Beale, noting that he was the first to be killed due to poor ratings. This chilling commentary encapsulates the tragic reality of a world where human life is sacrificed for entertainment value.
Characters
Howard Beale (Peter Finch)
Howard Beale is a longtime news anchor who spirals into despair after being fired. His emotional breakdown transforms him into a folk hero, as he becomes a voice of outrage against societal apathy. Beale's journey personifies the struggle between personal integrity and the demands of the media industry, ultimately leading to tragic consequences.
Max Schumacher (William Holden)
Max Schumacher is a seasoned news division president who's grappling with the pressures of network television and personal strife. His moral compass is tested as he tries to balance corporate interests with ethical journalism. Max's complicated dynamics with Beale and his own domestic issues provide depth to his character, making him a sympathetic figure amidst the chaos.
Diana Christensen (Faye Dunaway)
Diana Christensen is the ambitious programming chief who sees potential profitability in Beale's insanity. Her drive and ruthless ambition reflect the cutthroat nature of the media business. Though she is unafraid to challenge the norm and push boundaries, her tactics may jeopardize the very humanity she claims to uplift.
Setting
Time period
1975
The events of the movie unfold in September 1975, a tumultuous year characterized by significant social and economic upheaval in the United States. This period saw rising unemployment and disillusionment with traditional media. The backdrop of the 70s contributes to the film's themes of despair and the quest for authenticity in a world dominated by sensationalism.
Location
New York City
The movie primarily takes place in New York City, a bustling metropolis known for its influence on media, finance, and culture. The city serves as a backdrop for the cutthroat world of television news, highlighting the immense pressures faced by broadcasters. NYC represents both the pinnacle of success and the harsh realities of the ruthless media landscape.
Themes
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Media Manipulation
The theme of media manipulation is central to 'Network,' illustrating how ratings and profit motives can overshadow journalistic integrity. Howard Beale's outrageous proclamations captivate viewers, showcasing the lengths networks will go to in order to boost viewership. The film critiques the transformation of news into entertainment, highlighting the ethical dilemmas inherent in the media industry.
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Anger and Outrage
Anger becomes a powerful theme as Howard Beale channels his frustration into a public outcry against societal issues. His famous phrase, 'I'm as mad as hell, and I'm not going to take this anymore!' resonates with an audience hungry for change. The film examines the way anger can galvanize people, sparking movements and challenging the status quo.
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