To think that this blackest of black comedies was made in 1976 could only means two things: 1) Nothing has changed or 2) Paddy Chayefsky was seeing the future with the most disturbing clarity. I endorse the later of the two because I believe things have changed since 1974 - I wasn't born yet, but I know because of my parents, the movies, literature, etc, etc, etc. Peter Finch as the mad prophet of the airwaves gives Chayefsky a riveting and powerful voice. The scenes between old chums Finch and William Holden are some of the best written scenes in any American movie until the Coen brothers emerged. Finch is superb, superb! and Holden, at the end of a legendary career, gives a performance of such ferocious sincerity that I rediscovered the man, the actor and felt the need to revisit some of his opus. From Golden Boy to Sunset Boulevard, Holden was a man who carried his own discomfort as a weapon. Extraordinary! However, the most alarming character in the whole thing is Faye Dunaway's. She is magnificent in her thin, nervous, bra-less attitude. She is a monster of commercial amorality. Everything in this incredible movie moves with the precision of an inspired clairvoyant's vision. Duvall's executive, Beatrice Straight's betrayed wife and Ned Beatty's god like big shot makes this one of the most frightening, entertaining, funniest, remarkable film from the 70's. Sidney Lumet proves once more that he's as good as his material. Here he is at his zenith.
In the 1970s, terrorist violence is the stuff of networks' nightly news programming and the corporate structure of the UBS Television Network is changing. Meanwhile, Howard Beale, the aging UBS news anchor, has lost his once strong ratings share and so the network fires him. Beale reacts in an unexpected way. We then see how this affects the fortunes of Beale, his coworkers (Max Schumacher and Diana Christensen), and the network.
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April 14, 2019 at 07:07 PM